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Collection de 24 Bouquets de Fleurs. Dessinés et gravés d’après nature.

VINCENT, H.A. Paris, chez l'éditeur, 1835. 4to (280 x 210mm). With a fine pictorial title and 24 plates, all stipple engravings, printed in colour with extensive hand-finishing, engraved by Lambert after drawings by Madame H. Vincent. Contemporary calf-backed boards, spine gilt. Very scarce suite of plates of floral bouquets by Madame Henriette Vincent (1786-1830) pupil of Van Spaendonck and Redouté, the most famous flower painters of the period. This fine suite of plates is very much in the tradition of their best work. The plates are stipple engraved and printed in colours with fine handfinishing. 'Two other pupils of van Spaendonck, madame Vincent and Antoine Chazal, used colour printed stipple engravings to noteworthy advantage. Each is responsible for one work whose plates are rather small but of such consummate loveliness that they enhance the reputation and distinction of the French school' (Dunthorne p. 34). Madame Vincent exhibited flowers in watercolours at the 1814, 1819, 1822 and 1824 Paris Salon. Dunthorne 322 quotes only an incomplete copy with 22 plates. Not in any of the usual bibliographies.The followings flowers are shown: Rose de Provins, Rose blanche, Campanules, Pois de Santeur; Campanules bleu et blanc, Lys St. Jacques; Rose Capucine, Narcisse, Réséda, Chrisantemun; Renoncules, Jacinthe Phlox; Coquelicot Double, Pensée; Tulipe Capucine; Rose à cent feuilles, Pavot, Narcisse; Rose Blanche, Jiroflée; Tigridia Pavonia, Immortelle; Rose à cent feuilles, Reine Marguerite, Narcisse; Oeillet, Bouton d'or Double; Soleil vivace, Myosotis; Reine Marguerite, Fuschia; Campanules Doubles, Jasmin; Belle de Jour, Coquelourde; Rose Ponpon, Iris; Rose Jaune du Levant, Grande Pensée des Alpes; Lys du Japon, Taraspic; Althoea, Glaïeul; Lys blanc, Rose à cent feuilles; Lys Orangé, Ephémere de Virginie; Oreille-d'Ours, Lys-pompon, Muguet; Anémone, Oeillet Dinde; Rose de Provins, Belle de jour.
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DEN GROTEN HERBARIUS Antwerpen, (Claes) de Grave, June 1526. Folio (270 x 195mm). 188 Leaves, with over 400 woodcuts. Early 20th century red morocco, richly gilt decorated sides, gilt decorated spine in 6 compartments, gilt edges. ONE OF TWO COMPLETE COPIES KNOWN (see Hunt 24). The copy of F.W.T. Hunger, famous collector of early herbals, with his bookplate. His library was auctioned in 2 catalogues by Menno Herzberger in 1952. The present copy was number 31 of the first catalogue and sold to Rosenthal (according to manuscript note written in our catalogue). F.W.T. Hunger (1874-1952) 'devoted himself exclusively to the history of botanical sciences, and especially to the classical and 16th century herbals In 1917 he was called to the University at Leyden, as a Lecturer later on he became Director of the Institute for the History of medicine and Biology at that town. In his quality of botanico-historian he published numerous articles about prominent scientists of the past ' (From the introduction of the auction catalogue).First two leaves with paper repair at the outer margin with loss of some letters, the following two leaves with paper repair at the outer margin, followed by a few leaved with minor repair at corner(s), last leaf probably taken from a shorter copy, browned and some paper damage with loss of a very few letters. At the end bound in 10 final leaves of the 1533 edition by C. de Grave of the same work. Apart from the mentioned defects a good copy, with some occasional browning.An incomplete copy of the present edition was offered in the famous Klebs catalogue 'A catalogue of early herbals . of Dr. Karl Becher' by L'Art Ancien in 1925. The present work is a Dutch translation of the 'Gart der Gesundheit' first published by Peter Schoeffer in 1485. It is the second edition by Claes de Grave. "In Dr. Klebs's opinion the 'Gart der Gesundheit' was a landmark in the history of botanical illustration, one which marked perhaps the greatest single step ever made in that art; its delineations of plants, breaking away from the traditional stylized woodcut, were not only unsurpassed, but unequalled for nearly half a century. Textually, too it was an original concept, giving a compendium of the whole pharmacy of the early printed works " (Hunt 5). "Claes de Grave's book is a literal translation of the German edition by Peter Schöffer (Mainz 1485)."(Botany in the Low Countries, 7)Nissen BBI, 2290; Hunt 24; Nijhoff-Kronenberg 1052; Botany in the Low Countries (end of the 15th century - ca. 1650), 7.
