Travel books in Europe, illustrated accounts, antique guides, regional studies and European countries maps, "Grand Tour"

New edition, after the original published in 1591 and 1593. Illustrated with 4 folding maps by Gioseppe Rosatio, Europe, Asia, America and Africa, on grayed background. The work had numerous reprints in the 17th century.
Contemporary limp vellum binding. Spine with raised bands, Jansenist style. Title in black ink.
Botero's universal geography is a means of evaluating the real power of all states. Botero wrote his Relazioni following his great political work "De la raison d'état" and cannot be understood except in its wake. While the work is a classic universal geography, with a description of all regions of the world then known in the first part, the other parts describe the world from a political and religious point of view, emphasizing the place of Catholic evangelism in the world. The book was originally commissioned by Cardinal Borromeo on the state of Christian religion in the world. The Relazioni are therefore the transmission of a geopolitical vision of the world, but placed from the angle of the Counter-Reformation. Botero attempts to join geographical space and political space, providing Catholicism and the Counter-Reformation with its future expansion. Many modern geographers made this work the birth charter of modern geography through the use of methods employed by Botero, even though the book offers a triple vision of the world (geographical, political and religious) and not unilaterally geographical.

First edition, one of 900 numbered copies on vélin teinté paper.
A good copy.

First edition illustrated with a folding map and 56 plates at the end of the volumes (Landscapes, costumes, figures). Printed in two columns.
Half black shagreen binding. Ornate spine with false raised bands. Thick fillets on the boards. Borders slightly depressed at the top over 1cm.
70 volumes were published in this famous collection on the history and description of all countries and peoples of the world, from 1833 to 1865.

NB: This work is available at the bookshop on request within 48 hours.

First edition. Rare. Dedication to Monseigneur the Duke of Orléans, Philippe Égalité, Chartres was then under the same jurisdiction as Orléans.
Romantic binding in half blonde sheep. Smooth spines decorated with fleurons and gilt fillets. Corners very slightly bumped. A few pages of volume II very slightly stained.
Rare work not concerned solely, as its title might suggest, with history, but also with the geography of the city of Chartres, the origin of its main arteries. The author, lawyer and surveyor of the city, extensively documented himself in the archives and gathered everything that had been written of note since the origin of the city, anecdotes, events... The work proceeds chronologically from what is known earliest about the Chartrains up to 1786, in the form of annals. Information on agriculture, commerce, customs... A very useful and detailed index at the end of the volume. Finally, a directory of famous men of the Chartres region with biographical notices.
Ecclesiastical library stamp on the title page of each volume.

Illustrated edition with 16 original watercolor compositions enhanced with pochoir by H. Cassiers, one of 500 numbered copies on Japan paper, the only printing with 100 other Japan copies.
Spine and covers lightly and marginally sunned without concern, handsome copy.

Edition illustrated with 40 hors-texte plates as well as 200 vignettes.
Publisher's binding in half dark green shagreen, smooth spine decorated with gilt decorative motifs, headcaps rubbed, joints rubbed with a small lack at foot, boards illustrated with gilt decorative motifs, corners slightly bumped, edges gilt.
Work illustrated with 40 hors-texte plates including 1 frontispiece and 200 vignettes in the text.
Foxing, marginal dampstain at foot of the last leaves (from page 249 to page 321), endpapers uniformly sunned.

First edition printed in a small number of copies of this offprint.
A good and rare copy.

First edition printed in a small number of copies of this offprint.
A good and rare copy.

First edition.
Illustrated with 9 plates hors texte.
A good copy.

New edition, published one year after the original compilation by Saint-Leu. Epistle to the Duke of Saint-Simon, the famous memorialist, in his capacity as governor of Senlis.
Contemporary full tanned sheep binding. Spine with five raised bands decorated with a blonde sheep title-label, gilt compartments and fleurons. Gilt roulette on the leading edges. Headcaps worn. Joints cracked along their entire length. Loss at foot of spine. Three corners slightly bumped.
Commentaries on the custom of Senlis (and the jurisdictions that depend on it: Beauvais, Compiègne, Pontoise, etc.), published for the first time in 1540; the present edition also groups together the commentaries of lawyer Jean-Marie Ricard, which first appeared in 1664, and those of Laurent Bouchel, published posthumously in 1631.

