Deuxième état.
Suite composée de 18 pl. en 2e état. Au bas de chaque planche, le titre excepté, on lit 6 vers français, disposés deux par deux. Les planches sont numérotées de I à 18. Sauf le titre, les planches de cette suite ont les dimensions suivantes : Hauteur : 80 à 83 mm ; Largeur : 183 à 188 mm.

La suite est précédée d'une correspondance de 5 pp. entre le marchand d'estampes et de tableaux Adolphe Le Goupy et l'acquéreur, en 1922, de cette suite. Cette lettre donne copie des n° 564 à 581 de l'ouvrage de Meaume sur Jacques Callot, relatifs à la suite d'épreuves acquises par le collectionneur.

"Cete suite, l'une des plus belles du maître, se compose de 18 pièces qui représentent, plus complètement que dans la suite précédente, les malheurs occasionnés par la guerre".
Les planches sont montées sur papier fort dans une élégante reliure de Bonnet-Magin. Grandes marges. Quelques rousseurs éparses, plus importantes au début.

Plates measuring app. 8,3 x 18,5 cm. With all 18 engraved plates (incl. title) mounted. All plates in fine impressions and with wide margins on all sides. A few small brownspots. The plates numb. 1-18 (No. 2-17: Israel ex. cum Privil. Reg., No. 18 Callot fecit. Israel excudit). First edition, second state (arabic numbers in lower right corners and with the 6 verses in 3 lines by l'abbe Marolles on all, except on title). Callot is called the father of etching in France, and his "Miseries of the War" is considered his main work and was completed soon after the Cardinal Richelieu's devastating invasion of the Lorraine region and the capture of Callot's hometown Nancy. Callot was one of the first great artists to practise the graphic art exclusively. His innovative series of prints documenting the horrors of War greatly influenced the socially conscious artists of the 19th and 20th centuries. For instance its themes and imagery were used as a source by Goya and he is acknowledged as equal to the three great: Dürer, Rembrandt, Goya. It is said that no one ever to such an extent possessed the talent of grouping a large number of figures in a small space, and of representing with two or three bold strokes the expression, action and peculiar features of each individual. (ref.: 62118) 

¤
Seconde édition et première de format in-8. Elle est illustrée de 160 planches dessinées par P.-J. Redouté et coloriées à l'époque "sous les yeux" de celui-ci.
Van Spaendonck appréciant le travail de Redouté, il le chargea de l'éxecution des vingt plantes rares fournies chaque année à la "Collection des vélins".
Redouté devint le professeur particulier de la reine Marie-Antoinette. Il fut nommé en 1792 peintre de l'Académie des sciences. Il fut aussi le professeur de Joséphine puis de Marie-Louise.

Bel exemplaire légèrement rogné, rousseurs éparses.

"Les roses", was first published in folio from 1871 to 1824 with 169 plates, and was followed by 3 octavo editions of which the present is the FIRST edition.
Pierre-Joseph Redouté (1759–1840) was born in Luxembourg in 1759. At the age of 23, he was inspired to pursue botanical illustration after viewing the works of Jan van Huysum and Rachel Ruysch. Redouté’s talents soon caught the attention of the Dutch painter Gerard van Spaendonck and the botanist Charles Louis L'Héritier de Brutelle. L’Hertier served as Redouté’s teacher, instructing him on the finer points of plant anatomy. L'Héritier also introduced Redoute to the members of the court of Versailles, eventually leading to Redouté’s appointment as a royal painter. Redouté tutored Queen Marie-Antoinette, Empress Josephine, Marie-Louise, and Queen Marie-Amelie. Many of the paintings for "Les Roses" were made from the hundreds of varieties in the Empress Josephine’s rose garden at Malmaison.
- Pritzel 7455; Nissen 1599.


 (ref.: 60362) 

¤ Suite complète des 100 planches publiées dans le Charivari, et suite de 18 planches (sur 20) de la 2 série, également publiées dans le Charivari entre 1840 et 1841. Les planches n° 2 et 20 manquent.
Le Charivari était un journal illustré satirique français publié de 1832 à 1937. Fondé en 1832 sous le règne de Louis-Philippe Ier par le journaliste républicain Charles Philipon (1800-1862), il devient rapidement un moyen de communication de l’opposition. Il ridiculise avec entrain la monarchie de juillet et la bourgeoisie et fut souvent condamné par les tribunaux.
Charles Philipon était l'auteur de la célèbre caricature de Louis-Philippe en forme de poire, apparue en novembre 1831 dans La Caricature, autre journal fondé par ce caricaturiste et entrepreneur de presse. Cette caricature a valu un procès au journal, qu'il perdit. Le journal annonça donc la décision de justice en première page, avec du texte en forme de poire.
Outre le génie graphique de Daumier que l’on voit naître et s’épanouir dans le Charivari de 1836 à 1838, ce qui nous frappe le plus dans cette série de cent lithographies, c’est son étonnante actualité : Robert Macaire escroc cynique des débuts de l’ère industrielle, renaît sous une forme nouvelle à toutes les époques de notre histoire. Daumier s’est inspiré d’un personnage de mélodrame dont le comédien Frédérick Lemaître avait fait une création inoubliable : le costume de Robert Macaire, croqué par Daumier, est d’abord copié sur celui du comédien, mais il évolue rapidement pour permettre au chevalier d’industrie de pénétrer dans les milieux d’affaires les plus divers. Les attaques de Daumier contre les boursiers finiront par se retourner contre les magnats de la presse.
Quelques planches coupées à l'intérieur du filet d'encadremet, quelques rousseurs, certaines planches renmargées mais elles sont en général, en bon état de conservation, si l'on considère, qu'elles sont lithographiées sur du papier journal. Les planches n° 75 et 77 de la série Caricaturana sont interverties. Les deux volumes sont reliés uniformément, mors et coins légèrement frottés, dos passés.

