Instrumens Aratoires inventés, perfectionnés, dessinés et gravés, Par M. Ch. Guillaume, avec une explication des figures. Ouvrage dédié à MM. les cultivateurs. Cet Ouvrage, ainsi que les Instrumens qui y sont mentionnés, se vendent à l’atelier de l’Auteur, rue du Faubourg Saint-Martin. - Rare Book Insider
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GUILLAUME, Charles.

Instrumens Aratoires inventés, perfectionnés, dessinés et gravés, Par M. Ch. Guillaume, avec une explication des figures. Ouvrage dédié à MM. les cultivateurs. Cet Ouvrage, ainsi que les Instrumens qui y sont mentionnés, se vendent à l’atelier de l’Auteur, rue du Faubourg Saint-Martin.

Paris, Imprimerie de Madame Huzard, Janvier 1821. In-folio oblong de (28) pp. et 12 planches numérotées. Rares rousseurs sur les planches. Plein maroquin vert à grain long, plats ornés d’une dentelle droite en encadrement, armes au centre surmontant la mention frappée en lettres d’or « Atlas d’Instruments Aratoires », dos lisse orné, roulette intérieure et sur les coupes, tranches dorées. Reliure armoriée de l’époque. 275 mm. x 417 mm. Edition originale rare représentant les « Instrumens Aratoires inventés, perfectionnés, dessinés et gravés par Charles Guillaume » sous l’empire et la restauration. La mise au point de sa « Charrue à la Guillaume » améliora la productivité agricole française à la veille de la révolution industrielle et permit par là même le premier exode rural qui fournit les ouvriers de l’industrie nationale. « Cet ouvrage, que M. Guillaume dédie à MM. les cultivateurs, est le fruit de son amour pour le premier et le plus utile des arts, et de son zèle ardent pour sa prospérité. Fils de cultivateur, il résolut de se consacrer entièrement au perfectionnement des instrumens aratoires connus, et à l’invention de quelques autres dont il sentit le besoin et l’utilité pour l’agriculture. Il présenta au concours de la Société central d’Agriculture du département de la Seine, une charrue qu’il avait perfectionnée dans toutes ses parties, et particulièrement en ce qui regarde le soc, le versoir et la ligne de tirage. Le 5 avril 1807, cette charrue fut couronnée, et la Société décerna à son auteur une médaille d’or et un prix de 3 000 francs. Cet instrument fut considéré principalement sous le rapport le plus important, le ligne de tirage, comme le meilleur non seulement de ceux qui avaient été envoyés au concours, mais encore de tous ceux qui avaient été connus et mis en usage jusqu’à ce jour. Depuis, on en a parlé avec distinction, dans plusieurs ouvrages, sous le nom de charrue à la Guillaume. Dans cet ouvrage, il a réuni la collection de toutes les machines et outils qu’il a inventés dans le seul but de contribuer à rendre la culture des terres plus parfaites, plus économique, plus facile, et conséquemment plus agréable. Il a cherché par tout à joindre la solidité à la simplicité. » Le volume, orné de 12 estampes à pleine page, décrit la Charrue à la Guillaume, celle dite « Tourne-oreille », « l’Araire perfectionnée, la Houe à Cheval, la Charrue à deux et quatre raies, le Ratissoire de jardinier, la Herse triangulaire, l’Extirpateur, le Scarificateur, le Brise-Mottes, la Hache paille, le Ratissoire à cheval, le Coupe-Racines, le Moulin à bras, la batterie à battre toutes sortes de grains, le rouleau cannelé pour battre le bled ». Exemplaire imprimé sur grand papier vélin relié en maroquin vert de l’époque aux armes du Tsar Alexandre Ier, Paulowitz, petit-fils de Catherine II, empereur de toutes les Russies, né en 1777, mort en décembre 1825 à Taganroy.
More from Librairie Camille Sourget
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Les trois Siècles de la Littérature française ou tableau de l?esprit de nos écrivains, depuis François Ier, jusqu?en 1779 : par ordre alphabétique.

