Artistic treatises, first edition prints collections, aesthetics books by great artists from all continents

First illustrated edition with 5 plates (cf. Coll. Émile Brouwet, II (2), 168).

Half black shagreen binding, smooth spine decorated with gilt and blind fillets, title lettered lengthwise in gilt, joints and caps rubbed, title repeated on the upper cover, paper labels pasted to the lower left corner of the upper cover and the upper left corner of the inside back cover, bookplate pasted to the inside back cover, original front wrapper preserved, corners worn, mid-19th-century binding.

Some light foxing.

The five finely line-engraved plates by Cavelier and Pierron after drawings by Pierre-Paul Prud’hon bring together a selection of pieces of imperial furniture.

The first set — a firescreen, a dressing table with its mirror, an armchair, and a washstand — was executed in vermeil with lapis inlays and presented to Empress Marie-Louise on 15 August 1810. This important commission was the joint work of the chaser-founder Thomire, awarded a gold medal at the Exhibition of 1806, and the silversmith Odiot. The three plates devoted to it preserve its memory, as the ensemble was largely melted down in 1832.

The final two plates depict the celebrated cradle of the King of Rome, in vermeil, mother-of-pearl and burgau shell — the fruit of the same two craftsmen — which was presented by the City of Paris on 5 March 1811, before the arrival of the imperial child, and is now preserved in Vienna.

Thomire alone later produced a second example in elm burr and gilt bronze, following the same design and faithfully reproducing certain elements such as the two bas-reliefs of the Seine and the Tiber. This second cradle is now at the Château de Fontainebleau.

Provenance: from the library of Prince Demidoff (San Donato stamp), then from that of Prince Roland Bonaparte, with his bookplate and label N.

First edition, describing 829 entries.

Contemporary half calf, spine with five raised bands showing traces of rubbing, brown calf lettering-piece, marbled paper boards, two small blue spots on the upper cover, wear to the edges, corners softened, red edges, early shelf label pasted at the head of a pastedown.

A few marginal spots, not affecting the text.

Born in Antwerp to a family of Spanish origin, Jean-François de Los Rios (1727–1820) practised as a bookseller in Paris (1745), then in Lyon (1760), where—despite opposition—he was entrusted with the conduct of public book auctions. He was the one who purchased the Jesuit college library after the suppression of the Order.

He left Lyon only in 1812 and died in Mechelen, nearly a centenarian.

The ‘Kehl edition’, the most renowned edition of Voltaire's works, illustrated and published on deluxe paper. It was printed on five different types of paper, and only the deluxe editions, such as ours on laid paper, feature engravings. These are naturally the most sought-after and rarest copies.

Binding in full painted sheep decorated with a “honeycomb” motif, smooth spine tooled with gilt fleurons, fillets and compartments, light beige calf lettering and volume pieces, gilt chain-roll border on covers, marbled endpapers, gilt roll on edges, all edges marbled, contemporary binding. Two volumes (nos. 50 and 70) with slight variations in gilt tools on the spines and with orange morocco lettering pieces, edges and covers treated somewhat differently. General condition of the 70 volumes: bindings with light rubbing to corners, gilt a little dulled, occasional foxing, a few wormholes and old restorations, not affecting the text. 28 volumes (vols. 4, 5, 8, 10, 11, 13, 16, 17, 19, 20, 24, 27, 28, 33, 34, 35, 36, 37, 43, 48, 61, 62, 63, 65, 66, 67, 68, 70) with cracked joints at the ends, and 20 volumes (vols. 8, 11, 12, 14, 16, 18, 33, 34, 37, 42, 46, 49, 53, 56, 57, 60, 65, 66, 68, 70) with damaged caps.