CARICATURANA, a serie consisting of 100 numbered lithographs, which appeared in the Charivari between August 20, 1836 and November 25, 1838.
ROBERT MACAIRE (2nd series), a serie of 20 prints published in the Charivari from October 1840 to November 1841. The prints numbered 2 and 20 had also been shown in La Caricature (2nd series). The prints carry the title of the series “Robert Macaire” in the upper center, and on the upper right side: “2e Série” with the corresponding plate number.
All 100 prints of the series „Caricaturana“ were published "sur blanc" as an album in 1838 and offered to collectors. The black and white album cost 45 francs, while the colored version was offered at 55 francs.
Philipon was the author of all the texts of this series. It should be noted that Daumier did not monogram or sign the prints, presumable because Philipon wanted to document his position as author of the texts and as “inventor” of the series.
Of this series there were several separate prints sur blanc or with text au verso edited as books in various formats under the title “Les Cent-et-un Robert-Macaire”.
Daumier produced his social caricatures for Le Charivari, in which he holds bourgeois society up to ridicule in the figure of Robert Macaire, hero of a popular melodrama.
"Honore Daumier ( 1808 - 1879 ) was a French painter and sculptor but is now noted as the pre-eminent caricaturist of the 19th century . In the late 1820s he learnt the fairly new process of lithography and in 1830 contributed political cartoons to the republican, anti government weekly Caricature.
Daumier was an ardent republican and in 1832 was imprisoned for representing Louis - Philippe as Gargantua swallowing bags of gold extorted from the people. Political satire was suppressed in France in 1835 and in consequence Daumier turned to satire of social life in the daily Le Charivari; the first newspaper to be illustrated with lithographs.
In Charivari Daumier depicted a series of humorous scenes which gave a vivid and critical view of France's social classes in transition. Amongst these series was one satirizing businessmen personified in the character of Robert Macaire, an unscrupulous, flattering swindler and profiteer. Originally 100 lithographs of Robert Macaire appeared in Charivari between August 1836 and November 1838 followed by a second series between October 1840 and September 1842.
The character of Robert Macaire had first appeared in 1823 in a now largely forgotten melodrama called L' Auberge des Adrets.
The role of Robert Macaire was acted by one Frederick Lemaitre and later, in 1834, he adapted the character of Macaire within a new comic play in which two unscrupulous scoundrels trick each other. The reworked comedy was a smash hit in Paris and in turn gave Charles Philipon, the founder of Charivari, and Daumier the idea of making Robert Macaire the central character in their social satire. "
Macaire personified the clever business man, who was willing at any time to throw moral and ethical principles overboard for a quick buck. His personality fitted exactly to the period so well described by Alexis de Tocqueville: self-enrichment at all levels and a Government run on shareholders principles. Short-selling, pyramid systems, investments in Californian gold mines and IPOs of non existent companies were the name of the game. Thanks to Macaire and Bertrand, all the little tricks were demonstrated in detail to the public. (ref.: 61353) 

¤ Premier livre illustré par Pierre Bonnard. Il est orné de 32 illustrations lithographiées, dont la couverture, la plupart en couleurs.
Le titre porte la mention Deuxième mille.

L’artiste avait rejoint le groupe des Nabis en 1899, et ses amis Denis, Sérusier, Vuillard le prénommaient “le Nabis japonais”, inflencé par l’art de Gauguin et des impressions japonaises, il souhaitait peindre de mémoire et par imagination un arrangement de couleurs et de formes sur une surface plane et non pas une imitation de la réalité.
2 grandes illustrations de couvertures et 30 compositions originales lithographiées en noir sur fond de couleur, intégrant ou encadrant les définitions, notes, portées, clefs écritent par Claude Terrasse (1867-1923), beau-frère de Bonnard, lorsqu’il était professeur de piano et d’harmonie à Arcachon.
30 compositions by Bonnard, mostly printed in colours, integrated with and surrounding the texts and musical passages.
Publisher’s dec. boards, 1/4 cloth, with full-cover illustrations by Bonnard on both front and back.
One of Bonnard’s earliest and most charming publications, a primer in musical notation for children, by his brother-in-law Claude Terrasse.
The layout and illustration reflect the influence of Boutet de Monvel, among other things. “I have to think of the decorators of ancient missals, or of the art that the Japanese put into the decoration of encyclopedic dictionaries to give myself some courage,” he wrote to Vuillard in 1891, during the creation of the book. In all, 2,000 copies were printed, in two issues of 1,000 copies; this example from the second.
A good copy, inkstamp on title-page : Editions Schott. (ref.: 60776) 

Oblong folio (445 x 310mm.), etched pictorial title-page, one leaf of text with initial and two vignettes, 16 pochoir plates and line-block cover design by Georges Barbier (1882 Nantes-Paris 1932), all with colour by H. Reidel, loose in original wrapper.
 (ref.: 62640) 

¤ 21 miniatures de l'atelier du "groupe aux rinceaux d'or"

Séquence des textes:
-ff. 1-12: calendrier, avec nombreux saints du nord, de Flandre, d'Allemagne et d' Angleterre.
-ff. 13-61: office por les différents jours de la semaine: (Secuntur hore dicende per ebdomadam) et primo die dominica: Incipiunt hore Trinitatis (ff. 13-24); le bifolium constitué par les ff. 20-21 est une insertion sans rapport avec cet office et contenant la prière introduite par la rubrique Legitur quod cum beatus Thomas

