SCHEDEL, H. Prima Etas Mundi. VI Nuremberg, 12 July 1493. Coloured. Some very minor marginal staining, very good condition, wide margins and attractive colours. 456 x 645 mm.
Inquire about item N° 15494.

600 €   

¤ A very fine presentation of Eve, being created by God from Adam’s side. Page from the richest illustrated Incunable, the famous: "Nuremberg Chronicle", published the year that Columbus returned to Europe after discovering America. The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, since some of the cuts bear a remarkably close resemblance to the Apocalypse illustrations. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, whose printing were famous throughout Europe
A opportunity to acquire a 15th-century book illustration by named artists.!

PLUVINEL,A.de Figure 27 deuxieme partie a gauche.. [Hors riding]. Paris, 1629. Good and dark engraving. Very good condition. 320 x 405 mm.
Inquire about item N° 14160.

300 €   

¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.

PLUVINEL,A.de Figure 28 deuxieme partie. [Hors riding] Paris, 1629. Uncoloured. Good and dark engraving. Very good condition. 320 x 405 mm.
Inquire about item N° 14161.

300 €   

¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.

PLUVINEL,A.de Figure 34 troisieme partie a droite. [Hors riding] Paris, 1629. Good and dark engraving. Very good condition. 325 x 410 mm.
Inquire about item N° 14163.

400 €   

¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.

PLUVINEL,A.de Figure 38 troisieme partie. [Hors riding] Paris, 1629. Good and dark engraving. Very good condition. 325 x 410 mm.
Inquire about item N° 14164.

400 €   

¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.

PLUVINEL,A.de Figure 40 deuxieme partie. [Hors riding] Paris, 1629. Good and dark engraving. Very good condition. 320 x 400 mm.
Inquire about item N° 14165.

400 €   

¤ This fabulous illustration depict formal movements of equitation for horse riding school movements. The print shows both A.de Pluvinel and the future King at an age of 16.
This original 1629 engraving is from Pluvinel's "L'Instruction du Roy". The engraving was done by the Flemish artist Crispin de Pas.
Antoine de Pluvinel (1555-1620) was a renowned 16th Century rider who was instructor to the future King Louis XIII. His work lays the basis for discipline through gentleness and understanding of the horse's mind, in particular making use of the horse's excellent memory which, if filled with bad experiences, could spoil the horse forever. Pluvinel exhorted the patient, humane approach. He is also generally regarded as the first person to explain adequately the use of the pillars with which he liked to assess the horse, his temperament and his movements without the weight of the rider. Many of his principles are still used today in the training of horses and riders in upper-level dressage.

LANCISI,G.M. Anatomical print. Rome, Francesco Gonzaga, 1714. Uncoloured. Wide margins. Large water stains in lower part of print. With contemporary manuscript notes in margin and print. 320 x 218 mm.
Inquire about item N° 24378.

150 €   

¤ Decorative and rare full-page anatomical copperplate engraving by Giulio de' Musi after a drawing by Eustachius and Pier Matteo Pini. From Tabulae anatomicae..
In 1552 with the intent of publishing a text on anatomy, Eustachi and Pier Matteo Pini completed drawings and supervised the creation of copperplate engravings done by Guilio de' Musi.
However, Eustachi only completed descriptive text for eight of the 38 plates, thus these eight became the only illustrations published during his lifetime.
Upon Eustachi's death, all published and unpublished plates passed to Pini and were eventually deposited in the Vatican Library.
One hundred and fifty years later papal physician Giovanni Maria Lancisi (1654-1720) discovered Eustachi's plates in the Vatican. Lancisi added his own narrative to those plates that did not have a commentary by Eustachi and published the work in 1714 as Tabulae anatomicae. Choulant-Frank, pp. 200-202; Garrison-Morton 391; Norman 740; Wellcome II, p. 536.

LANCISI,G.M. Anatomical print. TAB. XXXII. Rome, Francesco Gonzaga, 1714. Uncoloured. Wide margins. Large water stains in lower margin of print. With contemporary manuscript notes in margin and print. 320 x 218 mm.
Inquire about item N° 24376.

150 €   

¤ Decorative and rare full-page anatomical copperplate engraving by Giulio de' Musi after a drawing by Eustachius and Pier Matteo Pini. From Tabulae anatomicae..
In 1552 with the intent of publishing a text on anatomy, Eustachi and Pier Matteo Pini completed drawings and supervised the creation of copperplate engravings done by Guilio de' Musi.
However, Eustachi only completed descriptive text for eight of the 38 plates, thus these eight became the only illustrations published during his lifetime.
Upon Eustachi's death, all published and unpublished plates passed to Pini and were eventually deposited in the Vatican Library.
One hundred and fifty years later papal physician Giovanni Maria Lancisi (1654-1720) discovered Eustachi's plates in the Vatican. Lancisi added his own narrative to those plates that did not have a commentary by Eustachi and published the work in 1714 as Tabulae anatomicae. Choulant-Frank, pp. 200-202; Garrison-Morton 391; Norman 740; Wellcome II, p. 536.

