-
Two volumes, 16.6 x 11.4 cm each, uniformly bound in sprinkled calf, spine with raised bands, gilt in compartments, with crimson and black gilt lettered labels. Ink inscription to title page of vol. 1: “Thomas Fry. St: John's, Oxford.” Vol. 1: Collation: 4to; π2 ✶2 a4 b3 A-Z4 2A-2E4 2F1, (total 124 leaves), plus frontispiece, 29 in-text vignettes. Pagination: [2] – h.t., [2] – t.p., [4] – preface, [i] ii-xiv – Vie de La Fontaine, [1] 2-224, [2] – table, (total 248 pages), ils. Vol. 2: Collation: 4to; π2 ✶3 A-Z4 2A-2K4 2L3, (total 140 leavs), 40 in-text vignettes. Pagination: [2] – h.t., [2] – t.p., [6] – preface, [1] 2-268, [2] – table, (total 280 pages), ils. Illustrations: frontispiece by Lebas (signature erased), Vie de La Fontaine headpiece by Fessard after Cochin, 2 fleurons on two title pages, 69 vignettes by Chedel, Fessard, and Ravenet after Cochin (not signed). Catalogue raisonné: Lewine: 278; Cohen-deRicci: 557-8. Contributors: Charles-Nicolas Cochin (French, 1715 – 1790) – artist. Engravers: Pierre Quentin Chedel (French, 1705 – 1763). Étienne Fessard (French, 1714 – 1774). Simon François Ravenet (French, 1706 – 1764). Jacques-Philippe Le Bas [Lebas] (French, 1707 – 1783). Provenance: Thomas Fry (British, 1718 – 1772) – English priest and academic, president of St John's College, Oxford from 1757. -
Two-volume large paper edition with 20 plates in two states. Vol. 1 (with plates). Title : CONTES | ET | NOUVELLES EN VERS. | PAR | JEAN DE LA FONTAINE. | — | TOME PREMIER| {vignette “P.P. Choffard 95”} | A PARIS, | DE L’IMPRIMERIE DE P. DIDOT L'AÎNÉ. | L’AN III DE LA RÉPUBLIQUE. | M. DCC. XCV. || Pagination: [2] [i-iv] v-vii [viii], 1-280 [2 table] [2], total 294 pages, ils. Collation: 4to; 1 blank, π4 (π3a signed “a”), 1-354 361, 1 blank, total 147 leaves, plus 40 leaves of plates with tissue guards, after Fragonard and others, which represent 20 engravings, each in two states, before and after letters, besides №9 (Le Calendrier des Vieillards by Jean Dambrun after Fragonard), which has two identical copies, both before letters. Vol. 2. (without plates) Title: same, but TOME SECOND. Pagination: [2] [4] 1-334 [2], total 342 pages. Collation: 4to; 1 blank, π2 1-414 423 1 blank, total 167 leaves. Binding: Two volumes uniformly bound in crimson straight-grain morocco, ruled in gilt, gilt-decorated flat spine with lettering, board edges and turn-ins tooled with gilt dentelles, marbled endpapers, three bookplates to front pastedown, top edge trimmed, 2nd volume partly uncut; text and plates printed on thick Dutch wove paper. Size: volumes: 33.3 x 25.2 cm; leaves: 31.5 x 23.5 cm. Provenance: Bishop, Cortlandt Field (American, 1870 – 1935) – bookplate. Mary S. Collins – bookplate by J. H. Fincken. Robin F. Satinsky (American, 1919 – 2008) – Robin Collection bookplate. Catalogue raisonné: Ray (French): 133-137; Cohen-DeRicci 573-582 ; Lewine : 281-282. CONTRIBUTORS: Jean de La Fontaine (French, 1621–1695) – author. Pierre Didot (French, 1761–1853) – publisher, printer. Artists: Jean-Honoré Fragonard (French, 1732–1806) Jean Baptiste Mallet (French, 1759–1835) Jacques Louis