die lune pro cunctis fidelibus (ff. 25-30)
die martis hore Sanctii Spiritus ( ff. 31-38)
die mercurii officium de omnibus sanctiis (ff. 39-45)
die jovis de Sacramento (ff. 46-49)
die veneris officium sancte Crucis (ff. 50-53)
sabbato de beata Virgine (ff. 54-63)
-ff. 63-78: lectures des quatre évangiles et évangile de la Passion
-ff. 79-105: Oratio ad sanctam Veronicam (ff. 80-81v) et autres pièces (les Cinq joies de la Vierge, ff. 81v-82; Stabat mater, ff. 83-85v; Domine Jhesu Christe, qui in hunc mundum, ff. 85v-89r; prières au Christ, ff. 89-90r; rubrique: Bonifacius papa concessit omnibus dicentibus hanc orationem inter elevationem Corporis Domini et sanguinis duo milia annorum indulgenciarum, ad instanciam et supplicationem Philipe regis Francie: Domine Jhesu christe qui hanc sacratissimam carnem..., ff. 90v-91v; rubrique: Incipit oratio venerabilis Bede presbiteri de septem verbis Jhesu Christi in cruce pendentis, quam orationem quicumque cotidie devote flexis genibus dixerit, nec dyabolus, nec malus homo ei nocere poterit, nec sine confessione morietur et per triginta dies ante obitum suum videbit gloriosam virginem Mariam in auxilii sibi preparatam: Domine Jhesu Christe, qui septem verba die ultimo vite tue, ff. 92-94r; Oratio beati Gregorii: Domine exaudi orationem meam, ff. 94r-97v; Quando itur ad sacramantum dicitur sequens oratio: Summe sacerdos et vere pontifex, ff. 98-100v; Oratio bona de nostra Domina: O intermerata, ff. 99v-102v; alia: Obsecro te, ff. 102v-104v; Salve regina et autre prière, ff. 104v-105
-ff. 106: blanc
-ff. 107-153: Heures de la Vierge (usage de Rouen)
matines, ff. 108-115
laudes, ff. 117-126
tierce, ff. 133-136
vêpres, ff. 145-148
complies, ff. 149-1
-ff. 154-159: suffrages
de sancto Michaele, ff. 154-155
de sancto Xpistiforo, ff. 156-158 suffrage au bienheureux Pierre de Luxembourg, ff. 159-163: Cest orison soloit dire saint Piere de Lucenbourg à genous devant le Crucifix: Deus Pater qui creasti Jhesum divum et illuminasti (commence au fol. 162, les feuillets de cette prière étant inversés et devant se lire: ff. 162-163, 160-161)
-ff. 164-170r: suffrages divers ( De sancta Trinitate; de sancto Johanne Baptista, de sancto Johanne evangelista, de sancto Petro, de sancto Georgio, de sancto Sebastiano, de sancto Nycholao, de sancto Leonardo, de sancto Anthonio; de sancta Maria Magdalena, de sancta Katherina, de sancta Babara, de sancta Margareta, pro pecatis, pro pace -ff. 170r-171v: prière Deus propitius esto michi peccatori
-ff. 172r et v: Sequuntur octo versus beati Bernadi (Illumina oculos meos ne unquam)
-ff. 173r et v: rubrique: Quiconques est entres au service Nostre Dame, il doit donner sur cascune de V nuis nostre Dame V deniers à V povres et si dois toudis porter sur lui la longuece Nostre Dame. Et n'en doit nullement estre seneuc et qui veult, il y puet entré par chincquante fois dire Ave Maria Dit l'ist que saint Thomas archevêque de Cantorbie répétoit cascun iour per grant dévocion les VII joies temporelles de la tres benoiste virge Marie, et une fois disant icelles joies en son oratoire si comme il avoit a costume, se aparut à lui la virge Marie et dist: Pour quoy te risjoys tu et relesces tant de mes joies ui sont passées, et des présentes des quelles je joys maintenant es ciels, les quelles durront pardurablement mieus...
Premièrement car ma joie surmonte la joie de tous sains...
-ff 174-175: rubrique: Et quiconques soy en ces joyes releschant me honnourra aura à l'issue de la vie de lui de son corps cest présent confort. que je deffenderai icelle âme des mauvais anemis et la presenterai ou regard d mon fils adfin que il puist posseder avec moy les pardurables joies de Paradis, lesquelles VII. joyes ordonnées sur les coses dessusdictes par saint Thomas martyr, sensuient en la fourme chi après contenue: Gaude flore virginali/que honore speciali
-ff. 176-180: Les XV joies Virge Marie: Doulce dame de miséricorde
-ff. 180-182: rubrique: Quiconques veult estre bien conseillies de la cose dont il a grant mestier, si die cascun jour a coustuméement ces orisons que chi après trouveres escrites, et sacies certainement que cils ou celle qui de bon cuer les dira jˆ desconfis ne morra, ne déconsilliés ne sera, ne villainement ne trespassera le jour que de bon cuer les dira. Et après cascune orison dittes: Pater noster et Ave Maria. Douls Dieu, douls pères, sainte Trinité, un Dieu et biaus sire Dieux... (c'est la prière bien connue, dite des Sept requêtes à Nostre Seigneur, sur laquelle voir Leroquais, Livres d'heures, I, p. XXVII-XXVIII)
-ff. 183-199: psaumes de la pénitence (litanies ff. 191-194: peu de saints locaux: saint Amand, saint Bavo parmi les confesseurs, sainte Amalberge parmi les vierges)
-ff. 200-233: office des morts (usage de Rome?)
-ff. 234v-235: prière à saint Antoine (addition XVè s.).

Peintures:

21 miniatures, peintes sur feuillets indépendants et toujours en verso:

-fol. 13v: la Trinité (du type Trône de grace)
-fol. 25v: les âmes du Purgatoire
-fol. 31v: la Pentecôte -fol. 39v: assemblée de saints
-fol. 46v: procession de la châsse du saint Sacrement
-fol. 50v: le Christ en croix entre la Vierge et saint Jean
-fol. 54v: Vierge d'humilité vêtue de blanc, un croissant de lune sous le pied
-fol. 79v: sainte Véronique

Heures de la Vierge:
-fol. 107v: Annonciation -fol. 117v: Visitation
-fol. 127v: Nativité dans un paysage de grotte, Vierge à genoux en adoration devant le nouveau né
-fol. 133v: Nativité: Vierge au lit tendant Jésus à une sage-femme nimbée. Joseph, âne et boeuf au premier plan.
-fol. 137v: Circoncision
-fol. 141v: Présentation au temple
-fol. 145v: Adoration des Mages
-fol. 149v: Repos pendant la fuite en Egypte, miracle du palmier se penchant vers la Vierge et de la source (o se désaltère l'âne). Cet épisode apocryphe est évoqué au chapitre 20 de l'Evangile du pseudo-Mathieu

-fol. 154v: saint Michel terrassant le démon, avec donateur agenouillé
-fol. 156v: saint Christophe
-fol. 159v: saint Pierre de Luxembourg en prière dans un oratoire, ayant la vision du Christ en croix

-fol. 183v: Jugement dernier
-fol. 200v: funérailles dans une église, avec pleurants à gauche, et chantres à droite

Ces miniatures ne sont peut-être pas toutes de la même main, mais participent d'une même adhésion au style pratiqué dans l'atelier du "groupe aux rinceaux d'or" (appellation que l'on préfère désormais ˆ celle trop précise de "Ma”tre aux rinceaux d'or", cf. M. Smeyers, La miniature flamande, Tournai, 1999), atelier florissant et extrêmement productif qui fut actif ˆ Bruges vers les années 1420-1440. La séquence des scènes illustrant l'office de la Vierge est peu courante et comporte des thèmes nouveaux traités avec originalité (ainsi la scène du Repos pendant la Fuite en Egypte, au fol. 149v).