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Hortus Cliffortianus plantas exhibens in Hortis tam vivis quam siccis, Hartecampi in Hollandia, coluit . Georgius Clifford . Reductis varietatibus ad species, speciebus ad genera, generibus ad classes, adjectis locis plantarum natalibus differentiisque specierum .

LINNAEUS, C. Amsterdam 1737. Folio (445 x 260mm). pp. (xxxii), x, 231, (1); 301-501, (17), with engraved frontispiece, engraved vignette on title and 36 engraved plates. Contemporary boards (spine a bit worn). First edition, large uncut copy of this attractive and important work. "Hortus Cliffortianus, with Genera plantarum and Species plantarum, is the central volume in botanical literature. In it Linnaeus had his first full opportunity to present a detailed catalogue of cultivated plants, in worthy format; and at the time he was feeling his way toward that distinguishing of species and varieties, even that abridgment of botanical names, which culminated in Species plantarum. As the volume was produced at the expense of George Clifford, merchant prince and owner of the gardens at Hartecamp, it stands alone among the many publications of Linnaeus as a really beautiful book. The sensitive and lively drawings of George Dionysius Ehret (1708-1770) and the good engraving of Jan Wandelaar (1690-1759) make the book a treasure . W.T. Stearn notes that the book 'marks the beginning of a new era in botanical illustration and foreshadows the golden century of great flower-book production which extended from 1760 to 1860'. . George Clifford (1685-1760) was an Anglo-Dutch banker, interested in the Dutch East India Company and the proprietor of magnificent gardens and a menagerie at Hartecamp in Holland. He had the good sense to employ both the fine flower-painting artist Ehret and the brilliant young botanist Linnaeus in the production of an illustrated catalogue of the plants growing on his estate" (Hunt 504). His name is commemorated in the genus of South African shrubs, Cliffortia. The book is noted for the number of South African plants illustrated and described (See Kerkham. Southern Botanical Literature 1600-1988, p. 19). Some text leaves with occasional foxing.The allegorical frontispiece is one of Jan Wandelaar's finest inventions. See Calmann pp. 125-6 for an explanation of its symbolism. The botanical plates were all engraved by Wandelaar from drawings by himself and Ehret. The jump in pagination resulted from changing the format during printing from quarto to folio. text leaves.Provenance: Written dedication 'Aan H. Engel met genoegen afgestaan door W ? Clifford, November 1936. (A present given by W ? Clifford to H. Engel). W. Clifford is most likely a descendant of George Clifford and Hendrik Engel is the author of a book on 'Dutch Zoological Cabinets and Menageries'.Hunt 504; Nissen BBI, 1215.
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Ontledingen en Ontdekkingen. Brieven [Brieven seu Werken].