SABATIER DE CASTRES, Abbé La Haye et Paris, chez Moutard, 1779. 4 volumes 12mo of : I/ cvii pp. (small hole p. xxi), 387 pp. ; II/ (1) l., 488 pp. ; III/ (1) l., 454 pp. ; IV/ (1) l., 443 pp., small tear in the white margin of the last p. Bound in full mottled calf, the covers stamped with the coat of arms of Queen Marie-Antoinette under the royal crown in a triple frame with small gilt tool, flat spines decorated with foliage and acorns, green morocco title-pieces, titles in gold lettering, bearing the gold mark “C.T.” (Château Trianon) under the royal crown for the Petit Trianon, mottled edges. Contemporary royal bindings. 167 x 99 mm. Partly original edition of “Three Centuries of French Literature” by Abbe Sabatier de Castres. Sabatier often harshly attacked Voltaire in Les Trois siècles. Voltaire, of course, reacted strongly. He called him l’abbé Sabotier (M, vol. X, p. 197; vol. XXIX, p. 39). In his correspondence, he cannot find words harsh enough against “the vilest of scoundrels” (D19090). In the Dedicatory Epistle to the Lois de Minos, Sabatier is considered to be “the most wretched and lowly writer” imaginable (M, vol. VII, p. 172). Sabatier was not only opposed to Voltaire, but to the entire Enlightenment movement. It was a “tyrannical and inconsistent philosophy [ ] [that] suffocates or corrupts the germ of talent” (T.S., vol. I, pp. 1-2). In short, the new literature was characterized by “an imposing tone, a dogmatic style, mannered jargon, sententious phrases, enthusiastic feelings, the repetition of those parasitic words humanity, virtue, reason, tolerance, happiness, philosophical spirit, love of humankind and a thousand other terms that have become the safeguard of ineptitudes” (Corr. litt., p. 241). In Les Trois siècles, Condorcet, Diderot, Duclos and Marmontel are treated without mercy; only Condillac and Rousseau find favour in Sabatier’s eyes, Rousseau in particular: “he cannot be disputed for the glory of eloquence and genius and for being the most masculine, profound and sublime writer of this century” (vol. IV, p. 139). Les Trois siècles de la littérature française led to his fame, but also made him many enemies. Sabatier’s authorship of Trois siècles was disputed. Abbé Martin, vicar of the parish of Saint-André-des-Arts, to whom Sabatier “went every morning to study and learn” (M.S., 7 August 1774, t. VII, p. 225), was presented by J. Lenoir-Duparc in his Observations sur les Trois siècles de la littérature française (1774) as the true author. Abbé Beaudoin, grand maître of Cardinal Lemoine’s college, supported this interpretation. The case dragged on and began to be heard at the Châtelet in May 1780, even though Abbé Martin had died in the meantime. In the end, a ruling on 4 July 1780 settled the matter: Sabatier was to acknowledge in writing that Abbé Beaudoin was “a man of probity and honour“; each party was to waive its claims for damages; and Sabatier was to pay the costs of the ruling. In his Mémoires sur la littérature, Palissot complained of having been plagiarized by Sabatier. The Memoirs, he said, had “almost always been pillaged and dishonored in the slightly reasonable things he [Sabatier] said” (Palissot, t. V, p. 309). Sabatier defends himself in his unpublished Articles inédits de la 7ème édition des Trois siècles (pp. 14-16). According to the M.S., it was thanks to the “reputation” that his Trois siècles had earned him in “the opposing party” that Sabatier was appointed tutor to the children of Vergennes, Minister of Foreign Affairs, in January 1776. A precious and beautiful copy, specially bound for the personal library of queen Marie-Antoinette at the chateau de Trianon. Marie-Antoinette encouraged the arts, by supporting Gluck against the cabal and routine, and literature, by protecting Chamfort and Delille, and she showed herself, in the long agony of the bad days, to be the worthy daughter of the great Marie-Therese.
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Estat present de l?Eglise et de la colonie françoise dans la Nouvelle France, par M. l?Evêque de Québec.