Two editions were published at the same time. Our copy belongs to the prestigious in-8 edition on large paper published in 70 volumes (the other edition being in-12 format in 92 volumes). It is richly illustrated with 125 etched plates:

- There are 17 portraits, including 3 of Voltaire: a frontispiece portrait by N. de Largillière engraved by P. Alex. Tardieu; one drawn from Houdon's bust by Moreau le Jeune and engraved by P. Alex. Tardieu; and one allegorical portrait by Louis Croutelle after Moreau le Jeune, belonging to the second series of illustrations of Voltaire's works executed by Moreau for the publisher Renouard. The 14 other portraits include an allegorical frontispiece of Frédéric-Guillaume, Prince of Prussia, depicted in profile in a medallion by Dambrun after Moreau le Jeune; a portrait of Henry IV by Pourbus engraved by Tardieu; one of Charles VII engraved after the original in the King's Cabinet by Mavieri; another of Agnès Sorel drawn by Moreau the Younger after the original in the King's Cabinet and engraved by Mavieri; one of Joan of Arc engraved by Beisson; followed by the Count of Dunois engraved after the original in the King's Cabinet by J. B. Fosseyeux; one of Louis XIV drawn by Moreau Le Jeune after C. Le Brun engraved by J. B. Fosseyeux; one of Charles XII engraved by P. Alex. Tardieu after the original in the King's Cabinet; one of Pierre I engraved by P. G. Langlois after a painting by L. Caravaque; one of Madame du Châtelet after Marie Anne Loir and engraved by P. G. Langlois; one of the Count of Argental after J. Defraine and engraved by J. B. Fosseyeux; one of Frédéric II of Prussia painted from life by Van Loo and engraved by P. G. Langlois; one of Catherine II of Russia engraved by J. B. Fosseyeux; and one of d'Alembert after De La Tour engraved by N. F. Maviez.

- 93 engravings by Moreau le Jeune, including 44 figures for le Théâtre (engraved by Lingée, Simonet, de Launay, Trière, Halbou, Duclos, Romanet, Dambrun, de Longueil, Delignon, Le Mire, Le Veau), 10 for la Henriade (engraved by Masquelier, Delignon, Dambrun, Patas, Gutemberg, Helman, Simonet, Duclos, Romanet), 21 for la Pucelle (engraved by Simonet, Dambrun, Halbou, Baquoy, Trière, Delignon, de Longueil, Croutelle and Duclos), 4 for the Contes (in verse, engraved by Langlois, Duclos, Delignon and Le Veau) and 14 for the Romans (engraved by Trière, Duclos, de Longueil, Dambrun, Baquoy, Delignon, Simonet, Langlois and Halbou). 

- 14 scientific plates in volume 31, illustrating the experiments of Newton, Descartes and Leibniz.

- 1 battle plan in volume 24 about the Histoire de l'Empire de Russie sous Pierre le Grand.

According to Bengesco (IV, no. 2142), our copy is missing a portrait of Louis XV in volume 22, as well as a portrait of Voltaire by De La Tour (replaced here in the last volume by an allegorical portrait by Louis Croutelle after Moreau le Jeune). This copy includes all the additional portraits, with the exception of two illustrations that are almost always missing: a portrait of Vertot and an engraving of the Œuvres.

Complete set of 115 copper-engraved plates with an additional plate (116 plates), all printed on either laid or wove paper, all hand-colored with watercolor. Two entirely different plates 39 follow each other, in first issue: "Les Titus et les cache-folies" was published in the 1817 and 1822 sets, and the other "La Politicomanie" appeared in 1827. This is the most complete series, which also includes the 11 new plates published from 1818 to 1822, numbered 105 to 115.

According to Vicaire, the plates were probably all printed between 1801 and 1822, and only the text preceding the plates was reprinted in 1827.

3/4 long-grained cherry half-morocco, smooth spine elaborately framed in gilt lentghwise, gilt tooled center of spine, gilt lettered title at head of spine framed in gilt, marbled boards, marbled paper endpapers and flyleaves. Minor brown spots are mainly confined to the 24 pp. of text, with very few on the plates, mainly on the margins and versos.

A rare and famous collection of costumes, genre and entertainment scenes from the French First Empire and Restoration eras, with very wide margins and magnificently hand-colored at the time. A veritable encyclopedia of thrills, pleasures and pageantry, published by Pierre de la Mésangère, leading fashion editor at the turn of the century. This copy includes two versions of plate 39, both of which are extremely scarce.
 

First edition of this fine collection comprising 72 numbered copper-engraved plates. (cf. Katalog der Ornamentstichsammlung Berlin, 2744. Brunet, V, 199 lists the author's name as Scheult).