LANCISI,G.M. Anatomical print. TAB. XXXIX. Rome, Francesco Gonzaga, 1714. Uncoloured. Wide margins. Large water stains in lower part of print. With contemporary manuscript notes in margin and print. 320 x 218 mm.
Inquire about item N° 24373.

150 €   

¤ Decorative and rare full-page anatomical copperplate engraving by Giulio de' Musi after a drawing by Eustachius and Pier Matteo Pini. From Tabulae anatomicae..
In 1552 with the intent of publishing a text on anatomy, Eustachi and Pier Matteo Pini completed drawings and supervised the creation of copperplate engravings done by Guilio de' Musi.
However, Eustachi only completed descriptive text for eight of the 38 plates, thus these eight became the only illustrations published during his lifetime.
Upon Eustachi's death, all published and unpublished plates passed to Pini and were eventually deposited in the Vatican Library.
One hundred and fifty years later papal physician Giovanni Maria Lancisi (1654-1720) discovered Eustachi's plates in the Vatican. Lancisi added his own narrative to those plates that did not have a commentary by Eustachi and published the work in 1714 as Tabulae anatomicae. Choulant-Frank, pp. 200-202; Garrison-Morton 391; Norman 740; Wellcome II, p. 536.

LANCISI,G.M. Anatomical print. TAB. XXXXIV. Rome, Francesco Gonzaga, 1714. Uncoloured. Wide margins. Large water stains in lower and left hand part of print. 320 x 218 mm.
Inquire about item N° 24372.

150 €   

¤ Decorative and rare full-page anatomical copperplate engraving by Giulio de' Musi after a drawing by Eustachius and Pier Matteo Pini. From Tabulae anatomicae..
In 1552 with the intent of publishing a text on anatomy, Eustachi and Pier Matteo Pini completed drawings and supervised the creation of copperplate engravings done by Guilio de' Musi.
However, Eustachi only completed descriptive text for eight of the 38 plates, thus these eight became the only illustrations published during his lifetime.
Upon Eustachi's death, all published and unpublished plates passed to Pini and were eventually deposited in the Vatican Library.
One hundred and fifty years later papal physician Giovanni Maria Lancisi (1654-1720) discovered Eustachi's plates in the Vatican. Lancisi added his own narrative to those plates that did not have a commentary by Eustachi and published the work in 1714 as Tabulae anatomicae. Choulant-Frank, pp. 200-202; Garrison-Morton 391; Norman 740; Wellcome II, p. 536.

FERRARI, G. B. Aliae Formae Citrati Limonis Alios Includentis. Rome, Scheus, 1646. Beau col. Eau-forte. 303 x 199 mm.
Inquire about item N° 61828.

250 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Eadem Aurantia Dimidiata. Rome, Scheus, 1646. Beau col. Eau-forte. 305 x 206 mm.
Inquire about item N° 61829.

300 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Eiusdem Citrei Dimidium. Rome, Scheus, 1646. Beau col. Eau-forte. 300 x 200 mm.
Inquire about item N° 61827.

250 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Limon Citratus Alterum Includens. Rome, Scheus, 1646. Beau col. Eau-forte. 295 x 200 mm.
Inquire about item N° 61826.

250 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Limon Citratus Primae Notae Scaber. Rome, Scheus, 1646. Beau col. Eau-forte. 297 x 200 mm.
Inquire about item N° 61822.

300 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Malum Citreum Cucurbitinum Vulgare Rome, Scheus, 1646. Beau col. Eau-forte. 304 x 202 mm.
Inquire about item N° 61820.

250 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

FERRARI, G. B. Malum Citreum Vulgare Belluatum. Rome, Scheus, 1646. Beau col. Eau-forte. 305 x 199 mm.
Inquire about item N° 61818.

250 €   

¤ Tiré de l'ouvrage "Hesperides sive de malorum aureorum" de Giovan Battista Ferrari (botaniste italien, 1584-1655).

Decorative engraving representing a citrus fruit. Taken from the book "Hesperides sive de malorum aureorum" by Giovan Battista Ferrari (Italian botanist, 1584-1655).
Giovanni Battista Ferrari was born into a prosperous Sienese family in 1583 and entered the Jesuit Order in Rome in 1602. His subsequent career included a Professorship of Hebrew and Rhetoric at the Jesuit College in Rome, a position as horticultural advisor to the papal family, and the authorship of a number of important books. He also became a close associate of the scholar Cassiano dal Pozzo (1588-1657) who was an advisor to the Barberini family. Through this connection, Ferrari joined an important circle of men of science in Rome, and was appointed to manage the new garden at the Barberini Palace which was unique as a showplace for the newest and rarest plants from the distant regions of Asia, Africa, and America. The cultivation of new specimens led Ferrari to the subject of botanical nomenclature, and he became a leading 17th century source for nomenclatural definition.

Ferrari’s greatest works were De Florum Cultura (1633) and Hesperides sive de Malorum Aureorum cultura (1646).
Hesperides sive de Malorum Aureorum cultura, resulted directly from his close relationship with Cassiano dal Pozzo, one of Rome’s leading scholars and patrons of natural history studies. Along with many other scholars of his time, Cassiano was intensely interested in the citrus family, and he not only corresponded extensively on the subject, he collected specimens from many quarters. In its final form, Hesperides was a collaborative work even though Cassiano’s name is not included in the authorship. He was the source of much of the information for the book, while Ferrari was the editor, composer, and author. Cassiano also managed the financing of the publication.