[SAINT-VALLIER (Jean Baptiste de La Croix de Chevrières de)]. Rare first edition of this superb description of the Indian tribes of Canada and of their relations with the French colons, printed under the reign of Louis XIV. Brunet, supp., II, 567; Church 707; Harrisse, 159; Leclerc, p. 331, 1358; Chadenat, 4947; Sabin, 172. Jean de Saint Vallier, appointed Bishop of Quebec to replace Mr de Laval, who resigned, wanted to know his diocese, which he visited from May 1685 to January 1687 before taking possession of it. The following year, upon his return to France, he published in the form of a long letter to one of his friends the account of his impressions. "This small work is well written, and worthy of its author, who has governed this church for more than forty years, and has left illustrious marks of his charity, his piety, his disinterest and zeal? Charlevoix. ?The book contains an account of the bishop?s visit to Canada in 1685, to examine the state of his diocese. An account is also given of the Indian tribes and their relations with the French settlers? (Sabin) Written in a concise, clear and elegant style, this travel recounts the daily habits and customs of the Indians, their relations with the French missionaries, the cultivations, the life of the different religious communities of the Ursuline, Hospitaller, Recollet, but it also provides more prosaic information. The trip to Acadia occupies an important part of the work; follow the description of the Hurons and other populations, of a pleasant contact and very open to the Catholic faith. This first edition of the utmost rarity was also published with a different title that same year (Relation des missions de la Nouvelle France) and it was reissued in 1856. Very pure copy with wide margins preserved in its contemporary calf binding. Provenance: Dampierre with engraved ex libris.
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La première [et seconde] partie des desseins artificiaulx de toutes sortes des moulins à vent, à l’eau, a Cheval & à la main, avec diverses sortes des pompes & aultres inventions, pour faire monter l’eau au hault, sans beaucoup de peine & despens, jamais veux par cy devant. Faits et mis tracez tant pour l’exercice des amateurs de telles sciences, que pour le bien de ceulx, qui ou en temps de guerre ou de paix en auroint à faire. Par feu le tres noble seigneur lacques de Strada a Rosberg, Bourgeois Romain, Antiquaire & Commissaire de guerre des Emppp. Ferdinand, Maximilian & Rodolphe II. Maintenant mis en lumière & publiéz par Octave de Strada a Rosberg. Bourgeois Romain, Nepueu & heritier unique du dit Seigneur.