Textuellement et iconographiquement, ce livre d'heures est un jumeau quasi absolu du manuscrit W. 211 de la Walters Art Gallery de Baltimore, livre d'heures dont l'office de la Vierge est à l'usage de Rouen, comme ici, et qui comporte, à peu de choses près et dans le même ordre, la même séquence d'offices et de prières, et la même séquence d'illustrations, peintes dans le même atelier brugeois dit "groupe aux rinceaux d'or". Sur le manuscrit de Baltimore, cf la notice de Lilian C. Randall, Medieval and Renaissance Manuscripts in the Walters Art Gallery, vol. III, Baltimore, 1998, pp. 147-157, pl. XXXc et fig. 451-453. La seule différence entre les deux manuscrits, qui ont dé être exécuté exactement à la même époque dans le même milieu artistique, réside dans le choix des saints invoqués dans les suffrages: au lieu de saint Michel, mis en évidence dans le présent manuscrit, c'est saint Josse, qui apparaît en tête des suffrages du livre d'heures de Baltimore. L'usage rouennais, commun aux deux manuscrits, pose la question de l'identité des commanditaires: marchands rouennais en relation d'affaire avec Bruges, ou hommes d'affaires italiens tenant comptoir dans la capitale normande et à Bruges, L'absence d'armoiries, étonnante mais sans doute significative, ne permet pas de répondre à cette question.
Provenance: Ex-libris cachet J. Kendall au dernier feuillet de garde. Le manuscrit était encore en Angleterre au début du XXè siècle, comme l'indique la notice descriptive imprimée insérée au début du volume, tirée d'un catalogue de libraire non identifié (Quaritch?). Le manuscrit passa ensuite dans une vente Sotheby's (vente du 13-14 novembre 1933, lot 10). (ref.: 10555) 

Auction flyer for an auction to be held on 5 October 1772 in l'Orient (France). The auction flyer lists white and blue porcelain from China, coffee, thee, papier peint, etc. The merchandise has been bought in by the company vessel "le Gange".
 (ref.: 05058) 

¤ Joli almanach orné de deux plaques en argent travaillée au repoussé de style rocaille.

Le pavillon du navire est frappé du monogramme V.O.C. pour Verenigde Oost Indische Compagnie, Compagnie hollandaise des Indes occidentales.
Almanac in-18, contemp. red marocco, richly gilted, with a silver centrepiece on each cover, bearing the image of an Dutch East Indiaman in full sail, with a flag and the V.O.C. monogram. Containing 60 leaves and 2 leaves of wax-coated paper. 105x60mm.
A personal gift, only made for the trustees of the V.O.C. The silver work was probably made by Drick van Hengel and Company because an entry in the diary of mintmaster Johann Georg Holtzhey for the years 1777-1784 reveals that silver work for book clasps for the Delft and Rotterdam chambers was to be supplied by Dirck van Hengel and Company on a yearly basis. - Landwehr VOC, see ill. page XXIX. (ref.: 61361) 

The Vue d'Optique and its "optical relatives" were practically speaking, the first medium to bring the visible appearance of the wider world to a large European public. Their naivety and decorative content make them a fascinating addition to the repertoire of the printed picture medium.
In the 18th century, a type of "perspective" print came into existence, whose exaggerated converging lines were intended to produce the optical illusion of deep recession without the benefit of lenses and mirrors. The viewing devices for which these perspective prints were produced consisted of a simple box or frame with a peephole. Later, people peered through lenses, and finally a mirror was incorporated that required the use of reversed or mirror-image pictures. (See our special section on optical prints.)

Including optical prints showing scenes in China : - Vue de Peking Capitale de la Chine, et de la Superbe Muraille qui la Separe de la Tartarie. (Beauvais) - Vue perspective de la grande Ceremonie du couronnement de l'Empereur de la Chine. - Ceremonie de la grande Feste que Chinois celebre le 24 de la Lune d'Aoust dans la principale Place de Pekin. Vue de la superbe Entrée de l'Embassadeur de Siam a la Cour de Pekin. (Mondhare) - Vue Perspective du Pont de la Ville de Pekin, Ville de la Chine. (Daumont) Vue d'un Temple Chinois.

Among the 100 optical prints are views of Paris, Venice, London, Amsterdam, etc.
A unique set of six prints showing the biblical story of "the return of the lost son". Two of the six plates have build-in mirrors.

Of great rarity are the perforated prints for use in the peepshow box. These peepshow prints, which had been stiffened with card, covering the openings with suitably coloured, oiled papers, standing them vertically in a viewing box back-lit with candles, so the viewer would look through a lens at the illuminated view. Two of these prints showing thunder and lightning, have on the verso lead wings, giving the option to the peepshow-man to create the sound of thunder. Aplicated prints as such are unknow in literature.
The title of the prints are often written or printed in reverse so that it can be read correctly in the mirror reflection.