LEEUWENHOEK, A. VAN. Leiden, Delft, Boutesteyn, Krooneveld, Beman, 1684-1718. 4 volumes. 4to (185 x 115mm), with 3 engraved frontispieces (last one with medaillion portrait of Leeuwenhoek), an engraved portrait of Leeuwenhoek, 100 engraved plates (many folding) and 128 engravings in the text (including 2 woodcuts). Contemporary Dutch calf, richly gilt decorated spines in 6 compartments (2 volumes with some skillful repairs to spines). A complete set of Leeuwenhoek's letters in first and second issues. Letters 28-36, 38-47, 53-67 in second issue, all others are first. An absolutely complete set of Leeuwenhoek's letters, very rare, in the original Dutch. "Collected letters of the Dutch pioneer in microscopy, the first to see and describe bacteria, red blood corpuscles, spermatozoa" (Horblit 65). Contains Letters 28-146 and I-XLVI, which is all published. The first 27 letters were published in the Philosophical Transactions of the Royal Society and were not published separately.A complete set such as this is extremely uncommon. The letters in the Dutch language preceded the Latin versions and are thus from a collector's point of view far more desirable than the Latin edition. The first edition of Leeuwenhoek's letters is so rare that the Norman collection only had parts of it and Dobell had only seen one copy.In 1672 Leeuwenhoek began to make his own microscopes with extremely powerful lenses, with which he examined innumerable organic and inorganic structures. Regner de Graaf introduced him to the Royal Society in 1673, and from then on for half a century he wrote long letters to the Society in which he described a vast array of discoveries. He was the first to observe, inter alia, the red blood cells, and he saw the passage of blood from the arteries to the veins in the fin of a fish in 1688. This event was the final proof of Harvey's circulation theory. He first described, in about thirty letters, micro-organisms, including bacteria, protozoa, and rotifers. His discovery of unicellular life made him the father of Microbiology. At the suggestion of the medical student Johann Ham, Leeuwenhoek examined seminal fluid and observed spermatozoa, which he called 'little animals' (animalcula). He was convinced that man was preformed in them, and thus started a long-running debate with the Harveian school. He is one of the greatest figures in the history of microscopy, and is with Hooke the only seventeenth-century microscopist about whose technique anything is known.Leeuwenhoek wrote more than 350 letters to the Royal Society; these were abridged or summarized in English translation in the Philosophical Transactions. The original texts were published in Dutch and in Latin translation. The bibliographical references to the letters in our copy are as follows:Letters 28-31 (Dobell 8a); letters 32-33, 39 (Norman 1302); letters 34-36 (Dobell 8a); letter 37 (Dobell 2); letter 38 (Dobell 5); letter 40 (Dobell 3a); letters 41-43 (Dobell 17); letters 44-45 (Dobell 6a); letters 46-47 (Dobell 7a); letters 48-52 (Dobell 9); letters 53-60 (Dobell 10a); letters 61-67 ((Dobell 12a); letters 68-75 (Dobell 13); letters 76-83 (Dobell 14); letters 84-96 (Dobell 15); letters 97-107 (Dobell 16); letters 108-146 (Dobell 18); Send Brieven I-XLVI (Dobell 19).The outer margin of a very few leaves a bit frayed or browned, else a good copy.Provenance: Signature of Adriaan Jan van den Noort 1831 on free endpaper.Horblit 65; PMM 166 (citing the later Latin edition because of availability); Dobell, Antony van Leeuwenhoek and his 'Little Animals', pp. 392-394; Norman, The Haskell Norman library of science & medicine, pp. 479-482.