First edition.

Publisher's full grey cloth binding, complete with its dust jacket illustrated by Yves Brayer.

Rich iconography.

A small tear at head of spine partially and slightly browned, occasional foxing.

First edition.
Publisher's binding over yellow plain paper boards citron, dust jacket missing.
Richly illustrated.

The rare first edition of this revised, commented and annotated edition by Johann Jakob Leu of Josias Simler's major work: "De republica helvetiorum" (1576). With a large folding map of Switzerland by Michael Kauffer after Christoph Weigel. A frontispiece by Fussli, often lacking elsewhere, has not been included with this copy.
Contemporary half vellum with corners. Smooth spine with title in black ink. Boards rubbed. Some marginal foxing. Map reinforced on verso with old paper. A good copy.
Hans Jakob Leu was called upon by the publisher David Gessner to revise Simler's edition: De republica helvetiorum. From 1720, Leu gathered a great quantity of information on the regiments of each canton. His initial goal was to continue Simler's work up to 1720 and to complete it in its ancient parts; he made of it a new work, more extensive and solid.

First edition.
Half mouse-colored cloth bindings, smooth spines, marbled paper boards, contemporary bindings.
Work illustrated with numerous figures in the text.
Some minor foxing.
Handsome copy.

The first edition, of which there were no deluxe copies.
Half hazelnut calf binding, smooth spine decorated with double gilt fillets, marbled paper boards, original covers mounted on guards and preserved, speckled top edge, modern pastiche binding unsigned by Goy & Vilaine.
Work decorated with original illustrations by L. Benett.
Very rare signed autograph inscription from Jules Verne to [Achille] Tournier, then Prefect of the Somme.
Jules Verne settled in Amiens, his wife's birthplace, in 1871: "At my wife's wish I settled in Amiens, a wise city, polished, of even temper, where society is cordial and learned. One is close to Paris, close enough to have its reflection, without the unbearable noise and sterile agitation. And to say everything, my Saint-Michel remains moored at Le Crotoy." His affection for the region would continue to grow and he would never leave the Picard capital, actively participating in local political life. Appointed director of the Academy of Sciences, Letters and Arts, in 1875 he delivered on this occasion a speech that remained famous: "An Ideal City: Amiens in the Year 2000." In 1888 he was elected to the municipal council of Amiens where he served until 1903. It was the prefect of the Somme who presented him with his decoration when he was promoted to officer of the Legion of Honor in 1892. "People often ask me why I reside in Amiens, I who am so completely Parisian by instinct. Well, because, as I told you, I have Breton blood, and I love tranquility, and I could not be happier than in a cloister. A calm life of study and work brings me joy." (June 1893, in Mac Clure's magazine).
Work decorated with original illustrations by L. Benett.
Fine copy.

Third edition illustrated with 10 plates hors-texte including a frontispiece by Dalbou after Hoüel, 5 plates hors-texte by Laurent after Favray and 4 folding plates hors-texte by Laurent after Massit. The first three volumes contain all the letters on Greece, the last contains other opuscules by the author: Essays on Tibullus's Elegies (followed by their translation), The Seasons and Light Poetry.
Numerous floral headpieces and tailpieces (flower baskets, carnations...).
Contemporary full marbled blonde calf binding. Smooth spines decorated with green morocco title and volume labels, small gilt floral fleurons, and gilt dentelle at tail. Triple gilt frames on boards. All edges marbled. Headcap of first volume abraded. Some wormholes on spines of second and third volumes. Tail joint split on first volume. Six corners bumped. Surface abrasions. Some pale corner dampstains. Worming affecting the entire lower right corner of the third volume. Handsome overall appearance of the copy.
Broader than its title suggests, the Literary Journey to Greece contains numerous information about the Turks, Armenians and their customs, and naturally the peoples of Greece. The letters are the work of a merchant residing in Constantinople, Monsieur Guys, addressed to an art lover, Bourlat de Montredont. Deeply devoted to literature and research on Antiquity, the author in his description of Greece, its customs and practices, draws his material from ancient writers by establishing constant parallels with modern Greece, showing how much all of Greek literature is found in it. Each letter focuses on a subject, many deal with art, but some more specific ones cover furniture, jewelry, makeup, festivities, proprieties, baths, architecture, and naturally, a domain of particular interest to the author: commerce and navigation. Some letters are additions, and treat customs among the Turks, Jews... An ambitious project by a man anchored in the reality of his time (and who spent more than 30 years in the Levant), the Literary Journey to Greece identifies in modern Greece all the heritage of Antiquity, and makes modern Greeks the direct heirs, descendants of ancient Greeks. The author thus renews interest in travel to Greece. Before its time, it is one of the first works of anthropology.