STRADA A ROSBERG, Jacopo et Ottavio de / BRAMER, Benjamin Francfort sur le Main, Paul Jacques, aux despens dudit Octave, & se vendent en la boutique de Lucas Jennis, 1617-1618. Folio of (10) pp., 50 double plates numbered from 1 to 50 ; 18 pp., (1) bl.l.; 50 plates numbered from 51 to 100; bound at the time like most of the rare copies that appeared on the market without the 8 explanatory ll. of the first part like the Christie’s copy of June 12, 2013 bound in modern vellum (sold for 11 000 €) and the Koller copy of April 2, 2012; these two copies were considered complete. 5 pl. slightly foxed, pl. 22 and 64 browned, pl. 57 and 66 torn without loss, pl. 67, 68, 93 and 94 are bound backwards. Full Havana calf, covers entirely surrounded with various blind-stamped borders and fillets with gilt fleurons in the corners and gilt central fleuron, spine gilt ribbed, blued edges. Beautiful contemporary binding. 289 x 183 mm. First edition fully complete with its 100 engravings published simultaneously in French and German. Exceedingly rare work on mills and their mechanics. First and unique edition, published at the same time as a German edition (the German edition will be republished in 1623), consisting of a dedication, a few explanatory pages but above all of 2 beautiful frontispieces and 100 etchings on double pages (fine issue of the engravings) depicting various types of mechanical systems intended to operate ornamental fountains or animal troughs, to grind grain or other products, to extract ore, to operate saws for cutting wood, to lift bales, to turn roasting ovens (pl. 49), to make paper (pl. 100), etc., all driven by men, beasts, water, wind or counterweight. The plates are engraved by Balthasar Schwan and Eberhard Kiefer after drawings by Jacopo Strada (Mantua 1507-1588 Prague), a pure Renaissance mind of many talents, since he excelled as a goldsmith, machine inventor, numismatist, linguist, art collector and dealer, but above all as a painter and architect in the service of three successive Habsburg emperors: Ferdinand I, Maximilian II and Rudolf II. Ottavio Strada (1550-1612) published the drawings of his uncle (see title) or grandfather (see dedication) almost 30 years after the latter’s death, thus lagging behind recent innovations. He dedicated the first part to the Duke of Bavaria Frederick V, whose large coat of arms are printed halfway down the page, and the second to the governors of the United Provinces. The few explanatory pages are by Benjamin Bramer (1588-1652), a German architect and mathematician, who « espère de monster (Dieu aydant) en bref aussi apprès la publication de toutes les machines de nostre auteur, quelques aultres desseings de ma propre invention ». The beautiful titles by Matthias Merian show Archimedes, Vitruvius, Hermes and Diane as well as small scenes with windmills, watermills, rotation systems, etc. “First edition of Strada work on engineering designs, mills, pumps, and other machinery. Jacobus de Strada was a slightly older contemporary of Ramelli, whose own work on mechanical engineering was published in the year of Strada’s death. It is clear that each man’s work was independent; Beck suggests that Strada may have been aware of Ramelli’s publication and decided against publishing his own designs in deference to the Italian. For whatever reason, publication was posthumous, edited by his grandson Octavius, and the 30-year delay resulted in Strada’s designs losing their innovative edge. Nonetheless, the work shows Strada’s close attention to detail and illustrates a wide range of machinery and engineering. One mill (plate 90) is described as best for producing ink black and is also ideal for such things as mustard, where the operator needs a certain distance from the burning dust (Cf. T. Beck, Beitraege zur Geschichte des Mashinenbaues, chapter 23.)” A superb copy very well preserved in its elegant blind-stamped contemporary binding.
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Histoire et Cronique du Petit Jehan de Saintré et de la Jeune Dame des Belles Cousines, sans autre nom nommer ; Collationnée sur les manuscrits de la Bibliothèque Royale et sur les éditions du XVIe siècle.