Contemporary half calf binding with vellum-tipped corners, recently rebacked with a smooth spine decorated with gilt ornamental rolls and fleurons, olive green morocco label. Some rubbing to the spine, marbled paper-covered boards.

Scattered foxing, light dampstain to the upper outer corner of most leaves.

First edition of the first of six publications addressing the state of the Corps of Bridges and Roads, presented to the National Constituent Assembly by Chaumont de La Millière (1746–1803), who served as director of the School from 1781 to 1792.

Contemporary half vellum binding with corners, flat spine with red morocco label, soft marbled paper boards showing some wear and losses from rubbing, yellow edges.

Two additional related publications have been bound at the end:

I. Supplément au Mémoire de M. de La Millière, sur le département des Ponts & Chaussées; ou Réponses à deux écrits relatifs à ce Mémoire, qui ont paru depuis sa publication. Paris, Imprimerie royale, 1790, title, 67 pp. (tear to the final leaf).

II. Observations de M. de La Millière, sur un écrit de M. Biauzat, député à l'Assemblée nationale, relatif à l'organisation des Ponts et Chaussées. [Paris], Imprimerie de Laurens aîné, n.d. [1791], 11 pp. Bound with: [LAPORTE (Hippolyte de):] Notice historique sur la vie de La Millière. Extracted from the Biographie universelle, vol. XXIX. [Paris], Imprimerie d'Éverat, n.d., 4 pp., text printed in two columns.

A clean cut to the final page of the second volume, minor and insignificant spotting to some leaves.

Very rare first edition, illustrated with 73 plates outside the text, including a frontispiece portrait and two folding plates (see Gelli, 436-437).

No copy recorded in the CCF (French collective catalogue).

Our copy, with wide margins, is preserved in its original blue paper wrappers, untrimmed and with a reinforced spine.

Some minor spotting, slight loss at the corners of the plain wrappers, a faint dampstain to the lower left corner of the title page, and a small defect to the final page of the table of contents, not affecting the text.

Only edition of this fencing manual, compiled from both French and Italian sources.

Little is known of J. de Saint-Martin beyond what can be gathered from his work: a former cavalry officer and fencing master at the Theresian Academy, he states in his Preliminary Discourse: "Mon goût pour l’art militaire, et mon zèle pour l’avantage du service des armées impériales, ma vive reconnoissance pour les bontés du Grand Monarque que j’ai l’honneur de servir depuis sept ans, et qui a daigné me donner la place de professeur impérial de l’Académie Thérésienne pour l’Escrime, m’ont déterminé à publier et à donner au public cet ouvrage […]. Ce sont les fruits d’une expérience de trente ans, et d’une étude réfléchie tant sur les leçons des plus grands maîtres, et sur les assauts des salles les plus renommées, que sur les manœuvres et les diverses actions, où je me suis trouvé engagé dans la dernière guerre".

First edition illustrated with 39 aquatint engravings, 37 of which are hand-colored (cf Atabey, 624. Hage-Chahine, 2388.)

Finely engraved and colored, the illustrations evoke the design of Persian miniatures: portraits (Fath Ali Shah, Abbas I, Nadir Shah), figures in costumes (Persian women, slave and eunuch from the harem, Persian rider…), views and ancient monuments (Tehran, ruins of Persepolis), scenes of daily life (Persian meal, village entertainments, writing master and his pupil, Persians in prayer…), musical instruments, etc.

Half dark green shagreen bindings, smooth spine decorated with double gilt fillets, gilt friezes on the head and tail, cat’s-eye paper boards with some marginal wear, endpapers and pastedowns made of handmade paper, speckled edges, slightly later bindings.

Some foxing, frontispiece of volume 4 restored, detached ex-libris mark on the pastedown of the first volume.

The orientalist Amable Louis Marie Michel Bréchillet-Jourdain, known as Jourdain (1788-1818), was a student of Sylvestre de Sacy before becoming assistant secretary at the School of Oriental Languages. He studied Persian and Arabic and was a secretary at the Ministry of Foreign Affairs. Rare copy.