First edition.
Half black shagreen binding, spine slightly faded with four raised bands decorated with quadruple gilt fillets and adorned with a gilt fleuron enriched with a red shagreen mosaic piece, light scratches of no consequence to the joints, cold-stamped fillet and interlacing frame on boards, gilt edges, binding signed by Charles Magnier.
Work illustrated with 73 engravings in and outside the text.
Some minor foxing.

Original engraving. Optical view heightened in watercolor, depicting a view of Holyrood Palace in Scotland. Optical views, also called vues, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was first developed in Paris, then London and finally in Germany and aimed to represent - in an idealized manner - the most famous panoramas and landscapes of East and West.
A fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolors, representing a view of Westminster Abbey and Saint Margaret's Church in London. Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Optical views can be considered as the forerunners of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were parlor entertainments. The process developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Some minor foxing, otherwise a fine impression with very fresh colors.

Original engraving. Optical view heightened in watercolor, depicting a view of the interior of Westminster Abbey.
Optical views, also called views, perspectives or "mondo nuovo", are engravings that were very fashionable between the late 18th and early 19th centuries. They were intended to be observed through a set of several mirrors or by means of a Zygrascope, an instrument consisting of a mirror and a lens. Optical views can be considered the precursors of three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Optical views seem to appear in the 1740s and were salon entertainments. The process was developed first in Paris, then London and finally in Germany and focused on representing - in an idealized manner - the most famous panoramas and landscapes of East and West.
Fine impression with very fresh colors.

Original engraving. Vue d'optique heightened in watercolour, depicting an interior view of the Royal Exchange in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colours.

Original engraving. Vue d'optique heightened in watercolour, depicting a view of the Lord Mayor's residence in London.
Vues d'optique, also called vues, perspectives or "mondo nuovo", are engravings that were highly fashionable between the late 18th and early 19th centuries. They were intended to be viewed through a set of mirrors or by means of a Zograscope, an instrument consisting of a mirror and a lens. Vues d'optique can be considered the precursors to three-dimensional images and stereoscopes which enjoyed great success from the 19th century onwards. Vues d'optique appear to have emerged in the 1740s and were drawing-room entertainments. The process was first developed in Paris, then London and finally in Germany, and sought to represent - in an idealized manner - the most famous panoramas and landscapes of the Orient and Occident.
Fine impression with very fresh colours.

First edition.
Contemporary full parchment binding. Smooth spine with pen-and-ink title faded at head. Lacking one third of the leather on upper board, also at edges. Without endpaper. Good freshness of paper.
Aragonese naval ordinances from the 14th century. In appendix, English naval ordinances and various documents relating to the Spanish navy, notably ordinances from the 16th century.

Second edition.
Half black shagreen binding, spine with four fine raised bands decorated with double gilt compartments, frame of gilt fillet on black paper boards, some tears to leading edges, cream watered silk endpapers and pastedowns.
Work illustrated after drawings by the author as well as 15 hors-texte drawings by Calame.
Occasional light foxing affecting mainly the beginning and end of the volume.

First edition.
Half-brown cloth binding, smooth spine decorated with gilt fillets and gilt title, marbled paper boards, speckled edges. Spine uniformly sunned, a lack to upper left corner, other corners bumped.
A folding map of Switzerland divided into 22 cantons created by the author.
Scattered foxing.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signed in the plate by Clerman lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period.
Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic of the period, signature in the plate by Clerman at bottom right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume paintings" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" at the same period. Superb watercolor whose gum varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period, signature in the plate by Clerman at lower right. Plate engraved by Duverger.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving enhanced with watercolor and gum arabic highlights from the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "costume studies" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" from the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period, signature in the plate by Clerman at lower right. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period. Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original wood engraving heightened with watercolor and gum arabic highlights of the period. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place. This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de costumbres" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower right by Clerman. Plate engraved by Pannemaker.
Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