LA SALE, Antoine de. First issue, limited to 250 copies, of this superb illustrated edition of the Little John of Saintré. Morgand et Fatout, n°8934; Carteret, III, 292; Graesse, III, p.459. These 250 copies were “printed on a parchment-like paper, especially made for a collection of ancient novelists whose Little John of Saintré will be the specimen.” (Notice). “Text printed in Gothic characters with vignettes, decorated letters, fleurons after a 16th century edition; around 250 engravings. Black issue and 200 colored copies. Book quite typical of the Romantic period, charmingly illustrated by Eugène Lamy.” (Carteret). “There are some copies on parchment paper, with the vignettes and the fleurons colored (60 fr. – 40 fr. Asher).” Graesse, III, p.459. “Tale by Antoine de La Salle (1388- around 1469) entitled: Histoire et plaisante chronique du petit Jehan de Saintré et de la jeune dame des Belles Cousines. Written in 1456, this work was published for the first time in 1517 and reprinted several times. A young page, John of Saintré, is attached to the House of the French King John II of France and makes friends with a young lady, la ‘Dame des Belles Cousines’. Knowing that the page isn’t linked to anyone, other than a ten-year-old child, the Lady tries to make his education in order for him to become a real knight. To do so, she gives him some advices and pushes him to try big. In the meantime, she is careful that he is dressed properly and provides him with the necessary. Then she has him appointed king’s equerry and incites him to leave for distant lands. Quick enough, from adventures to adventures and from tournament to tournament, John becomes famous. The Lady giving him more and more difficult tasks, the brave young man sees himself rewarded with honors and charges. But the Lady starts a gallant relationship with a rich abbot. Very upset by this discovery, the handsome knight tries to regain the first place in the Lady’s heart. And he will fight until he has unmasked the impudent seducer and forced the Lady to repent. The contrast between the libertine love life of the abbot and John’s feelings bursts in the most shining way, whereas the narration keeps an extremely fast flow, despite the considerations, the dialogs and the various descriptions. The work is the one of a man who admires this harmonious world of the French 15th century, inevitably condemned to decline. The style is always clear, but manifests some kindness for prolixity, less taken from the sources of a first Renaissance than from the traditional themes. Indeed, the Little John of Saintré is still like the Middle Ages literature, though the author, in the guise of exalting the ending chivalry, mocks it with a delicious and merciless irony.” (Dictionnaire des œuvres, V, p.237). “Antoine de La Sale (ou La Salle), French writer, born around 1398, dead after 1461. We know little about his life. He traveled, young, to Italy. He tells us himself that in 1422 he was in Rome. There was an entire generation of spiritual and skeptical writers, qualities that are noticeably reflected in La Sale’s writings. Among these writers, we will especially mention Poggio, author of the ‘Facéties’, imitated by La Sale in the fiftieth of the ‘Cent Nouvelles nouvelles’, and so often involved in the entire compilation. [.] La Sale composed, in the same place and around the same time (1456), another book whose literary merit isn’t any less important than any of his previous works. L’Hystoire et plaisante Cronicque du petit Jehan de Saintré et de la jeune dame des Belles-Cousines opens, in the manuscripts, with a dedicatory epistle. This epistle is signed by Antoine de La Sale and dated from Geneppe, September, 25th, 1459. The author, in this preliminary, dedicates his work, his masterpiece, to the same Jean d’Anjou, duke of Calabre and of Lorraine, whose he was the private tutor of.” Nouvelle biographie générale, XXIX, pp.711-712. The illustration is composed of 5 illuminated engravings including 1 full-page and many initial letters, ornaments and fleurons illuminated and enhanced with gold. Superb copy, one of 200 colored, preserved in its red morocco binding signed by Cuzin. Provenance : Léon Rattier and Jean Jacobs with ex-libris.
  • $3,882
  • $3,882
THE CELEBRATIONS OF THE DUCHY OF CLEVES. Beschreibung derer Fürstlicher Gülig’scher Hochzeit

THE CELEBRATIONS OF THE DUCHY OF CLEVES. Beschreibung derer Fürstlicher Gülig’scher Hochzeit, so zu Düsseldorff mit grossen freuden, Fürstlichen Triumph und herrligkeit gehalten worden (DESCRIPTION OF WILLIAM, DUKE OF JÜLICH-CLEVES-BERGS AND MARIA JACOBA’S WEDDING, celebrated in Düsseldorf, on June 10th 1585).

GRAMINAEUS Cologne, 1587. Folio [277 x 185 mm] of (142) ll. A few tears formerly restored. Full light-brown roan, blind-stamped border around the covers, spine decorated with a gilt Greek pattern, restorations on the spine and on the back cover, mottled edges. Binding from the end of the 18th century. First edition of this celebration book “of the utmost rarity”. (Vinet, Bibliographie Méthodique et raisonnée des Beaux-arts, n° 722). “There were several editions of this volume of the utmost rarity, omitted by Brunet. The first issue, published without date in 1585, is composed of 10 etchings by Hogenberg, with engraved text, in German verses, by Th. Gramjn. The second issue is composed of 36 engraved leaves. The third is the present one, published as a volume, with a German text, printed in mobile characters, and double plates printed inside the text.” Vinet. Actually, both first issues are only booklets (10 plates for the first one, 36 leaves for the second one), only the third state offers a complete description of the celebrations and rejoicings of June 10th 1585 in Düsseldorf with 142 text leaves, a superb frontispiece and above all 37 engraved plates on double-page. Are narrated: “Arrival in Düsseldorf, wedding ceremonies, wedding diner, ball, buffet, masquerade, jousts of fantasy animals on the Rhine, fight on the marketplace in Düsseldorf, here is what is depicted on the plates. We will especially underline the 5th plate. It shows a dinner service in the 16th century, lord service with all the goldsmitheries and ornaments of the most peculiar taste; we will even mention the frontispiece, richly composed and in which the sacred and the secular are mixed or confronted together.” Vinet. Exceptional copy which frontispiece and the 37 engraved plates on double-page have been contemporary hand-colored. The volume also includes a 38th engraved plate on double-page, in black. The rarity of this book is proverbial. Over the past 51 years, only one complete copy in contemporary coloring appeared on the market, in 1972.
  • $94,273
  • $94,273
Traité de la construction théorique et pratique du scaphandre