The rare first edition, illustrated with 100 in-text figures of medals, each showing obverse and reverse. Of the three parts that were to appear successively, only this one was published, Le Menestrier's death having put an end to this work. The work was not even put on sale; the author only distributed a few copies around him. It is therefore very rare to come across this edition. The 1642 edition entitled Medales illustrées des anciens Empereurs et Impératrices de Rome is the same work to which the publisher Paillot added the Médailles des impératrices from a manuscript he had purchased from the heirs. Jean-Baptiste Le Menestrier, antiquarian, should not be confused with the heraldist Claude François Menestrier, who died in 1704.
Half blonde calf binding ca 1820. Smooth spine decorated with a fleuron and a long tool, fillets and roulettes. Navy blue calf title label. Surface abrasion and a small lack along the upper joint. 
Manuscript ownership inscription on title page: Mgr. de Beauveau, archevêque de Narbonne.
The book catalogs the medals of the emperors of Rome.

Second edition, embellished with a copper-engraved map by Giraud l’aîné, folded, together with a copper-engraved plan of the labyrinth of Knossos by Chapuy.

This edition is not recorded by Contominas, Atabey or Blackmer (1493 for the first edition).

Contemporary half mottled sheep with parchment corners, smooth spine decorated with delicate black fillets, paper labels serving as title pieces, green paper boards with some rubbing, sprinkled edges.

Spine foot restored.

Three gatherings very lightly toned, otherwise a clean, fresh copy.

Bound at the end is the first edition of the French translation prepared by Jean-Claude Pingeron of Dominique Sestini’s work: "Voyage dans la Grèce asiatique, à la péninsule de Cyzique, à Brusse et à Nicée; avec des détails sur l’histoire naturelle de ces contrées", printed in London and Paris, chez Leroy, in 1789 (2 ff.n.ch., viij and 252 pp. Contominas 667; Blackmer 1529; Weber 587).

The author describes more than 500 plants from Mount Olympus.

The journey recounted here, from Brussa to Nicomède, took place in 1779.

"Sestini is one of the most interesting of those who lived in Constantinople in the late 18th century". Leonora Navari.

First edition of this complete suite of 18 numbered intaglio plates enhanced in colour, on 'J. Honig & Zoonen' laid paper, depicting 72 merchants accompanied by captions beneath each figure.
First printing, subsequent editions will feature individually numbered figures surrounded by a border.

Bound in half sienna morocco with corners, smooth spine, title stamped in gilt throughout, tiger patterned paper boards, combed paper endpapers and flyleaves, first cover retained, gilt head.
 
Extremely rare and the earliest known suite of prints depicting itinerant merchants and pedlars in Spain. Each figure is accompanied by the profession or advertisement shouted by the vendor in Castilian dialect.

Set of 52 original plates, etched and enhanced with watercolours at the time, numbered 1 to 52, mounted in pairs under mats.
 
Leaves in red half calf slipcase (early 20th century), red shagreen boards.
The plates vary in size (10.8 x 17.6 cm to 28.1 x 18.8 cm) and paper stock, as was often the case with La Mésangère's publications. Unbound engraved title on a bifolium, printed separately, absent from most copies. It is replaced here by its identical reprint by Gosselin (1893-1903), on antique watermarked paper and bears the publisher's 'G' mark, characteristic of this reprint a century later. All the plates, however, are in their first edition, without the G mark added by Gosselin to the lower corners of the engravings, in the figure or the bowl, occasionally accompanied by a date.
 
Some foxing, a few rare engravings showing traces of pasted tabs on the reverse. Plate 42 restored without missing. A green stain in plate 11 probably due to the watercolour of the landscape. Twelve plates are trimmed to the plate mark: pl. 12 (12.7 x 19.2 cm), pl. 15 (12.4 x 18.7 cm), pl. 19 (11.9 x 19.8 cm), pl. 29 (11.9 x 19 cm), pl. 30 (12.5 x 19 cm), pl. 39 (12.1 x 18.4 cm), pl. 41 (12.5 x 19.1 cm), pl. 42 (12.5 x 19.1 cm), pl. 48 (11.9 x 18.3 cm), pl. 49 (12.9 x 19.9 cm), pl. 51 (12.5 x 18.4 cm), and pl. 52 (12 x 18.1 cm). Plate 37 is trimmed around the black border (10.8 x 17.6 cm). More pronounced foxing in the margins of plates 4, 28, 30, 31, 35, 44, 45, and 47.
 