¤ Father Martino Martini published in Europe in 1654 his De bello tartarico, the most authoritative and best-known description of the Manchu conquest in an European language. The tragic collapse of the civilized Chinese (Ming) dynasty before frontier foreigners was viewed by some in Europe as the fall of civilization to barbarism.
While this proved not to be the case, since the Manchus were quickly sinicized, the image of China as a changeless and remote empire was replaced, at least in part, by a view of China as a dynamic empire and as a part of the same world as Europe.
With folding map of China (142x160mm) depicting China, Korea and taiwan (Cheuxan). (ref.: 09706) 

First French Edition, published the same year as the original Dutch text (Meurs 1665), describing the first Dutch attempt to trade with China, a voyage in the service of the Dutch East India Company (VOC), leaving Batavia in 1655 to visit Nangkin and Peking before returning in 1657.
Nieuhoff (1618–1672) accompanied the mission from Canton to the court in Peking seeking an expansion of trade, though without much success on that score. The book was widely translated and became a best-seller throughout Europe. As some of the earliest images of that culture seen in the West, the engravings had a lasting influence on European illustrated works on China.
The second part, “Description general de empire de la Chine”, includes illustrations of flora and fauna.
With a large folding map of China (the map is washed and laid down on tissue paper for protective reason), portrait of the dedicatee Jean-Baptiste Colbert, 34 double-page plates, 108 vignette illustrations in the text.
The list of double-page plates calls for one of Paolinxi at p.136. This was never issued, being replaced by a vignette of Paolinxi at that page. The missing plate is sometimes confused with that of La Tour de Porcelaine, which follows p. 138 and is present here as usual.
Provenance : Engraved book plate of M.le le Marquia de Fertia, rue de la Rochefoecaudn N°.12. and a 20th century inkstamp of "Paul Veroudart, Péking". (ref.: 23738) 

¤ The first French edition, translated by Jean Collé. Account of the fall of the Ming and rise of the Manchu dynasty, with descriptions of Manchu customs and hope expressed for progress by Christian missions. Deals also extensively with the role of the Japanese, the confrontations with the Portuguese and Dutch colonists, the war with the King of Corea and how Corea was made tributary to the Tartars. Corea is qualified as a proud and warlike nation.
Juan de Palafox y Mendoza (1600-1659), was a member of a noble Spanish family, became a priest in 1629. His stormy career as “Friend of the Indians” began in 1639, when he was appointed Bishop of Puebla (Mexico). He distinguished himself by his efforts to protect the natives from Spanish cruelty, expressly forbidding any methods of conversion other than persuasion. In this he met with the implacable hostility of the Jesuits. In 1647 he placed the Society under an interdict and laid a formal complaint against their activities in Rome. Finally the Jesuits succeeded in securing his recall in 1649, when he was returned to Spain and was made Bishop of Osma.Lust 447, Cordier, Bibliotheca Sinica 627, Cox, i, 326, JFBL, P41, BMSTC, French Books 1601-1700, P109. (ref.: 23785) 

FIRST ENGLISH TEXT EDITION of this most important and early resource on China and the Chinese. Three parts in one folio by John Macock for the author. Part I: An Embassy. Part II: A narrative of the success of an embassage sent by John Maatzuyker de Badem. Part III: Appendix or […] out of Athasius Kircher his antiquities of China.
This early account of China covers a wide variety of subjects including a large section on newly discovered plants, herbs, fruits of S. China. With a folding map of all China, Corea, part of Japan, Formosa, South to the Kingdom of Cannan [Annam or Vietnam], Tartary. The book contains a meticulous description of the people, laws, customs, provinces done in much detail. Lavishly illustrated with 121 text plates by W.Hollar. The work was one of the earliest English language texts which brought new and wondrous information back to England and Europe of a continent mostly unknown at that time.
The double page plan of "Grounplot … of the Emperours Palace at Peking", replaced by a copy from the original Dutch/French text edition. The two folding maps backed on verso lower margin with old paper, for protective reason only. A good margin copy.
Wing N1152. Taylor 238. Morrison p.565. Cordier col. 2347. (ref.: 05737) 

First French edition, published by P.Gosse, J.Neaulme and B.Lakeman. The basic work on Japan from the second half of the 17th century when it was still forbidden to foreigners to enter the country. The beautiful copper engravings show 45 maps, plans, views, temples, pictures of gods, plants and animals and also some examples of Japanese writing. At the end some special treatises are added, on the Japanese tea and tea-plant on Japanese paper-making and the paper-tree, and on Japanese medicine, especially on the Japanese moxa or acupuncture. A fine copy with broad margins. - Landwehr VOC 532; Tiele Nederl.Bibl. 585. (ref.: 00831) 

¤ Original edition of the first volume of the Dutch translation of an extensive series on the geography, history and culture of most parts of the world, consisting of 44 volumes. This first volume deals extensively with China, Japan, the Philippines, the Moluccas and Celebes (the present Sulawesi) with its capital Makassar. This first vol. (as also vols. 2-9) is translated and much enlarged by Matthias van Goch (d. 1739), who added many original notes. Beginning with the part on Japan and the Moluccas in this volume, Van Goch enlarged and adopted the original text by Thomas Salmon to such extend that his text can be considered as Van Goch's own work. He could make use of the annotations by Gerrit Voogt which he wrote during his stay in Decima from 1706 till 1714. This part is illustrated with a beautiful view on the island Decima, the Dutch foot-hold in Japan, being copied from a manuscript by Vogue, who was second-in-command on Deshima in 1713. The island is viewed from the landside, depicting the developments of the new warehouses and the garden as well as the famous "speelhuis" which contained a billiard table and musical instruments on the upper floor.
The original English edition was compiled by Thomas Salmon (1679-1767): Modern history, or The present state of all nations, the first volume of which (here translated) appeared in London in 1725. Thomas Salmon was an historical and geographical writer. He travelled extensively and resided in the Indies for many years. The original English series consists of three volumes. The entire Dutch series, based on Salmon's work translation, of which volumes 1-9 were translated/ written/ adapted by Matthias van Goch, was published in 44 volumes, between 1729 and 1803, published by Isaak Tirion and others. An Italian translation appeared in 23 volumes (1738-61). The work was also partly translated into German from 1748 onwards.
Our copy preserves the unpaginated separate titles for the parts on Japan (nr. III and IV), Philippines (Nr. V and a leaf with the contents), and the Moloccas (Nr. VI, with 3 unpaginated lvs. with a preface). Very good condition. (ref.: 04228) 