Original woodcut heightened with watercolor and gum arabic highlights of the period, signed lower left by Clerman. Plate engraved by Duverger. Print created for "Recuerdos de un viage por España" by Francisco de Paula Mellado, an account of his journey through the multiple provinces of Spain and overseas territories in which the author studies the customs, legends, literature, history and geography of each place.
This type of illustration is emblematic of Spanish Romantic aesthetics and its fashion for "tableaux de coutumes" ("Cuadro de costumbres"), veritable galleries of generic characters in the manner of "Les Français peints par eux-mêmes" of the same period.
Superb watercolor whose gum arabic varnish accentuates the contrasts.

First edition. Half chocolate shagreen binding, spine slightly faded with five raised bands decorated with gilt fleurons, marbled paper boards, marbled endpapers and pastedowns, modern binding. Work illustrated with 28 engravings and complete with its folding map at the end. Handsome copy almost free from foxing.

Second issue of the first edition with alternate title, illustrated with 3 folding maps (Spain, Madrid and the Bay of Cadiz) including the map of Spain hand-colored, and 9 plates of which 7 are folding.
Contemporary half brown sheep binding. Spine with raised bands decorated with bold fillets. Title-label and volume label in fawn calf. Headcap of volume I partly worn, split on volume 2, a lack to volume 3; tail of volumes I and 2 partly split. Lower joint of volume 2 open at tail. Upper joint of volume 3 cracked at tail. Set heavily rubbed. Edges of volume I trimmed and those of other volumes bumped. 3 plates with tears. Dampstain at beginning of volume II.
The interest of this voyage is to focus on contemporary Spain at the end of the 18th century. It was written by a direct witness, the French ambassador to Madrid, Baron Jean François de Bourgoing. From 1782, he chose to visit Spain to establish a true picture of it. He presents all aspects, economy, commerce, institutions, cuisine...

First edition illustrated with 24 hand-colored plates, hors-texte, depicting Austrians dressed in various period costumes.
Half red Russian morocco binding, smooth spine with cold-stamped fleurons and gilt title, boards with double cold-stamped fillet frame and roulette decoration, front joint cracked at head, headcaps lightly rubbed, contemporary binding.
Some discreet foxing otherwise handsome and rare work describing the Austrian people in the 19th century, abundantly illustrated with hand-colored engraved plates.

New edition.
Half aubergine sheep bindings, smooth spines slightly faded decorated with gilt arabesques, minor rubbing traces on some spines, gilt roulettes on headcaps, worn headcaps with some small losses, gilt fillet frames on boards enhanced with Romantic blind-stamped decoration, gilt laurel leaves surmounted by a gilt crown bearing the inscription "collège de Chateau-Thierry Ainse" stamped to center of front covers, gilt dots on edges, marbled endpapers and pastedowns, marbled edges, contemporary bindings. Our copy is complete with its rare atlas which is almost always missing.
The atlas complete with its 31 engraved plates, dated 1819, is bound in full navy sheep, smooth spine decorated with double gilt fillets with two restored tears, minor tears to edges.
Some foxing.

First edition, illustrated with two engraved titles (in English), one colored plate and 117 steel engravings (with tissue guards) by Allom, Bartlett, and M'Culloch, engraved by Griffiths, Varrall, Prior, etc. Superb illustration, as English engravers were particularly prized during this period for their fineness of execution, and French publishers placed extensive orders in England for the illustration of their books.
Full publisher's binding. Half red morocco decorated with a large special gilt stamp (arms and symbols of Scotland) on wine-colored sheep boards stamped with a large decorative floral stamp in blind. Edges gilt. Magnificent and rare English publisher's binding, despite some defects: a slight lack to head of volume I; headcap of volume II heavily worn; some corners bumped and rubbing to edges.
Rare pale scattered foxing (virtually non-existent on text), mainly in margins and caused by tissue guards, but heavy on the 2 titles. History of Scotland, its particularities, its monuments...