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Over de Voortteeling en Wonderbaerlyke Veranderingen Der Surinaamsche Insecten, Waar in Surinaamsche Rupsen en Wormen, met alle derzelver Veranderingen, naar het leeven afgebeelt en beschreven Waar in ook wonderbare Padden, Hagedissen, Slangen, Spinnen en andere zeltzame Gediertens worden vertoont en beschreven. Alles in Amerika

MERIAN, MARIA SIBYLLA. Amsterdam, By Jean Frederic Bernard, 1730. Folio (515 x 355mm). pp. (8), 51, (1), with engraved title vignette and 72 splendidly hand-coloured engraved plates (Together with:) MERIAN, MARIA SIBYLLA. De Europische Insecten. Naauwkeurig onderzogt, na 't leven geschildert, en in print gebragt . Met een korte Beschryving, waar in door haar gehandelt word van der Rupsen begin, Voedzel en wonderbare Verandering . Amsterdam, J.F. Bernard, 1730. Folio. pp. (4), 84, with engraved title-vignette, 184 splendidly hand-coloured engraved plates printed on 47 leaves and a hand-coloured engraving on page 84. Contemporary Dutch calf, richly gilt decorated spine in 10 compartments, old spine laid down with some repair at head and foot, corners with old repair. (I). Third Dutch edition and the second enlarged edition adding 12 plates to the 60 of the 1705 edition. One of the finest coloured copies we have seen of this important work. Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company, she decided to visit the Dutch colony of Surinam herself to study and paint the insect life there. She sailed with her daughter Dorothea on June 1699 from Amsterdam, and remained in Surinam until 1701. Her work, first published in 1705 with sixty plates, 'gave an unprecedented glimpse of the teeming insect life of tropical South America, with gorgeous butterflies flying around luxuriant flowering or fruiting plants and with large many-coloured caterpillars crawling over the leaves. [The plates] have earned Maria Merian an honoured place in the history of tropical entomology as also in botanical illustration' (W.T. Stearn, introduction to The wondrous transformation of caterpillars 1978).The work opens with an imposing frontispiece which shows the artist studying specimens presented to her by six putti. In the background a spacious arch opens onto a tropical landscape. The foreword is full of fascinating information, the author describing in detail her venturesome and costly voyage and the methods she employed when painting. Each insect was carefully examined, often with the aid of a microscope, and depicted together with the plant, flower or fruit on which it normally fed. Each written entry begins with useful botanical information, thus providing us with indications as to how the artist composed her pictures.'Merian's sensibility to the minutest aspects of the natural world, and her rich visual vocabulary (the fruit of a lifetime of study and practice), is reflected in every detail of the work. It contains a myriad of exotic species, most of them shown in the various phases of their life-cycle.'Merian's vision was certainly not one of an idyllic tropical paradise: in not a few of her paintings she has depicted next to the insect its natural predator. As Luigi Figuier colourfully expressed it: "Every one of her paintings depicts a drama in miniature". The implacable laws of nature do not spare the splendid tropical flowers depicted by the artist, who often saw the fresh green leaves and fleshy, vividly coloured petals as nourishment offered up to ravening insects' (Lucia Tongiorgi-Tomasi, An Oak Spring flora pp 382-3).Botanical notes on the plants depicted were supplied by Caspar Commelin. For this edition 12 further plates with accompanying text were added; the first ten by her daughter Johanna after making her own voyage to Surinam, and using materials left at Maria's death, and the last two by the great collector Albert Seba.(II). First Dutch edition. This work in its earliest form was published as Merian's 'Der Rupsen Begin, Voedzel en Wonderbaare Verandering' (1713-1717), which was issued in 3 parts in 4to. Merian's 'De Europische Insecten', includes her earlier published 'Blumenbuch', of which the first edition of 1675-1680 was sold a few years ago at auction for Pounds 565,250 (including premium). Of the second edition renamed 'Neues Blumenbuch' only 6 copies have survived. Frédéric Bernard, the publisher of the 'De Europische Insecten .', had purchased the copper plates of the 'Der Rupsen Begin' and the 'Blumenbuch' from Johannes Oosterwyk, and believed that the plates for the 'Blumenbuch' had not previously been published, which suggests that Merian's earlier work had already been forgotten. Maria Sibylla Merian was one of the first to observe and describe metamorphoses of European insects, portraying, describing and publishing them with painstaking precision. Her 'Der Rupsen Begin' is a pioneer study. It is dedicated to 'explorers of nature, art-painters and garden lovers'.Maria Sibylla Merian was one of the most remarkable naturalists of the 17th and 18th century. Already at the early age of thirteen she began studying insects. She became the most celebrated woman artist of her time and many of her drawings were acquired by Tsar Peter the Great. "The work of these years consisted of both scientific and artistic activity: Merian collected and raised insects, fed them with their host plants, observed them, described and drew their metamorphoses from egg to caterpillar and from pupa to butterfly imago. She then compiled her individual observations and studies in pictorial compositions" (Maria Sibylla Merian, Artist and Naturalist 1647-1717, p. 103).Provenance: Old bookplate of E. Grendel.(I) Pfeiffer B6; Hunt 484; Nissen BBI, 1341. (II) Pfeiffer A9; Nissen BBI,1342.