Complete title " An Account of the Empire of China, Historical, Political, Moral and Religious. A Short Description of that Empire, and Notable Exemples of its Emperors and Ministers. Also an ample Relation of many remarkable Passages, and things worth ob serving in other Kingdoms, and several Voyages. There are added The Decrees of Popes, and Propositions defined at Rome for the Mission of China, and a Bull of our most Holy Father Clement X, in favour of the Missioners."
The rare first edition in English of the travels of Navarette through China in 1658. Translated from Spanish. The frontispiece is a portrait of Confucius. With a folding map "A map of China, Chinese Tartary, and Tibet; with the adjacent Countries westward to the Caspian Sea. (engraved by R.W.Seale) The astronomical observatory at Peking; The Pompous attendance of a VICEROY whenever he appears abroad; another procession of a wedding ceremony; another procession for funerales. The engravings are copied after from volume II of the "Description" by Du Halde.
This edition is very beautiful in respect to typesetting and illustration.
Father Domingo Fernandez Navarrete, was far superior of the Dominicans, and the most learned of the Jesuits at Canton. On 19 Dec.1669 he secretly left Canton for Macao whence he went to Europe. There, and especially at Rome where he was in 1673, he sought from now on only to overthrow what had been attempted in the conferences of Canton. He published the "Tratados historicos, politicos, ethicos, y religiosos de la monarchia de China" (I, Madrid, 1673; of vol. II, printed in 1679 and incomplete, only two copies areknown). This work is filled with impassioned accusations against the Jesuit missionaries regarding their methods of apostolate and especially their toleration of the rites.
Palau 89432. Cordier, page 34. (ref.: 24290) 

¤ This most uncommon work provides an interesting focus on the dissemination of the outline of Japan provided by Kaempfer. Beside vhe description of Japan, the book includes a description of Philippines, Moluccas, Kochinchina and Canton.
Cordier indicates that the first edition of this work in Italian was in 1738 and the date 1734 on the title page throws the sequence of Tirion's maps into some confusion.
Campbell dates the first Dutch edition of Tirion's maps c.1735.
The bird's-eye view of Deshima is also most interesting, being copied from a manuscript by Vogue, who was second-in-command on Deshima in 1713. The island is viewed from the land-side, depicting the developments of the new warehouses and the garden as well as the famous "speelhuis" which contained a billiard table and musical instruments on the upper floor. (ref.: 00034) 

An impressive collection of Jesuit letters relating to missionary activities in the Far and Near East and the Americas. Provenance: Ernest Augustus I, son off George III of England, King of Hanover with his library stamp "ex bibliotheca Ernesti Aug. Hannov. Regis" in each volume.
Vol. 1 to 5 : Mémoires du Levant : 7 plates and 5 maps.
Vol. 6 to 9 : Mémoires d'Amérique : 1 plate "Catherine Tegahkouita iroquoise" and 7 maps.
Vol. 10 to 15 : Mémoires des Indes : 4 plates, 2 botanical plates and 5 maps.
Vol. 16 to 26 : Mémoires de la Chine et des Indes : 15 plates, 5 views and 3 maps.
Second edition / Nouvelle Èdition, augmente [par l’abbè Y.M.M. de Querbeuf] This edition is generally preferred to the original, because it has the advantage of being systematically arranged. The original edition was published in 34 volumes over the course of the 18th century, 1702-1776; this second edition was followed by six editions in the 19th century and the work was translated into German, Italian and Spanish, with portions translated into English.
Four of the volumes focus exclusively on America, including the first translation of Father Francisco Piccolo's INFORME DEL ESTADO DE LA NUEVA CHRISTIANDAD DE CALIFORNIA. Kino's famous map of California made its first appearance in this book. The map is remarkably accurate, and remained the best map of much of the area until the twentieth century (Streeter).
Howes L-299: Includes reports covering New York, Ohio, Michigan, Illinois, Wisconsin, and the southwest.
Sabin 40698: Volumes VI to IX inclusive, relate to America.
Field, Indian Bibliography, 919 (for the Toulouse, 1810, edition): Filled with relations, narratives, and letters from Jesuit missionaries, written subsequently to the celebrated and rare [17th-century] Relations of the Jesuit missionaries of Canada to their superiors. They are undoubtedly among the most authentic sources of information, regarding some of the most obscure and mysterious of aboriginal customs, languages, and religions. Every one of these volumes is crowded with interesting details for the history of the aborigines of the countries in which these wonderful men held their missions.

Provenance : Ernest Augustus I, son off George III of England, King of Hanover (5 June 1771 – 18 November 1851) born at Buckingham Palace London. He received tutoring at home before proceeding to the University of Göttingen in Germany in summer 1786 along with his younger brothers, Prince Adolphus and Prince Augustus. In 1791, he and Prince Adolphus went to Hanover to receive military training under the supervision of Field Marshal von Freytag. He learned cavalry drill and tactics under Captain von Linsinger of the Queen's Light Dragoons. In March 1792, the Army officially commissioned Prince Ernest Augustus with the rank of colonel in the 9th Hanoverian Light Dragoons. The following year, he gained the command of the 1st Brigade of Cavalry. He served in Flanders during 1793-95 in the War of the First Coalition, under his elder brother the Duke of York, then commander of the combined British, Hanoverian and Austrian forces. On 20 June 1837, King William IV died, and his niece, Victoria, the only child of the late Duke of Kent, the fourth son of George III, succeeded as queen of the United Kingdom. However, Salic Law still prevailed in Hanover, meaning that William's legitimate male heir, the Duke of Cumberland, became King of Hanover. On 28 June 1837, King Ernst entered his new domain, passing under a triumphal arch. For the first time in living memory Hanover would have a ruling monarch resident in the nation. - Howes : L299; Brunet II : 1028; Cordier : 930 - 937; Cowan : 390. (ref.: 23177) 

¤ PRESENTATION COPY to William Wallace (1768-1843) appointed Professor of mathematics of Edinburgh in 1819. Almost exact contemporary with Basil Hall, fellow members of the Royal Astronomical Society,&c.
With an appendix containing charts and various hydrographical and scientific notices by captain Basil Hall and a vocabulary of the Loo-Cho language by H.J.Clifford,esq. Printed by John Murray, Albemarle Street, London. Illustrated with 8 coloured aquatints,1 uncoloured aquatint, 5 charts and one line engraving.
The book contains a narrative of the voyage to the west coast of Korea and the Great Loo-choo Island; an appendix, containing nautical details and a vocabulary of English, Japanese and the language spoken at Loo-choo.