Traité de la construction théorique et pratique du scaphandre, ou du bateau de l homme. Approuvé par l Académie Royale des Sciences Volume in-8 enrichi de Figures en taille-douce.

LA CHAPELLE, Jean-Baptiste de. Paris, chez Debure père & chez l’Auteur, 1775. In-8 de xlviii pp., 328 pp., (3) ff., (1) f.bl., 4 gravures sur 2 planches hors texte dépliantes. Veau marbré, filet à froid autour des plats, dos lisse orné de fleurons dorés, pièce de titre de maroquin rouge, tranches marbrées. Reliure de l’époque. 182 x 98 mm. Première et unique édition de la première description du scaphandre, l’invention nouvelle de Jean-Baptiste de La Chapelle. Le mot « scaphandre », du grec skaphe (barque) et andros (homme), fut utilisé pour la première fois en 1775 par l’Abbé de la Chapelle dans son ouvrage Traité de la construction théorique et pratique du scaphandre ou du bateau de l’homme. L’invention de l’Abbé de la Chapelle consistait en un costume réalisé en liège et permettant à des soldats de flotter et de traverser les cours d’eau. « L’Abbé Jean-Baptiste de La Chapelle est un mathématicien français, né vers 1710, mort à Paris, en 1792. Censeur royal, membre de quelques Académies de province et de la Société royale de Londres, il passa sa vie dans la retraite, partageant son temps entre l’étude et la société de quelques amis. Il s’occupa surtout de mathématiques, et fit quelques découvertes utiles, parmi lesquelles on compte ce qu’il appela le scaphandre, appareil en liège au moyen duquel l’homme peut marcher à la surface des eaux tranquilles. L’auteur en fit plusieurs fois l’essai lui-même sur la Seine. » (Nouvelle biographie générale, XXVIII, 509-510). « Cette espèce de cuirasse permet de faire à la nage toutes sortes de manœuvres comme de manger, boire, lire, écrire, combattre, charger le fusil ou le pistolet, tirer, chasser, pêcher, se sauver des naufrages, sans jamais pouvoir couler au fond, calfater un vaisseau en pleine mer, ou l’y radouber, faire passer à un corps de troupes, sans ponts, sans bateaux, sans radeaux & surtout sans bruit, les plus grands fleuves et les plus rapides, lui faciliter une descente par mer, sur une côte ou sur une terre. L’auteur décrit par le menu les périls de la mer ainsi que la combinaison avec laquelle il gagna une importante notoriété en traversant à de nombreuses reprises la Seine. Composée de toile et de cuir, son invention ne permet pas encore d’évoluer sous la surface de l’eau, mais propose un système de flottaison destiné aux troupes de marine et au sauvetage lors des naufrages. L’illustration est composée de 4 belles gravures sur cuivre imprimées sur 2 planches dépliantes dessinées et gravées par J. Robert. Elles donnent à voir les différents éléments de cette étrange habit qui demeure largement considéré comme le véritable précurseur des gilets de sauvetage modernes. Très bel exemplaire d’une parfaite fraicheur conservé dans son élégante reliure de l’époque non restaurée.
  • $4,215
  • $4,215
Icones Historiarum Veteris Testamenti. Advivum expressæ

Icones Historiarum Veteris Testamenti. Advivum expressæ, extremaque diligentia emendatiores factæ, Gallicis in expositione hom oteleutis, ac versuum ordinibus (qui priùs turbati, ac impares) suo numero restitutis.