A rare and precious complete suite of 52 original costume prints from the Directoire and First Empire periods.

Very rare first edition for Le Gouté des porcherons, with the complete title Nouv. ed. augm. des Citrons de Javotte, histoire de carnaval. Et enrichie d'une Lettre amoureuse de M. Jambe de Creux, charbonnier à mademoiselle Catau, ravaudeuse. Le tout pour servir de Dessert au Déjeuner de La Rapée.
Third edition of La Pipe cassée and fourth for Bouquets poissards and Bouquets galants.
Contemporary half-sheep binding, smooth spine decorated with gilt fillets and a blonde sheep title-label, paste-paper boards. Some rubbing and minimal paper lacks to boards. First leaves somewhat stained without gravity.
Les Porcherons is a former district of the Paris suburbs between La Pologne to the West and the faubourg Montmartre to the East.
All the texts of these poissard songs are very valuable for the study of 18th-century Parisian slang.
Only three copies on the American continent: Newberry, Toronto and Montreal.

First edition of one of the most beautiful books of the 18^th century, of which the text and the music are entirely engraved$. It is illustrated with an engraved title, 3 frontispieces by Le Bouteux and Le Barbier, a dedication page with the Dauphine arms, and 100 figures by Moreau le Jeune, Le Barbier, Le Bouteux and Saint-Quentin, finely engraved in copperplate by Masquelier and Née. The portrait of Laborde, which can be found on some copies, is not part of this edition and was printed in 1774, separately.
Dentelle bindings in full navy blue morocco, signed by Bruyère at the bottom of the pastedown endpaper. Slipcase covered with a blue marbled paper, suede interior, lined with navy leather; a wide navy silk riband allows the works to be taken out. Spine in five compartments very richly adorned with decorated panels and small finishing tools, fillet at the top and the bottom. Boards framed with fillets and large gilt lace work tooling with fleurons in the corner pieces. Leading edges and spine-ends highlighted with double gilt fillets. Large interior frieze. Overall immaculate paper, with some rare foxing in volume I. Slipcase rubbed on the top. Tiny, miniscule signs of rubbing on 2 spine-ends, one compartment and one leading edge. Very large margins.
Large library label: Morel de Voleine.
Magnificent copy bound in 4 volumes, very rare condition. There are usually only copies with 2 volumes for understandable cost issues. It is also very rare to find volumes of this colour that are not faded or sundamaged.

New edition, after the first, also published in Rome in 1657. The second text is also dated 1688, but not at the same address. A title page for the last part: Io. Petro Bellori notae in numistata tum Ephesia, tum aliarum urbium apibus insignata, without address or place, with a bee as title vignette. In all three parts, the plates are included in the pagination. The two parts following the first were not part of the first edition; they are joined to Mnestrier's text for the first time. The illustration contains 24 plates: 12 plates for the first part, some with 2 figures. 10 plates, mostly medals for the second part. 2 plates for the third part. Superbly engraved on copper, these plates are not signed.

Modern Bradel binding in half cream vellum, smooth spine, black shagreen title-label, antique paper boards, binding signed Goy & Vilaine.

Very rare first Viennese edition, illustrated with 366 figures by Johann Wolfgang Baumgartner. Remarkable baroque iconography. Only one copy located in electronic library catalogues at Strasbourg, one copy at Cambridge and another at Oxford.
Contemporary half brown sheep bindings, spines with raised bands decorated with fillets, green sheep title and volume labels. Skilful restorations to joints and headcaps. Rubbing to speckled paper boards. Although pagination is continuous across the four volumes and collation appears complete, we note the absence of a title page to the third part (binder's oversight?).
Engraved bookplate Froissart, second manuscript bookplate Augustin Sotteau.

First edition.

Worn contemporary half brown sheep binding. Spine with raised bands and ornament. Beige morocco title label. Head torn away with first compartment partly lacking. Tail trimmed. Upper joint cracked, lower joint split with losses. Corners cut. Trace of label on second compartment.
Two large sections divide this work. The first catalogs and describes the paintings present in the churches and castles from Lille to Antwerp, and this for all the cities of Flanders (Dunkirk, Brussels, Bruges...). The second part consists of biographies of famous painters of Flanders: Rubens, Van Dyck, Otto Van Veen, Jordaens, Van Cleef, Van Oost, etc.