François Touzé (French, 1747–1807) Charles Monnet (French, 1732–after 1808) Engravers: Jacques Aliamet (French, 1726–1788) Jean Dambrun (French, 1741–about 1808) Jean Louis Delignon (French, 1755–about 1804) Jean Baptiste Michel Dupréel (French, active 1787–1817) Louis Michel Halbou (French, 1730–1809) Charles Louis Lingée (French, 1748–1819) Charles Emmanuel Jean Baptiste Patas (French, 1744–1802) Jean Baptiste Simonet (French, 1742–1813) Jean Baptiste Tilliard (French, 1740–1823) Philippe Trière (French, 1756–about 1815) Pierre-Philippe Choffard (French, 1730–1809) – t.p. vignette PLATES (collation order): №8: Fragonard / Trière – La Gageure des trois Commères №1*: Fragonard / Lingée – Joconde №1**: Mallet / Trière – Joconde №2: Fragonard / Delignon – Le Cocu battu et content №3: Fragonard / Tilliard – Le Mari confesseur №4: Fragonard / Dambrun – Le Savetier №5: Fragonard / Lingée – Le Paysan qui avait offensé son Seigneur №9: Fragonard / Dambrun – Le Calendrier des Vieillards №10: Fragonard / Aliamet – A Femme avare galant Escroc №12: Fragonard / Halbou – Le Gascon puni №11: Fragonard / Patas – On ne s’avise jamais de tout №13: Monnet / Tilliard – La Fiancée du roi de Garbe №14: Fragonard / Dupréel – La Coupe enchantée №15: Fragonard / Tilliard – Le Faucon №17: Fragonard / Patas – Le Pâté d’Anguilles №18: Fragonard / Tilliard – Le Magnifique №19: Fragonard / Delignon – La Matrone d’Ephèse №20: Fragonard / Patas – Belphégor №22: Touzé / Simonet – Le Glouton №26: Touzé / Lingée – Le Baiser rendu -
Two-volume edition, financed, arranged and managed by Fermiers généraux. Vol. 1. Title : CONTES | ET | NOUVELLES | EN VERS, | Par M. de La Fontaine. | TOME I. | {vignette} | A AMSTERDAM. | — | M. DCC. LXII. || Pagination: [2] – blanks [i, ii] – h.t. / blank, [iii, iv] – t.p. / blank, v-xiv, [1] 2–268 [269-70] – table, [4] – blanks, plus frontispiece by Fiquet after Rigault, t.p. vignette, vignette, headpiece, and 23 tailpieces by Choffard, 39 plates by various engravers after Charles Eisen. Vol. 2. Title: same but TOME II. Pagination: [2] – blanks] [i, ii] – h.t. / blank, [iii] iv-viii [1] 2–306 [307-10] – épitaphe / table, [4] – blanks, plus frontispiece by Fiquet after Vispré, t.p. vignette, vignette, headpiece, and 29 tailpieces by Choffard, and 42 plates after Charles Eisen (Ray only cite 41 plates). Binding: 2 volumes, 19.8 x 12.2 each, uniformly bound in full Spanish mottled calf, boards triple ruled in gilt, flat spine with triple bands, double ruled and tooled in gilt, black title labels lettered in gilt, all margins gilt, marbled end-papers, in cardboard slipcases, openings leathered. In vol. 1 a manuscript plate 4.8 x 8.2 cm pasted to page [1]: "Cette Édition est très rare n’y ayant | eu que 30 Exemplaires de livres, ou la figure principale dans le Cas de Conscience page 143 Tom 2 est nud tandis que dans les autres Éditions cette Figure est voilée par un feuillage".
Contributors:
Jean de La Fontaine (French, 1621–1695) – author.
Fermiers généraux and Jean Baptiste Séroux d'Agincourt (French, 1730 – 1814) – publisher.
Joseph Gérard Barbou (French, 1723–1790) – printer.