Hesperides includes eighty botanical plates which were the work of seven important artists of the time and the engravings were done by Johann Friedrich Greuter and Cornelis Bloemaert.

MORDANT DE LAUNAY,J.C.M. Aster Calendulaefolias. Paris, 1814-1827. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N° 12055.

60 €   

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Chorizema ilicifolia. Paris, 1814-1827. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N° 12059.

60 €   

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Dillwinia Lanceolata. Paris, 1814-1827. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N° 12057.

60 €   

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

MORDANT DE LAUNAY,J.C.M. Linaria genistifolia. Paris, 1814-1827. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N° 12058.

60 €   

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils. The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.

RIDGWAY,J. Strawberry (Plate 7) Londres, 1827. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm.
Inquire about item N° 8860.

30 €   

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1827.

RIDGWAY,J. Apple (Plate 84) Londres, 1829. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm.
Inquire about item N° 8856.

30 €   

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1829.

RIDGWAY,J. Prume (Plate 148) Londres, 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm.
Inquire about item N° 8858.

30 €   

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

RIDGWAY,J. Prume (Plate 150) Londres, 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm.
Inquire about item N° 8857.

30 €   

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

RIDGWAY,J. Cherries (Plate 127) Londres, 1830. In attractive original colours. Finely engraved copper plate. Very good. 202 x 125 mm.
Inquire about item N° 8861.

30 €   

¤ Copper etching by J. Watts after Withers and published by Ridgway in London. Dated 1830.

DUHAMEL DU MONCEAU,H.L. Poire d'oeuf. Plate 327. Paris, 1807-1835. Coloured. Very good condition. Stipple engravings, printed in colour.
Large paper edition, wove paper. Langlois (printer) 314 x 240 mm.
Inquire about item N° 9717.

210 €   

¤ A large paper copy colour print by l'Anglois, the great French colour-printer who supervised much of Redouté's work, finished by hand. Engraved by Bouquet. From the monumental fruit-tree horticultural study produced by the French botanist Henri Louis Duhamel Du Monceau during the golden age of French botanical illustration. Stipple engraving, a sophisticated printing technique, was employed to achieve the supple delicacy of the fruits and foliage. Many of the artists and engravers for this series of over 400 images were also associated with the great botanical books of Pierre-Joseph Redouté. This uncut sheet from the first edition is very large - at least 6 inches taller than those of later editions. This is "one of the finest and rarest books on fruit, with many beautiful plates" according to botanical expert Dunthorne. The production of such a richly colored plate involved a team of over 20 engravers, while the color-printing itself was done by Langlois, the great French color-printer who supervised much of Redouté's work.
Duhamel du Monceau was one of outstanding botanists and horticulturists of the 18th Century, and among the most important French writers on fruit, plant physiology and agriculture. The full title of this series is "Traité des arbres fruitiers nouvelle edition, augmentée d un grand nombre d espéces de fruits obtenus des progresses de la culture par A. Poiteau et P.J.F. Turpin." [Treatment of fruit trees new edition, increased by a great number of species of fruits obtained from the advances in culture by A. Poiteau and P.J.F. Turpin.] Botanical historian F.A. Stafleu calls this a virtually independent work by Poiteau and Turpin, though conceived of as an act of homage to Duhamel du Monceau and his Traité of 1768. As the author-artists declare in their joint preface, "il nous a été facile d ameliorer le champ que le savant Duhamel a si habilement défriché." ["It was easy for us to improve the field that the scholar Duhamel so skillfully cleared," i.e. they built upon his pioneering work.] While their aim was to establish a reliable and generally accepted nomenclature for fruits by means of the plates and descriptive text, they also wished to raise other issues concerning propagation, size, beauty and taste. The six volumes were published in 72 parts, mostly with 6 plates in each. The plates were to be used again by Poiteau in his Pomologie Française (Paris 1846), but with Turpin's name erased. Among the fruits they display are almonds, peaches and apricots, plums and cherries, citrus fruit, grapes, strawberries and raspberries, other types of berry, pears and quinces, apples, nuts and figs. - Nissen, 551; Great Flower Books, p.55.

MORDANT DE LAUNAY,J.C.M. Ardsia solanacea. Paris, 1814-27. Col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N° 11811.

50 €   

¤ Copperplate finished by hand, from "Herbier général de l'amateur, contenant la description, l'histoire, les propriétés et la culture des végétaux utiles et agréables..". From one of the finest French flower books. The original drawings for the finely coloured and botanically accurate plates are mostly by Pancrace Bessa although a few are by Redouté and others by Pierre Antoine Poiteau. Pancrace Bessa was born in 1772 and was a pupil of both Van Spaendonck and Redouté. He is reckoned among the best of Redouté's pupils.
The plates are printed `en gris' and then hand-coloured, are superior to the colour-printed plates of other contemporary French works in terms of the accuracy of the colouring.