Complete first edition in six volumes, illustrated with decorative headpieces. 

Contemporary bindings in full marbled brown calf, spines with six raised bands decorated with red morocco title and volume labels, fleurons and double gilt frame fillets, triple fillets stamped in blind framing the boards, double gilt fillets on the leading edges, marbled endpapers and pastedowns, all edges marbled. Title pages in red and black. Headcaps worn, title labels of volumes 1, 3, 4 and 6 and volume labels of volumes 4, 5 and 6 missing, some lacks to the compartments, leather split at the joint of the first volume, joints of other volumes often slightly cracked at head or foot, boards and leading edges rubbed, some corners slightly bumped. Endpapers cut at outer margins, some bookworm damage to leaves mainly in lower margins, intermediate title pages of volume 5 and volume 2 detached but present.

Good copy.

The rare first edition, illustrated with a title-frontispiece and 22 plates after paintings by Eustache Le Sueur and engraved by François Chauveau. Captions of the engravings in two columns, one verse in Latin, with its translation alongside. Brunet III, 1020.
Half chocolate-brown glazed shagreen binding circa 1860 with corners, signed L. Fixon at the bottom of the last leaf. Jansenist spine with raised bands. Engraved title, as well as the initials S. D. Tears with lacks to the lower board. Cut to one corner of the lower board and corner slightly bumped. Some rubbing. Fine copy, very fresh.
Le Sueur painted between 1645 and 1648 the cycle of the life of Saint Bruno, a set of 22 canvases commissioned to adorn the cloister of the Charterhouse of Paris. Le Sueur asserted his own style inherited from Poussin's classicism and his master Simon Vouet. These canvases were later purchased by Louis XVI in 1776. They are now in the Louvre. François Chauveau is one of the most illustrious French engravers of the 17th century, and one of the 4 engravers cited by Charles Perrault in his Hommes illustres, and one of the principal representatives of the etching technique. In his Voyage pittoresque de Paris, Dezallier D'Argenville thus describes the cloister of the Charterhouse: "Le petit cloître mérite une attention particulière. Le Raphaël français Eustache Le Sueur y a représenté en vingt-deux tableaux peints sur bois les principales circonstances de la vie de S. Bruno [...] Ce cloître a été gravé par François Chauveau d'une manière qui rend assez bien le caractère de Le Sueur." ["The small cloister deserves particular attention. The French Raphael Eustache Le Sueur has represented there in twenty-two paintings on wood the principal circumstances of the life of St. Bruno [...] This cloister has been engraved by François Chauveau in a manner that renders quite well the character of Le Sueur."]

First edition, magnificently illustrated with a frontispiece by Cochin, engraved by Saint-Aubin, a title vignette by the same, 59 large tailpieces and headpieces (designed and engraved by Saint-Aubin) explained and deciphered at the beginning of the work, and 179 figures hors-texte each presenting an engraved stone (engraved by Saint-Aubin). Fine printing on deluxe Holland paper.

Full black morocco-grained shagreen binding ca 1850. Smooth spine with flat raised bands decorated with fillets and roulettes on the bands. Triple-ruled frames on boards with corner fleurons. Marbled edges. Light rubbing to headcaps, corners. Paper lacking to margin of one leaf in volume I. Some leaves browned. Pale angular dampstain on 3 leaves of volume I. Handsome copy, with wide margins. 

First edition. One frontispiece.

Contemporary full blonde sheep binding. Smooth spine decorated, red morocco title-label. Headcap worn. One hole at foot. 2 corners slightly bumped. Rubbing.

First edition printed on strong laid paper containing the second fascicle of the Antiquities section, corresponding to chapter IX. (The first fascicle containing chapters I to VIII appeared in 1809 and the third in 1818)
Our copy lacks both the half-title page and the general title of the Description de l'Egypte.
Full vellum-style paper boards binding, smooth spine, black shagreen title label with a very slight loss.