FIRST EDITION of Hall's first and most important book. Early in 1816, Hall was given command of the 10-gun brig Lyra, and dispatched to China in company with the frigate Alceste and Lord Amherst's embassy to the Chinese Emperor Kea K'ing. The purpose of the mission was to address "the complaints of injustice and exactions on the part of the Chinese mandarins . . . from the English merchants at Canton" (DNB). After the two ships landed the diplomatic party in Canton, Hall "went on to explore the little-known East China and Yellow Seas, together with the Alceste" (Abbey). As Hall claimed in A Voyage of Discovery, "[n]othing respecting the west side of Corea [Korea] has hitherto been accurately known to Europeans" and the "celebrated map of the Jesuits" then in use was "erroneous with respect to Corea" (Preface, pp. ix, x).

After sailing down the West coast of Korea, and taking the sightings for the chart of their track appended to A Voyage of Discovery, the Lyra and Alceste continued on to Sulphur and Loo-choo Islands, now known as Iwo Jima and Okinawa, respectively. Hall and his party were prevented from landing at Sulphur Island by high winds and a rough surf, but viewed from a distance the "sulphuric volcano from which the island takes its name" (p. 58). After nearly being wrecked on the reef, they spent some weeks on Loo-choo and the neighboring islands charting the area and observing native society. "On the return journey Hall had an interview at St. Helena with Napoleon, who had known his father, Sir James Hall, when a boy at school at Brienne" (Abbey). Shortly after his arrival in England in 1817, Hall was promoted to the rank of captain.

Hall's 21-year career in the Royal Navy also took him to North America, the battle of Corruna, Galicia, Ireland, Madeira, the East Indies, Bombay, South America, the Galapagos Islands and Mexico. He retired from the Navy in 1823 to spend his remaining years "in private travel or in literary and scientific pursuits at home" (DNB).

The coloured lithographs in "A Voyage of Discovery" were executed from "drawings of scenery and costume . . . made by Mr. William Havell [1782-1857], the eminent artist who accompanied the Embassy, from sketches taken on the spot, by Mr. C. W. Browne, midshipman of the Alceste, and [Hall]" (Preface, p. ix). "Havell was one of the best of the earlier painters in water-colour, and did much to advance the art; and his pictures in oil, though neglected during his life, have recently risen greatly in estimation" (DNB). (ref.: 01893) 

¤ Edition allemande datée du 23 Décembre 1493 et traduite par Georges ALT sur l'édition latine parue la même année le 12 Juillet.
Cet ouvrage d'un grand intérêt historique et connu sous le nom de Chronique de Nuremberg est illustré de 1809 figures sur bois par Wohlgemuth et Pleydenwurff, ainsi que d'une mappemonde et d'une carte de l'Europe du Nord.
Somme des connaissances historiques et géographiques à la veille de la Renaissance et plus grand incunable illustré, la célèbre Chronique de Nuremberg est l’œuvre de l’humaniste et érudit Hartmann Schedel (1440-1514), médecin à Nuremberg. Avec l’aide du médecin Hieronymus Münzer (mort en 1506) et du poète Konrad Celtis (1459-1508), il puisa dans son importante bibliothèque (aujourd’hui conservée en grande partie à la bibliothèque municipale de Nuremberg) les sources de cet immense travail. Encyclopédie cosmographique ornée de 1 809 gravures décrivant les âges du monde depuis la Création, l’ouvrage s’ouvre sur le récit de l’heptaméron biblique. Il fut imprimé chez Anton Koberger, grand libraire allemand de la fin du XVe siècle qui contribua à l’essor de la gravure sur bois. Pour les illustrations, il fit appel à deux peintres de la ville, Wilhelm Pleydenwurff (1434-1519) et Michael Wohlgemut (mort en 1494), le maître de Dürer dont Koberger était le parrain. Cette édition en allemand, datée du 23 décembre 1493, a suivi de quelques mois l’édition originale en latin.
Bon exemplaire malgré quelques mouillures marginales tout au long de l'ouvrage parfois plus importantes en bas de page ayant entraîné une fragilisation du papier et de petites déchirures ; quelques trous de vers ; réparations aux premiers et derniers ff. ; carte de l'Europe (en fin d'ouvrage) avec fortes mouillures et petits trous de vers. Reliure hollandaise du XVIe siècle en vélin légèrement fendue au niveau du dos, sans les lacets, coins frottés. Annotations manuscrites en néerlandais en marge de quelques ff.

FIRST EDITION IN GERMAN. The famous Nuremberg Chronicle, a history of the world, published the year that Columbus returned to Europe after discovering America. The text is a year-by-year account of notable events in world history from the creation down to the year of publication. It is a mixture of fact and fantasy, recording events like the invention of printing, but also repeating stories from Herodotus. Even the world map is decorated with strange beings from the far reaches, including a cyclops and a four-eyed man.
645 woodcuts were used to illustrate the Chronicle, but many were used more than once, so there are a total of 1,809 illustrations, making it the most extensively illustrated book of the fifteenth century. The cutters were Michael Wolgemut, his stepson, Wilhelm Pleydenwurff and their workshop. As Albrecht Dürer was the godson of Koberger and was apprenticed to Wolgemut from 1486 to 1489, it is likely that he was involved in the work.
The immense importance of the Nuremberg Chronicle, in respect to history, geography and topography, cannot be overemphasised. It is often quoted as being the most important book ever printed.