Artists:
Charles Eisen (French, 1720 – 1778)
François Xavier Vispré (British-French, c.1730 – 1789 or after)
Hyacinthe Rigaud [Jacint Rigau-Ros i Serra] (Catalan-French, 1659 – 1743)
Engravers:
Joseph de Longueil (French, 1730 – 1792)
Noël Le Mire (French, 1724 – 1801)
Jean-Jacques André Le Veau (French, 1729 – 1786)
Jacques Aliamet (French, 1726 – 1788)
Jean Charles Baquoy (French, 1721 – 1777)
Pierre-Philippe Choffard (French, 1730 – 1809)
Jean Jacques Flipart (French, 1719 – 1782)
Louis Simon Lempereur (French, 1725 – 1796)
Jean Ouvrier (French, 1725 – 1784)
Étienne Ficquet (French 1719 – 1794)
Catalogue raisonné: Ray (French): №26, pp. 54-56; Cohen-DeRicci: 558-571; Lewine: 278-280. -
Two 8vo volumes bound in one, 19 x 12.5 cm, in full mottled sheepskin with gilt-bordered boards, gilt decorated flat spine with gilt-lettered red and black calf labels, rebacked, marbled endpapers and edges, printed on wove paper, plates on thicker laid paper. Title-page: FABLES | MISES EN VERS | PAR J. DE LA FONTAINE. | TOME PREMIER (SECOND). | {medallion portrait} (printer’s device “PC”) | A PARIS, | CHEZ ANT. AUG. RENOUARD. | M. DCC. XCV. || Collation: Vol. 1: π2 (h.t./imprint, t.p. medallion portrait/blank), [1]-38 (Notice sur la vie…), 1-58 64 (Vie de la Fontaine, Épitre, Préface, Vie d’Ésope), [7]-148 156 χ3 (table); pagination [4] [i] ii-xlviii, [1] 2-234. Total 143 leaves (286 pages) plus 6 plates after Moreau le Jeune by Devilliers fratres (p. 112), E. De Ghendt (pp. 122 and 181), Jean Louis Delignon (p. 140), Delvaux (p. 197), and Ph. Trière (p. 219). Title medallion portrait of La Fontaine (G Rigault pinx. – C S Gaucher inc.) by Gaucher after Rigaud. Vol. 2: π2 1-158 164; pagination [4] [1] 2-247 [248 blank]. Total 126 leaves (252 pages) plus 6 plates after Moreau le Jeune by Devilliers fratres (p. 19), Villerey (pp. 37, 80, and 146), Bosq (p. 121), and Ph. Trière (p. 199). The book published in 1795 (An 3) supplemented with plates produced in 1811 and 1812 for Œuvres complèttes (sic) de Jean de la Fontaine published by Lefèvre in 1814. The reason for choosing this particular edition for someone's library shortly after 1814 was probably the absence of censorship in 1795. Catalogue raisonné: (1) Lewine [LIB-2538.2020] on p. 276 (Paris, chez Renouard, 1795, 2 vols., 8vo., medal portrait on first title, and 12 plates after Moreau by Delvaux, Bosq, Ghendt, Trière, and Villerey). (2) M.-J.-F. Mahérault. L' oeuvre de Moreau le Jeune : catalogue raisonné et descriptif avec notes iconographiques et bibliographiques. — Paris: A. Labitte, 1880. Contributors: Jean de La Fontaine (French, 1621–1695) – author. Jean-Michel Moreau le Jeune (French, 1741–1814) – artist. Hyacinthe Rigaud (French, 1659 – 1743) – artist. Antoine-Augustin Renouard (French, 1765 – 1853) – publisher. Pierre Causse (French, 1761 – 1834) – printer. Engravers: Charles Étienne Gaucher (French, 1741 – 1804) Etienne De Villiers [Devilliers, Devilliers fratres] (French, 1784 – after 1844) Emmanuel Jean Nepomucène de Ghendt (Flemish, worked in France, 1738 – 1815) Jean-Louis Delignon (French, 1755 – 1820) Rémi Henri Joseph Delvaux (French, 1748 – 1823) Philippe Trière (French, 1756 – c. 1815) Auguste Villerey (French, 1801 – 1846) Jean Bosq (French, fl. c. 1801 – 1844) -