First French edition, translated from English by Jacques Rebauld de la Chapelle (Barbier).
Contemporary full marbled calf binding. Decorated spine with raised bands. Black morocco title label. Restored headcaps. A thin crack to the lower joint at the head.
Stanyan resided in Switzerland from 1705 to 1714. Haller appreciated the unbiased exposition without prejudice or value judgments from its author, whose reading he recommends. It was seeing the paucity of works on Switzerland that prompted the author to take the trouble to write his own.

First edition, quite rare, illustrated with a panoramic view of the city of Clermont and the surrounding volcanoes.
Half midnight blue calf Restoration binding. Smooth spine with large romantic tooling lengthwise. Good copy. The last leaf of the table of contents is frayed at the margin.
The author having spent five months in Clermont Ferrand and visited Auvergne, proposed to make a travel account to the glory of an unknown and remarkable region for tourism; a large part of the work is a description of the city of Clermont-Ferrand. The rest of the book is devoted to the particularities of Auvergne, namely its volcanoes and springs. At the very end of the work, the author provides itineraries for walks and discoveries.

Edition illustrated with in-text and full-page illustrations.
Publisher's red cloth binding, smooth spine, front cover decorated with floral design in gold and silver, corners very slightly bumped, all edges gilt. Manuscript inscription dated August 1899, on the occasion of the superior certificate prize-giving.
Handsome copy.

First edition.
Full green cardboard binding, smooth spine decorated with double gilt fillets and fleurons, blind-ruled frames on boards, marbled endpapers and pastedowns, contemporary binding.
Some minor foxing, mostly marginal.

Second edition, after the first edition published in 1777.
Contemporary full marbled blonde calf binding. Spine with raised bands decorated. Red morocco title label, and green morocco volume label. Headcap of volume 2 worn. 2 corners slightly bumped. Rather handsome copy, in good condition.
The work rests on a simple postulate, the importance of the navy in human history. It brings together all the remarkable facts and discoveries from the dawn of time until 1781; the first volume ends in 1599, the second continues until the date of 1781; We have here in an adroit compilation the complete collection of voyages and discoveries made by navigators, but also battles and wars, commercial, historical and political facts. A rich table of contents allows one to find the chapters treated.

First edition, of which there were no deluxe copies.
Autograph inscription from the author.
A small stain at the head of the back cover.

First edition.
Contemporary full blonde calf binding. Red morocco title label and black morocco volume label. 2 corners slightly bumped. Missing one marbled endpaper in volume I. Otherwise a handsome copy.
Chronological history of Spain and Portugal in the form of anecdotes, that is to say short articles. The Anecdotes are skillful compilations, not without critical spirit, and allow one to have at hand in a very practical manner the history of a nation.

First edition. Large arms of Utrera on second leaf. Title in red and black with a floral frame.
Contemporary vellum, spine titled in ink (smudged). One tie in good condition, spine partly detached. Traces of glue to final endpaper. A good copy without significant faults, generally fresh.
A monograph on the town of Utrera in the south-west of Spain, not far from Seville (in the province of Andalusia). The town has a rich history, recorded events from which stretch back to the 13th century, when Alfonso X conquered Seville. Archeological digs have shown that the town was inhabited even before the Roman period.
20th century ex libris with an image of a 16th century hand press.

New French edition, quite rare. Illustrated with a frontispiece portrait of Peter I and a large folding map. Reprint of the original French edition published in 1717 by Jean Boudot.
Contemporary full brown sheep binding. Spine with raised bands, ornamented. Head cap partly worn. Surface damage to boards. Rubbing to headcaps and edges.
This edition was provided by Hugony, following Peter I's voyage to France. Like the texts then available on Russia, this is a 17th-century account by an English engineer who was employed in Russia for many years; the strictly historical sections have been updated. This account is highly esteemed; it is the first to have given us accurate notions about Russia. Description of religion and customs, achievements of the Tsars...

French first edition, very rare. Illustrated with 28 plates including 2 containing two figures in Volume 2, 15 for volume I and 13 for volume II, as announced by the description of figures at the beginning of the work. Most of these plates are in aquatint and were drawn by the author. Some maps.
One copy at the Bibliothèque Nationale de France, nothing in French or English catalogues. The second French edition appeared in 1801.
Contemporary full wine-colored sheep binding. Smooth spine with romantic tooling along the length, uniformly sunned. Boards stamped with a large romantic plate in blind. Joints cracked. Institution Chapusot stamped at foot. Rubbing.
This journey to England is the work of painter William Gilpin (1724-1804), who focused particularly on describing English landscapes by comparing them to other European countries. According to Larousse, he was the first to travel through England as a true artist, and who gave an exact description of the country's picturesque sites. To the faithfulness of the picture, he adds the richness of color, qualities which are not always found in those who have followed in his footsteps" (Larousse).

