1 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.

2 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.

3 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.

4 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.

5 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.

6 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.

7 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.

8 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.

9 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.

10 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.

11 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.

12 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.

13 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.

14 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.

15 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.

16 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.

17 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.

18 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.

19 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.

20 MORDANT DE LAUNAY,J.C.M. Kaempferia longa. Paris, 1814-27. Beau col. ancien. Finely engraved copper plate. Finished with gum arabic. Very good. 210 x 130 mm.
Inquire about item N°11810 .

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.

21 AUDEBERT,J,B./ VIEILLOT,L.J.P. Le Trés Petit Ois. Mouche. Paris, 1800-1802. Beau col. ancien. In very good condition. Legends printed in gold. From the folio edition, only printed in 200 copies. 520 x 350 mm.
Inquire about item N°14247 .

200 €   

¤ A very rare print of a humming bird from "Histoire naturelle et générale des colibris, oiseaux-mouches, jacamars et promerops", by Jean Baptiste Audebert. Before his death Audebert only managed to complete the section on the colibris, after which the work was continued by Louis Jean Pierre Vieillot on the basis of Audebert's drawings. The colour printing process was developed by Audebert himself. The plate is in beautiful colours.
The plate is engraved by Audebert himself and are printed in oil-colours by Langlois. Louis Bouquet, 'Proffesseur de dessin' assisted in the colouring of the plates. According to Anker: "in this respect they are among the best colour prints found in ornithology." Only 200 copies were printed, the legends of the plates being printed in gold. - Anker, 14; Ayer/Zimmer, 17; Balis, 52; Nissen, IVB 47.

22 D'URVILLE, J.D. Voyage au Pole Sud et dans l'Oceanie.. [Planche 20]. Paris, 1833. Col. ancien. Paper slightly age-toned. In good condition. Size of leaf: 482 x 328 mm.
Inquire about item N°14136 .

150 €   

¤ An attractive collection of shells. From Jules-Sébastien-César Dumont d'Urville (1790-1842) "Voyage au Pole Sud et dans l'Océanie sur les Corvettes L'Astrolabe et la Zélée". Printed in Paris by Gide et Cie. Dumont D'Urville (1790-1842) commanded the ship L'Astrolabe's 1825 expedition in search of the remnants of the La Perouse. The ship's name was the same as Perouse's ship, which disappeared somewhere in the Pacific in 1788. D'Urville discovered the place where the former Astrolabe sank near the coast of Vanikoro, New Hebrides. A second scientific voyage took place from 1826 to 1829, in which the Astrolabe traveled in terrifying storms, ran aground six times, and miraculously escaped destruction. The ship reached Vanikoro, where a monument was created to the memory of the lost sailors, and the crew returned with the remains of L'Astrolabe and the La Perouse. Eight years later, Dumont D'Urville undertook a third circumnavigation, still in the Astrolabe, but also with the ship, the Zelee.

23 COSTUME PARISIEN Chapeau de bois dit paille de riz.. (2308) Paris, 1825. In attractive original colours. Very good condition. (Very small brown spot in title). 175 x 107 mm.
Inquire about item N°11398 .

20 €   

¤ From "Costume Parisien" (1797-1839). Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

24 COSTUME PARISIEN Coiffures ornées d'un fichu.. (2420) Paris, 1826. Beau col. ancien. Very good condition. 175 x 120 mm.
Inquire about item N°12062 .

15 €   

¤ From "Costume Parisien" (1797-1839). Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

25 COSTUME PARISIEN Coiffures ornées de cordons.. (2461) Paris, 1826. Beau col. ancien. Very good condition. 175 x 120 mm.
Inquire about item N°12061 .

15 €   

¤ From "Costume Parisien" (1797-1839). Paris was the capital for fashion innovation and design. After the final defeat of Napoleon, English and French fashions merged to close accord. What was in vogue in Paris would be worn by fashionable ladies in Vienna, Berlin, Rome and London. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.

26 MODES DE PARIS Paris fashion plate. (1323) Paris, 1836. In attractive original colours. Generally in very good condition. 225 x 145 mm.
Inquire about item N°11802 .

40 €   

¤ From Mode de Paris. Petit Courrier des Dames.. Underneath the print are the names of the shops where the clothing's, perfumes, porcelains, flowers, etc., depicted in the engraving, are to be obtained. A attractive print from a very early edition of a 19th century Paris women's magazine. These periodicals, whose circulation in great numbers, created heightened interest in clothing, needlework and household decor. The average homemaker was exposed to the latest in Parisian fashions. If she had some skill as a dressmaker or the money to employ one she could replicate the dresses depicted in these magazines. The hand-coloured French fashion engraving was responsible for filtering the new styles throughout the major cities of Europe, America and Japan and thus represented great wealth to the clothing industry of Paris. No expense was spared to commission talented engravers and colourists for these beautiful works of art.