Engraved title-page: Contes | Moraux | Par | M. Marmontel, | de l'Academie Françoise. | A Paris | Chez J. Merlin Libraire, | Rue de la Harpe, | M DCC LXV ||Description: 3 volumes, 8vo, 20.4 x 13 cm, first issue, bound in the contemporary speckled calf, all edges gilt, spines gilt with double red/brown lettering labels (vol 1. labels missing); raised bands, gilt in compartments, double gilt-ruled borders; marbled endpapers. With the contemporary signature in each volume of Caroline Marlborough of Blenheim Palace, and bookplates of Lord F. A. Spencer. This is certainly Lady Caroline Russell, wife of George Spencer, Fourth Duke of Marlborough; she was daughter to the Duke of Bedford and was married in 1762. She died at Blenheim in 1811. The later bookplate in each volume pasted to the front pastedown of her son Francis Almeric Spencer (British, 1779-1845). Pagination: Vol. I: [two blank leaves] [half-title, verso blank] [recto blank, frontispiece on verso: portrait of Marmontel by St. Aubin after Cochin] [engraved t.p. by Duclos after Gravelot, verso blank], [i] ii-xvi, [table des contes with 5-line Errata (autograph Lordine Marlborough), verso blank], [1] 2–345 [346-50 blanks]; 9 plates after Gravelot by: Baquoy, de Longueil (2), Legrand, Leveau (2), Rousseau, Voyez, and unsigned (1). Vol. 2: [two blank leaves] [half-title, verso blank] [engraved t.p. by Duclos after Gravelot, verso blank] [table des contes with 10-line Errata (autograph Lordine Marlborough), verso blank], [1] 2–376 [377-50 blanks]; 9 plates after Gravelot by: de Longueil (5), Leveau (2), Pasquier and Rousseau. Vol. 3: [two blank leaves] [half-title, verso blank] [engraved t.p. by Duclos after Gravelot, verso blank] [table des contes with 9-line Errata, verso blank] [two leaves: approbation and Privilege du Roi] [1] 2–312 [313-16 blanks]; 5 plates after Gravelot by: de Longueil (2), Le Mire (2), and Pasquier. Catalogue raisonné: Cohen-De Ricci 686-7; Gordon N. Ray. The Art of the French Illustrated Book 1700 to 1914. — NY, London: The Pierpont Morgan Library; Cornell University Press, 1982, Vol. 1. pp. 44-5. [In their copy vol. 2 and 3 in a different order]; MFA ACCESSION NUMBER 37.1488a-c Illustrated by: Hubert François Gravelot (French, 1699–1773) Engraved by: Jean Charles Baquoy (French, 1721–1777) Engraved by: Antoine Jean Duclos (French, 1742–1795) Engraved by: Louis Legrand (French, 1723–1807) Engraved by: Noël Le Mire (French, 1724–1801) Engraved by: Jean Jacques André Le Veau (French, 1729–1785) Engraved by: Joseph de Longueil (French, 1730–1792) Engraved by: Jean Jacques Pasquier (French, died in 1785) Engraved by: Jean François Rousseau (French, born in 1740) Engraved by: Nicolas Joseph Voyez l'ainé (French, 1742–1806) Portrait(s) designed by: Charles-Nicolas Cochin le fils (French, 1715–1790) Engraved by: Augustin de Saint-Aubin (French, 1736–1807) Author: Jean-François Marmontel (French, 1723–1799) Publisher: Joseph Merlin (French, 1718–1783) Printer: Pierre-Alexandre Le Prieur (French, born in 1722) -