First edition. Large printer's vignette depicting the adoration of the Magi. Epistle to Colbert with a headpiece by Chauveau and a large initial. Printed in two columns.
Contemporary full vellum binding. Jansenist spine with raised bands. Title and volume number in black ink. Part of the upper headcap of volume I missing. Lower headcap of volume II split. Upper joint of volume I cracked across three compartments. Worming to spine of volume II, sometimes quite extensive. Wormholes to spines of both volumes. Paper often yellowed.
Vast geographical repertoire composed in dictionary form by Ferrarius, expanded and revised by Michel Antoine Baudrand (the scholarly editor). The work catalogues not only cities, but also lakes and rivers... Alongside the Latin nomenclature, terms are given in the vernacular language, and often in several languages when necessary; the dictionary therefore constitutes an important source for Latin origins, especially as it contains even the smallest village and the smallest stream then known in the world. At the end of the work, a table of longitudes and latitudes.

Second edition published the same year as the first.

Half sheep binding in hazelnut, smooth spine decorated with gilt friezes, stippling and typographical motifs with minor rubbing, head worn, old rose paper boards with small discoloration stains, reinforced corners, endpapers with marginal shadowing without consequence, contemporary binding.

First edition. Illustrated with 2 folding frontispieces representing a view of Cronenbourg castle and one of Copenhagen. Translated from English by Bertin. The original English edition dates from 1805.
Half brown shagreen cloth binding. Smooth spine with cold fillets and gilt titles. Fine copies.
Travel account in the northern countries of Europe which were then little known to the English. The author, sir John Carr (1772-1832) dwells on the customs and traditions of the natives and blends picturesque and historical anecdotes into his narrative.

Second edition with some parts in first edition, after the original edition of 1770, which contained only 3 volumes. A large folding map in volume I of London and the cities and suburbs of London and Westminster.
Contemporary full marbled glazed calf bindings. Smooth spine decorated. Red morocco title labels. Some surface wear and tears with losses, but good overall condition, decorative.
Travel account, departing from Boulogne and continuing to London with a detailed study of customs, habits and all aspects of society: the poor, jurisprudence, the clergy, the arts, the navy, horse racing, commerce 371pp. (...and particular chapters on melancholy, considered as a characteristic of the English, and how this has contributed to their genius in the arts or sciences.

New edition.
Small occasional foxing, otherwise a good copy.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover.
Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Half-shagreen binding in brown, spine with 4 raised bands handsomely decorated with triple gilt compartments, cardboard boards decorated with triple blind-ruled frame, glazed endpapers, gilt edges, publisher's binding.
Work illustrated with 11 lithographed plates hors-texte, foxing, our copy is complete with the folding map at the end, one tear without loss.
Handsome copy, attractively bound.

First edition.
Bradel binding in half green cloth with corners, shagreen title-label, illustrated front wrapper preserved, contemporary binding.
Comprises the flaneries au pays de verrucano, le Klausen, nouveaux zigzags en Valais, une course manquée, le Speer et la Fourche de Séfinen.
In-text illustrations, marginal lack affecting two leaves not touching text otherwise handsome copy.

New edition containing the author's life. The first edition dates from 1582.
Contemporary full vellum binding, Italian binding with smooth spine and beige and black title labels.
Angelo di Costanza (1507-1591) was a famous Italian poet of the Italian Renaissance, native of Naples. He compiled this history of Naples covering the medieval period from 1250 to 1486.
Headcap partially worn with a one-centimeter tear and upper joints cracked and split.
See Brunet II, 322 who does not cite this edition but mentions two reprints in Naples in 1710 and 1735.

First edition in French.
A lack affecting a joint, another marginal one affecting upper cover, occasional foxing.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition of the French translation, false statement of edition.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover.

First edition.
Plain paper cover.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.

First edition.
Plain paper cover. Rare.