HOLBEIN, Hans. Lugduni, Apud Ioannem Frellonium,1547. Small 4to of (52) ll., sign. A-N, with 98 woodcuts, l. L2 remargined, brown Jansenist morocco, spine ribbed, gilt edges, gilt inner border. Chambolle-Duru. 198 x 135 mm. First issue “of this beautiful book” (Brunet, supplément, 647), exceedingly rare with such wide margins (height 198 mm; it is taller than the superb copy of James de Rothschild.) Harvard, 281; Baudrier, vol. 5, p. 209; Rothschild, vol. 1, n°16 ; Duplessis (op. cit. N°276), p. 60-62 ; Woltmann, Holbein, vol. 2, p. 172-173, e ; Bouchereaux, Corrozet, n°127 ; Didot, Essai, col.73. Each one of the 94 Holbein’s engravings occupies a page with Latin text above and French quatrains by Gilles Corrozet below. Didot, in his Essai sur la gravure sur bois analyzes what he calls a “masterpiece”: “The compositions in this masterpiece are of the highest style, and, as in The Simulacra of Death, the expressions of the figures are righteous and offer a blend of simplicity, energy and naivety that characterize Holbein.” “First edition of 1547. There were two editions of the Icones printed by Frellon in 1547. (These are often cited as issues, but the text was entirely reset.) This edition, described by Brunet (III, 252-253) and others as the earlier, may be identified by the fifth line of the title ending in “emenda-“, and the first line of the French text on leaf LIr ending in “uices”. A distinguishing feature of this edition is the use of v for u at the beginning of words in the Latin text. Brunet initiated a certain amount of controversy by quoting from E. Tross a theory that the second edition of 1547 (No. 282) was printed from clichés rather than from the original blocks. Both Hofer (op. cit. No. 276 ; p. 166-167) and Davies (Murray, vol. I, no. 244) reject the idea of clichage. On the basis of breaks in the woodblocks, Davies reverses Brunet’s order of the two editions, but evidence is introduced in the Hofer article to indicate that the condition of the blocks is in this case insufficient to prove priority. Aside from the woodcuts, the changes in the text support the order of editions given by Brunet. Comparison of the French text of 1539 with that of this 1547 edition shows that out of the ninety-four verses, fifty-one have from one to four lines revised. Signatures D and L are the only ones in which the text is unchanged. The text of the other 1547 edition corresponds to this one but has, in addition, seven of the eight quatrains in signature L revised. “(Harvard). Known for their beauty and fine execution, these Icones are considered as a significant milestone in the illustrated book of the Renaissance. Superb copy bound in Jansenist morocco by Chambolle-Duru, like the copy of James de Rothschild.
  • $10,980
  • $10,980
Extrait des différens ouvrages publiés sur la vie des peintres.

Extrait des différens ouvrages publiés sur la vie des peintres.