Hardcover volume, collated 18mo, 130 x 85 mm (2 parts in one). Contemporary burgundy morocco outlined with gilt triple fillet, flat spine gilt in compartments, brown morocco label gilt, all edges gilt, gilt dentelle, text printed on slightly blue laid paper with illegible watermark; dark blue endpapers, Tony Fekete (T. F.) bookplate by Wahorn to front pastedown. Frontispiece and 14 engraved plates by Elluin after Borel, with guard tissue. Graphite ms to h.t.: "Figures de Borrel. | Gravées pr. Elluin." Title-page: NOUVELLE TRADUCTION | DE | WOMAN OF PLEASUR, | OU | FILLE DE JOIE. | PAR M. CLELAND, | CONTENANT les Mémoires | de Mademoiselle FANNY, | écrits par elle – même. | AVEC FIGURES | — | PREMIERE (SECONDE) PARTIE. | — | ~ | A LONDRES; | Chez G. FENTON, dans le Strand; | — | M. DCC. LXXVI. || Collation: 18mo throughout A-O12/6, total 126 leaves plus 15 plates, incl. frontispiece. Pagination: separate for each part [1-5] 6-119 [120 blank], [1-3] 4-132, total 252 pages. Provenance: Tony Fekete (Christie’s 2014, № 54, p. 37; Price realized GBP 11,875): “[CLELAND, John (1709-1789).] Nouvelle traduction de Woman of Pleasur [sic] ou Fille de Joie. Contenant les Mémoires de Mademoiselle Fanny, écrits par elle-même. London [but Paris]: G. Fenton [Cazin], 1776. 2 volumes in one, duodecimo (128 x 80 mm). Printed on blue tinted paper. Frontispiece and 14 engraved plates on thick white paper by Elluin after Borel. (Short tear repaired in the margin of one plate, another plate with a faint dampstain touching the facing leaf of text.) Contemporary burgundy morocco, flat spine gilt in compartments, morocco label gilt, covers with a gilt triple fillet border, gilt edges, blue endpapers. THE MOST BEAUTIFUL 18TH-CENTURY ILLUSTRATED EDITION OF THIS CELEBRATED EROTIC NOVEL. An excellent copy bound in contemporary morocco. It is the second translation into French, but the first to include the exquisite plates by Elluin after Borel. These are some of the best illustrations by this remarkable partnership responsible for a number of important 18th-century libertine texts. Cohen-DeRicci 242-3; Dutel A-407 ; Gay-Lemonnyer II, 304; Pia Enfer, 915.” Catalogue raisonné: Dutel (I) A-407, p. 134; Cohen-DeRicci 242-3; Fekete (Christie's) 54, p. 37. Contributors: John Cleland (British, c. 1709 – 1789). François-Rolland Elluin (French, 1745 – c. 1822) Antoine Borel (French, 1743 – 1810) Hubert-Martin Cazin (French, 1724 – 1795) András Wahorn (Hungarian, b. 1953) Fekete, Tony Laszlo (Hungarian, b. 1972) -
Two volumes, 12mo; 14 x 9 cm, uniformly bound in speckled calf with dentelle border in gilt, gilt-stamped spine with two crimson lettered labels, marbled endpapers. Inscription to h.t.: P. Leigh Smith | Moscow | 1921 || Vol. 1: Half-title: MIROIR | DE L'ANCIEN ET DU NOUVEAU | PARIS, | AVEC TREIZE VOYAGES | EN VÉLOCIFÈRES, |DANS SES ENVIRONS. | TOME I. || Title page: MIROIR | DE L'ANCIEN ET DU NOUVEAU | PARIS, | AVEC TREIZE VOYAGES | EN VÉLOCIFÈRES, |DANS SES ENVIRONS. Ouvrage indespensable aus Étrangers et même | aux Parisiens, et qui indique tout ce qu’il faut | connoître et éviter dans cette capitale. | Orné d’un Plan de Paris et de 18 Gravures | {to the right, in single rules} Tels temps, telles mœurs. | Par L. Prudhomme. | Tome I. | PARIS, | PRUDHOMME, fils, rue des Marais, F. B. St.-G. | DEBRAY, rue St. Honoré, barrière des Sergens. | AN XIII. — (1804.) || Pagination: [i-vii] viii-xxxvi, 1-260; total 296 pages + 15 copperplate engravings and 1 folding plan of Paris. Collation: πA-πC6, A-C6, 4-216 224; total 148 leaves + 15 plates + 1 folding. Note: 12mo; πA1 unsigned, A2 unsigned, A–C3 signed A-C5, respectively, 4* unsigned, 9* marked 8*, 18* marked 17*. Vol. 2: Similar half-title and title, TOME II instead of TOME I. Pagination: [4] 1-408; total 412 pages + 3 copperplate engravings. Collation: π2, 1-346; total 206 leaves + 3 plates. -