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Diversae Insectarum Volatilium icones ad vivum accuratissimè depictae per celeberrimum pictorem.

HOEFNAGEL, J. (Amsterdam), Nicolao Ioannis Visscher, 1630. Oblong-4to (230 x 187mm). 16 engraved plates (including the title-page). (Together with:) LE ROY, H. Le Jardin des Sauterelles et Papillions ensemble la diversité des Mouches. Paris no date, probably before 1635. 15 engravings (including the title-page). The title has been loosely inserted and the others have been mounted in pairs. Later half vellum, marbled sides. (I) First edition of one of the earliest works dealing exclusively with insects. Jacob Hoefnagel (1575-ca.1630) was the son of the famous Georg Hoefnagel (1545-1600), an Antwerp artist employed by the dukes of Bavaria and latterly making illustrations of botanical and zoological specimens in the cabinet of the Emperor Rudolph II, at Prague. Jacob was an engraver who learned the craft by engraving copies of his father's paintings."A pattern or copy-book for artists, displaying on sixteen plates about 340 insects, mostly larger than life. According to Bonnanni's 'Micrographia Curiosa', published in 1691, a form of microscope was used in the preparation of some of the drawings for this book, but as the drawings in question were made before 1592, it is more likely a single convex lens and not a compound instrument was employed. Wedderburn, 'Quatuor Problematum' (Padua 1619), reports how Galileo had used his telescope to magnify the parts of insects, and this at present is the earliest certain account we have of the use of a microscope" (Goldschmidt Cat. 165, no. 76). Nevertheless, the pictures in Jacob Hoefnagel's 'Diversae Insectarum' "unmistakably indicate the use of the magnifying glass. So far as known, the pictures of Hoefnagel are the earliest printed figures of magnified objects" (Locy, The Story of Biology, p. 199).The 16 beautiful engravings depict 37 Coleoptera, 22 Orthoptera, 14 Odonata, 16 Neuroptera, 72 Lepidoptera, 35 Hymenoptera, 78 Diptera, 21 Hemiptera, and 7 larvae; all together 302 insects, with the exception of two all belonging to the insect-fauna of central- and north Germany. The present work is one of the greatest entomological rarities and as Hagen already indicates in 1862, he had only seen one copy offered during the last 20 years. A good copy with strong and clear impressions printed on strong paper.(II) "Le Jardin de Sauterelle et Papillons" (The Garden of grasshoppers and butterflies) is probably the rarest suite of engravings on insects. Henri le Roy (1579-1652) was a Parisian engraver. Very few copies, complete as the present one survived. The British Museum has a complete copy which comes from the collection of Hans Sloane (1660-1753) whose huge collection of books and natural history materials formed the basis of the British Museum. The fifteen engraved plates show individual flowers, butterflies, caterpillars, grasshoppers, dragonflies, snail and various other insects. The title-page shows 2 figures, a male and a female, holding a drape, surrounded by insects. The date of publication is unknown. The work was probably intended to serve as a pattern book for craftsmen working in the decorative arts such as embroidery or metalwork.Huzard only had 11 engravings, see 'Catalogue des livres' 4225. Horn & Schenkling 18599 list a copy with 6 plates. Wilhelm Junk in his catalogue 'Bibliographia Lepidopterologica' of 1913 lists a copy with 7 plates.Small gallery of worming at the inner margin of the last 9 leaves of the Hoefnagel and the first 2 leaves of the Le Roy, not affecting the engravings. Engraved title of Le Roy with some slight damage not affecting the illustration.Provenance: armorial bookplate, probably of Pierre Dupont (circa 1577-1640) with 'Mediis tranquillus in undis' (Calm in the midst of waves). In manuscript below 'A Paris en la Gallerie du Louvre 1635' and above 'Livre 56 des insects contenant 89f ; pour Pierre Dupont '. The text is partly illegible. Most likely the book was part of the library of Pierre Dupont's 'Gallerie du Palais du Louvre' famous for its fine tapestries and the engravings served as examples for his tapestry designs.(I) Nissen ZBI, 1995; Hollstein IX, p. 46; Ford, Images of Science p. 51 (showing 2 plates). (II) Horn & Schenkling 18599.