Two of the abundant illustrations are maps which typify well enough the range of old traditions and new information which characterizes the text itself. The world map is of Ptolemaic configurations, although without Ptolemy's scientific apparatus of latitudes, longitudes, scales, rich nomenclature, etc. The border contains twelve dour windheads while the map is supported in three of its corners by the solemn figures of Ham, Shem and Japhet taken from the Old Testament.
What gives the map its present-day interest and attraction are the panels representing the outlandish creatures and beings that were thought to inhabit the further most parts of the earth. There are seven such scenes to the left of the map and a further fourteen on its reverse. Pliny, Pomponius Mela, Solinus and Herodotus' Fables have been the sources for many of these mythological creatures; others were doubtless born of medieval travellers' tales. Among the scenes are a six-armed man, possibly based on glimpses of a file of Hindu dancers so aligned that the front figure appears to have multiple arms; a six-fingered man, a centaur, a four-eyed man from a coastal tribe in Ethiopia; a dog-headed man from the Simien Mountains, a cyclops, one of the men whose heads grow beneath their shoulders, one of the crook-legged men who live in the desert and slide along instead of walking; a strange hermaphrodite, a man with one giant foot only (stated by Solinus to be used as a parasol but more likely an unfortunate sufferer from elephantisis), a man with a huge underlip (doubtless seen in Africa), a man with waist-length hanging ears, and other frightening and fanciful creatures of a world beyond.
Twelve winds are named as well as major place names. The source of this map is apparently the frontispiece of Pomponius Mela's Cosmographia printed by Ratdolt at Venice in 1488.

Contemp. marginal manuscript notes in Latin and Dutch. On inside cover plate (in an 18th century hand)Kronijk of opmerkelijke geschiedenissen van het begin der wereld, tot den tijd dat dit boek gedrukt is; zijnde den 23 Dec: 1794. zoo als op de laatste bladzijde vermeldt wordt.

- Br.Museum, IC. 7458 (II 437) (ref.: 61768) 

¤The rare FIRST EDITION of Sebastian Münster’s Geographia Universalis, published in 1540. This was a new and important edition of Ptolemy, with redesigned maps and the text revised by Münster based on the Willibald Pirckheimer Latin translation with corrections of 1535 by Servetus.
The Geographia was landmark work which contained, along with the Ptolemaic maps, several of the most significant modern maps in the history of cartography.
The first separate maps of the four continents appear here, and include the earliest maps of the Western Hemisphere and Africa, also the first separately printed map of England, and the oldest obtainable woodcut of Scandinavia.
The map Novarum insularum is one of the earliest available separate maps depicting the Americas in a recognisable form.
Sebastian Münster (1448–1552) was a mathematician, geographer and professor at Basel University. He also compiled a highly influential encyclopaedic work entitled Cosmographia universalis, which first appeared in 1544 and contained forty-eight woodcut maps. He was among the first editors of a published geographical text to quote or acknowledge his sources and authorities.

With 27 maps of the ancient world and 21 of the modern world, together 48 double-page woodcut maps, each within a woodcut border, 7 woodcut diagrams in the text and one full-page woodcut, printer’s woodcut device on verso of colophon leaf, errata leaf and blank leaf C6, woodcut initials throughout. Modern, blind stamped calf binding. Several maps with re-inforcements in lower margin next to center fold, hardly affecting printed area. Very good condition, sound paper.
Burden, The Mapping of North America, #12, 1st state; Shirley, The Mapping of the World, #77, 1st state; Alden, Vol. I, p. 52, #542/22; Stevens (Ptolemy) 49; Karrow, Mapmakers of the Sixteenth Century, p. 422. (ref.: 05731) 

Latin text edition. Missing the half title, and half of page 747/748, page 749/750 upper part with some paperloss and small holes. Map of Fretum Magellanicum, page 745, printed upside down and with a few small holes. In the middle section of the atlas, pages 163-460 some marginal burning of paper, not affecting the maps or text.
"In the first decade of the seventeenth century Hondius evolved from an engraver working on commission to a publisher of atlases and globes. A fine example of one of the most important atlases in history. First issued by Gerard Mercator in 1595, the publication was continued by Jodocus Hondius who purchased Mercator's plates in 1604.
The Atlas contains the famous map of China with a scene from the Japanese persecution of a Christian missionary and converts in this period, probably a reference to the martyrdom's in Nagasaki in 1597 - the map of America with the native Brazilian scene illustrating the method used to make a local beverage. - Koeman/Krogt, Atlantes Neerlandici, vol. IIIB 353:11 (ref.: 62655) 

The ONLY DUTCH TEXT EDITION. The atlas starts with a decorative engraved title with a architectural façade with an opening giving a view of a landscape. In the foreground putti with a map and a globe, both of which exhibit a map of China. At top a fronton with a panel, with a paston label Seste deel van de Nieuwe Atlas...
The Novus Atlas Sinensis (New Atlas of China). was prepared by the Jesuit Priest Father Martino Martini of the Society of Jesus and published in 1655.
The second landmark in the European mapping of China was the appearance of the Atlas Sinensis in 1655. Father Martino Martini, an Italian Jesuit who died at Hangtzhou in 1661. Based on Chinese sources, it was far in advance of any previous European work. For the period it was remarkably accurate, being the first to show a more correct eastern coast-line with the Shantung promontory.
Published in Amsterdam in 1655, it was incorporated at that date, and in the later editions, of the "Great" atlas issued by Blaeu. It consisted, besides text, of a general map of China, 15 maps of individual Chinese provinces, and a general map of Japan.
As was usual with Blaeu's publications, it was offered for sale both plain and coloured. The Atlas Sinensis, apart from the technical excellence of its production, is important as being the first European atlas of China. It remained the standard georgraphical work on that country till the publication in 1737 of D'Anville's Atlas de la Chine.
Beside the maps the atlas contains also the "Catalogus Longitudinum ac Latitudinem", a list of towns with their hgeographical co-ordinates.
A supplement to the geographical description by Jacob Golius, "De Regno Catayo Additamentum Iacobus Golius Lectori".
A history of the Manshu War by Martinus Martini, "De Bello Tartarico Historia," originally published in 1654 in Antwerp, with an additional letter by Francisco Brancaro from Shanghai, 14 November 1651.


v.d.Krogt/Koeman, II, 2:521A (ref.: 10426)