L'Imitation de Jésus-Christ / Traduite et paraphrasée en Vers François Par P. Corneille. — A Paris, Chez Pierre Rocolet, Imprimeur & Libraire ordinaire du Roy, au Palais, en la Gallerie des Prisonniers, aux Armes du Roy & de la Ville. M. DC. LVI. Avec Approbation des Docteurs, et Privelege de sa Majesté. Paris: Pierre Rocolet, 1656. Half-title: Les Quatre Livres de L'Imitation de Iesus-Christ. Traduites et paraphrasez en vers françois Par P. Corneille. — pp.: ff [2 pictorial ht, verso blank] [2 title, blank] [10 epistre] [2 av lecteur] [2 approbation, frontis.] 1-551 [552-60 table, privilege] bf. 8vo, 24.7 x 18.7 cm, hardcover; full speckled brown calf, gilt double-ruled boards, spine with raised bands, gilt double-ruled compartments with lozenges, sprayed margins; pages darkened. Purple ink stamp of Diocèse de Valencia to half-title. Nut ink ex libris handwriting on front paste-down. Plates: Half-title: unsigned copper engraving with the coat of arms of Pope Alexander VII (r. 1655 – 1667) which contains an oak tree in the top left and bottom right quarters (from Della Rovere family, Dukes of Urbino), the top right and bottom left quarters feature a mountain of six coupeaux in base with three stars above (from Chigi family). Four copper engravings inbound at the beginning of each book signed 'F. Chauueau in et fe.': Page 1: Jesus teaches His disciple. Page 113: Annunciation. Page 183: Jesus meets Simon called Peter and his brother Andrew. Page 459: Last Supper. François Chauveau (10 May 1613, Paris – 3 February 1676, Paris), a French painter and engraver. Thomas à Kempis (c. 1380 – 25 July 1471), a German-Dutch canon regular. Pierre Corneille (1606 – 1684), a French poet and playwright. Pierre Rocolet (1610 – 1662, active circa 1638 à 1662), a French publisher and printer. -
Engraving by J.J. Balechou after E. Jeaurat. A husband and wife ask a quack doctor for advice about health: he suggests substituting himself for the husband in the wife's affections, and she agrees: Épigrammes de Jean-Baptiste Rousseau (French, 1671–1741).
Date: 1743.
Size: 380 x 270 mm
Inscriptions under the image:
Top: Peint par E. Jeaurat | L'Operateur Barri | Grave par Balechou 1743
Middle: Sur leurs santés un Bourgeois et sa femme
Interrogeoient l'Operateur Barri, Lequel leur dit : Pour vous guérir, Madame, Baume plus sûr n'est que votre Mari, Puis se tournant vers l'époux amaigri, Pour vous, dit il, femme vous est mortelle, Las ! dit alors l'Epoux à sa femelle, Puis qu'autrement ne pouvons nous guérir, Que faire donc ? Je n'en sçai rien, dit elle,Mais, par Saint Jean, je ne veux point mourir.
Rousseau Epig. X
Center bottom: a Paris chez Lepicie Graveur du Roi au coin de l'Abreuvoir du Quay des Orfevres. Et Chez L. Surugue Aussi Graveur du Roi rue des Noyers vis a vis le mur de St. Yves Avec Privilege du Roi. -
Five volumes, uniformly bound in marbled three-colour stained polished calf, spine with raised bands, gilt in compartments, crimson label with gilt lettering “CONTES DE BOCCACE”, cream label with volume number, marbled endpapers and all edges; bookplate pasted to first blank flyleaf “BIBLIOTHÈQUE DE LAJUDIE” depicting a coat of arms over an anchor, anchors and tulips scattered in the upper section, globe in the lower section, in a frame. Size: 21 x 14 cm. Translated by Antoine Le Maçon (French, 1500? – 1559). Vol. 1: [4] two blank leaves, portrait by Louis Lempereur after Hubert Gravelot, engraved