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La Botanique mise à la portée de tout le monde ou collection des plantes d’usage dans la médecine, dans les alimens et dans les arts.

REGNAULT, N.F. Avec des notices instructives pulsées dans les auteurs les plus célèbres, contenant la description, le climât, la culture, les propriétés et les vertus propres à chaque plante. Précédé d'une introduction à la botanique, ou dictionaire abregé des principaux termes emploiés dans cette science. Paris, chez l'auteur, 1774. 3 volumes. Large folio (488 x 366mm). With 3 handcoloured engraved titles and 472 handcoloured engraved plates. Recent green half morocco, richly gilt decorated spines with 2 red gilt lettered labels and 5 raised bands, marbled sides. First edition. According to Blunt "Perhaps the most impressive French botanical book of the period is François Regnault's 'La Botanique' with nearly five hundred hand-coloured etchings. Many of these plates are the work of Genéviève de Nangis Regnault. The book deals with useful and decorative plants, and the author engagingly described the potato 'as possibly the only good thing that ever came out of America'". Regnault was a French physician and botanist and his wife drew and engraved most of the plates. Our copy contains the 'Table des Maladies' and 'Table des noms des Plantes' bound at the end of volume 3.There is some occasional slight discolouration to the paper, last 25 leaves of third volume with small damage at the outer margin.Great Flower Books, p. 72: "A very impressive book"; Dunthorne 256; Nissen BBI, 1600 (erroneously quoting 475 plates); Stafleu & Cowan 8810.
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Species Muscorum Frondosorum descriptae et tabulis aeneis LXXVII coloratis illustratae.

HEDWIG, J. Opus posthumum editum a Friderico Schwaegrichen. Leipzig, J.A. Barth; Paris, A. Koenig, 1801. 4to (250 x 205mm). With engraved vignette on title and 77 hand-coloured engraved plates (with:) SCHWAEGRICHEN, C.F. Species Muscorum Frondosorum descriptae et tabulis aeneis coloratis illustratae opus posthumum. Supplementum I-IV. Leipzig, Paris, London 1801-1842. 11 volumes, bound in 7. 4to (250 x 205mmn). With 326 hand-coloured engraved plates. Contemporary uniform half vellum, black boards. The most important work on mosses. "The starting point for the nomenclature of Musci (Sphagnum excepted) . Schwaegrichen published along series of supplements to Hedwig's 'Species Muscorum', which are, botanically, complete new works, mentioning all species anew, though, of course, referring to Hedwig" (Margadant pp. 141 & 144). "This work, 'Species Muscorum Frondosorum'(1801), published two years after his death, was later accepted as the valid starting point for the nomenclature of mosses. Hedwig showed the close relationship between mosses and liverworts, and also defined clearly, for the first time, the characters which separate these two groups" (Morton p. 322). This work was posthumously edited by C.F. Schwaegrichen, who succeeded Hedwig as Professor of Botany and Director of the Botanical Gardens in Leipzig. A complete set with all the supplements, such as offered here, is extremely rare.Nissen BBI, 830; Stafleu & Cowan 2532 & 11427.