[PAPILLON DE LA FERTÉ, Denis-Pierre-Jean]. First edition of this "portable directory" dedicated to painters and their schools of painting. Barbier, Dictionnaire des ouvrages anonymes, II, 399 ; Cioranescu 48979 ; Cohen, 782-783 ; Brunet, VI, 1786 ; Cicognara, 2265. Over 1,200 painters are featured in this important study, classified according to their school or origin: Roman, Florentine, Venetian, Lombard, German, Flemish, Dutch, Genoese, Neapolitan, Spanish and French. Biographies of François Boucher, Charles Le Brun, the Van-Eyck brothers, Leonardo da Vinci and others can be consulted. The author's aim with this work is "to make known the distinguished Artists of Painting, to indicate the genres they have adopted, & to give an account of public opinion on the rank assigned to them by universal esteem", and to do so in the most concise and useful way possible. "Papillon de la Ferté, intendant des Menus-plaisirs du roi, bought this position in 1777, and as such first had the administration of the royal singing school founded by Baron de Breteuil, then administered the Opera on behalf of the king, when the Paris city office ceased to have the business of this show." (F-J. Fétis, Biographie universelle des musiciens, IV, 97). The author, who held important positions at court, dominated administrative and artistic life before being guillotined in 1794. Each volume features a handsome engraved frontispiece by Moreau le Jeune, designer to the king's Menus-Plaisirs. The first is entitled "Le Génie de la Peinture, éclairé par la Vérité, écrit l'Histoire de ceux qui se sont distingués dans cet Art", while the second is entitled "L'Immortalité des couronnes aux Génies qui ont animés les grands Peintres, dont les bustes sont placés dans son temple". A precious copy bound in contemporary red morocco with the arms of Emmanuel-Céleste-Augustin de Durfort, Duc de Duras (1741-1800), Maréchal de France. "Emmanuel-Céleste-Augustin de Durfort, duc de Duras, known as the duc de Durfort, [.] became a brigadier of infantry and peer of France; during the Revolution, he was appointed general-in-chief of the national guards of Guyenne in 1790, but of course had to flee and joined Condé's army." (Olivier, pl. 1793) Provenance: "E.S." unidentified stamp on title pages.
  • $7,209
  • $7,209
Les cinq sens : L?ouïe ? la vue ? l?odorat ? le goût ? le toucher.

Les cinq sens : L?ouïe ? la vue ? l?odorat ? le goût ? le toucher.

BOSSE, Abraham First issue of one of the most admirable, famous and rare series of French prints of the reign of Louis xiii engraved in 1635. The five engravings, cut to the frame, are in high quality proofs: they are each placed in a sumptuous elm burl frame (510 x 450mm). "Abraham Bosse achieved with his point an astonishing virtuosity, to the point of engraving entire plates at a single size, a tour de force that had only been practiced with the burin, and for which he had no imitator. He drew with great ease, with a lot of spirit, enjoying representing, in charming compositions, whose truth reminds the Dutch masters, the customs of his time. His engravings illustrated religious themes interpreted in contemporary life (The Bad Rich Man and the Poor Lazarus), theatrical scenes, historical events, especially of a domestic nature (Birth of Louis XIV) and scenes of the rich bourgeoisie or the nobility. It is not without mockery, but always with precision, that he presents the French nobility in the church, the Works of Mercy, the intimate scenes of bourgeois families. Mariette says with reason, speaking about engravings of Bosse: ". He represented there what occurs every day in the civil life, and that in a naive way, so true that one can hardly wish anything more interesting. Abraham Bosse remains original, borrowing nothing from Italian art he was essentially "French". He sometimes signed Bosse and A. Bosse". Each of the prints is accompanied by captions in the form of quatrains in Latin and French. "For a faithful picture of comfortable french life during the regency and early part of the reign of Louis xiv, one must turn to the etchings of Abraham Bosse. He was typically the artist of the upper middle class, and he depicted their manners and customs with peculiar fidelity, sobriety, and vividness. The upper middle class is in general the backbone of the culture of a nation. It is they, through their opportunities for higher education, who supply the learned professions, law, medicine, and theology. They stand midway, between the frivolousness of the court and the indigence of the proletariat. It is they who buy books and pictures, who patronize the theatre, who cultivate music." Carl Zigrosser. Prints and their creators. New York 1974. The meeting of the mathematician Desargues had a happy influence on his talent, leading him to a thorough study of perspective. He quarreled with Le Brun, whom he criticized, among other things, for not respecting the rules of perspective, and published the very important Traité des manières de graver en taille-douce. It was one of the great moments of French printmaking of the classical age.
  • $22,182
  • $22,182