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Historiae animalium liber IIII. qui est de piscium & aquatilium

GESSNER, C. Zurich, Conrad Froschauer, 1558. Folio (395 x 245 mm). pp. [xl], 1297, with printer's device on title and 737 woodcuts in text, all in outstanding publisher's hand-colouring; a few minor tears in blank margins repaired, some minute wormholes occasionally touching a letter of text, faint waterstaining on upper corner of some gatherings, overall an exceptionally clean and fresh copy in contemporary German blind-stamped pigskin over wooden boards, with clasps. First edition, in fine publisher's hand-colouring, of Gesner's history of fish and aquatic animals. This is the fourth volume of his great encyclopedia of the animal kingdom, the first systematic treatise on zoology of the Renaissance. The woodcuts form the fourth great series of ichthyological illustrations, after Belon (1551), Rondelet (1554) and Salviani (1554), but are also the first general series of marine illustrations not confined to fish. A number of molluscs, crustaceans, shells, coral, and other marine organisms and products are illustrated.The original drawings for many of these illustrations were recently discovered in the Amsterdam University Library; the colouring of these match in most cases that of the publisher's colouring, and establishes that they were the templates not only for the woodcuts but also their colouring.'Many of the images given to Gessner are found in the two Amsterdam albums, which together comprise 369 sheets; 235 images on these sheets (which generally show two or three images per sheet) match illustrations in Gessner's printed works on fish. The aquatic album, with 225 sheets, has 159 matches with Gessner's printed illustrations. The percentage (but not the actual number) of matches with printed illustrations by Gessner is considerably higher for the album containing images of viviparous animals than for the fish album: 76 out of 137 (i.e. slightly more than half) of the Gessner's printed illustrations of viviparous animals match images in the Amsterdam album; 159 out of a total of 524 (i.e. just under a third) of Gessner's printed fish illustrations match the Amsterdam drawings' (Egmond 2016). A detailed study of these has been published by Florke Egmond in 2018. See Florike Egmond and Sachiko Kusukawa, 'Circulation of images and graphic practices in Renaissance natural history: the example of Conrad Gessner', Gesnerus 73/1 (2016), pp 29-72 and Conrad Gessners 'Thierbuch'. Die Originalzeichnungen, Darmstadt 2018.Adams G538; Horblit 39; Nissen ZBI 1553 PMM 77; Wellisch 26.1
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Insectorum sive Minimorum Animalium Theatrum: Olim ab Edoardo Wottono, Conrado Gesnero, Thomaque Pennio inchoatum .

MOFFET, T. Londini, ex Officina typographica Thom. Cotes, 1634. Folio (295 x 190mm). pp. (20), 326, (4), title-page with woodcut of a bee hive surrounded by various insects and about 500 woodcuts in the text, 4 full pages with woodcuts of insects at end. Later vellum. First edition, third issue, with the same collation as given by Lisney (Bibliography of British Lepidoptera, p. 8), who also amply describes the other issues and the interesting and complicated genesis of the work. It is the first book dealing entirely with Entomology to be published in the British Isles. "Ulysses Aldrovandi's 'De Animalibus insectis' (1602) was the first book to be devoted to insects. It was followed by Thomas Moffet's (1525-1605) 'Theatrum Insectorum' in 1634. The manuscript of this remarkable work, the first book on insects to appear in England, was actually begun before Aldrovandi's but its publication was delayed; however when it eventually appeared the book proved to be very successful and sold well. The woodcuts in the printed work are superior to those in the Aldrovandi work, and many of the butterflies can be identified" (P. Gilbert p. 2). Moffet's work remained unpublished during his lifetime, the manuscript eventuelly came into the hands of the physician and scholar, Sir Theodore de Mayerne who was able to find a publisher. Last leaf with small paper repair at the lower outer corner, the missing legs of an insect have been supplied by pendrawing. A few leaves with some tiny marginal worming. An attractive copy of this important work.Nissen ZBI, 2852.