t.p.: LE | DECAMERON | DE JEAN | BOCCACE. | TOME I. | Londres | 1757. | H. Gravelot Inv. […] T.P. N 21 […] J. Aliamet Sculp. ||, engraved frontispiece to Vie de Jean Bocace by Lempereur after Gravelot; Pagination: [i] ii-viii (Vie de Jean Bocace with head- and tail-pieces); [1] 2-320 [2] one blank leaf. Collation: 8vo; a4 A-V8, 164 leaves + 6 blanks + 24 plates (incl. portrait, frontis., and t.p.) extraneous to collation, 1 headpiece and 18 tailpieces. Vol. 2: [4] two blank leaves, engraved t.p.: LE | DECAMERON | DE JEAN | BOCCACE. | TOME II. | Londres 1757 | H. Gravelot inv. […] T.II. N.1. […] N. LeMire Sculp .||; Pagination: [1] 2-292 [2] one blank leaf. Collation: 8vo; A-S8 T2, 146 leaves + 3 blanks + 23 plates (incl. t.p.) extraneous to collation, and 18 tailpieces. Vol. 3: [4] two blank leaves, engraved t.p.: LE | DECAMERON | DE JEAN | BOCCACE. | TOME III. | Londres 1757 | Gravelot inv. […] T.III. N.1. […] Aillamet Sc. ||; Pagination: [1] 2-203 [204] [2] one blank leaf. Collation: 8vo; A-M8 N6, 102 leaves + 3 blanks + 23 plates (incl. t.p.) extraneous to collation, and 18 tailpieces. Vol. 4: [4] two blank leaves, engraved t.p.: LE | DECAMERON | DE JEAN | BOCCACE. | TOME IV. | Lond 1761 | Gravelot invenit […] T.IV. №.I. […] Alliamet Sculpsit. ||; Pagination: [1] 2-280 [2] one blank leaf. Collation: 8vo; A-R8 S4, 140 leaves + 3 blanks + 23 plates (incl. t.p.) extraneous to collation, and 20 tailpieces. Vol. 5: [4] two blank leaves, engraved t.p.: LE | DECAMERON | DE JEAN | BOCCACE. | TOME V. | Londres 1761 | Gravelot, inv. […] T.V. N.1. […] Aillamet Sc. ||; Pagination: [1] 2 [3] 4-269 [270] [2] one blank leaf. Collation: 8vo; A-Q8 R7, 135 leaves + 3 blanks + 23 plates (incl. t.p.) extraneous to collation, and 22 tailpieces. Total plates: 24+23+23+23+23=112; total vignettes: 19+ 18 + 18 +20 + 22 = 94; total etchings and engravings: 213. Ref: MFA ACCESSION NUMBER 37.1371a-e; Cohen-de Ricci 160; Ray, French Illustrated Book, 15 / p. 39-41; Metropolitan Museum, NY (Accession Number: 17.3.2641). Contributors: Authors: Giovanni Boccaccio (Italian, 1313–1375); Filippo Villani [Philippe-Matthieu Villani] (Italian, 1325 – 1407)Illustrated by: Hubert François Gravelot (French, 1699–1773). Artists: Charles Eisen (French, 1720–1778); François Boucher (French, 1703–1770); Charles-Nicolas Cochin le fils (French, 1715–1790), Jacques Aliamet (French, 1726–1788) Engravers: Jean Charles Baquoy (French, 1721–1777); Jean Jacques Flipart (French, 1719–1782); Louis Legrand (French, 1723–1807); Noël Le Mire (French, 1724–1801); Louis Simon Lempereur (French, 1725–1796); Catherine Elisabeth (Cousinet) Lempereur (French, born in 1726); Jean-Jacques André Le Veau (French, 1729–1786); Pierre Etienne Moitte (French, 1722–1780); Jean Ouvrier (French, 1725–1784); Jean Jacques Pasquier (French, died in 1785); Pierre (Pitre) Martenasie (Flemish, worked in France, died in 1770?); Augustin de Saint-Aubin (French, 1736–1807); Dominique Sornique (French, 1708 – 1756); Jacques Nicolas Tardieu (French, 1716–1791). Publisher: Prault (French, 18th century) Note: MFA copy has a slightly different collation: [v. 1] 152 leaves, plus plates; [v. 2] 136 ll., plus pls.; [v. 3] 98 ll., plus pls.; [v. 4] 131 ll., plus pls.; [v. 5] 124 ll., plus pls. This is their description: "First edition with these illustrations; a French translation (Cohen-de Ricci 160) appeared slightly later. Gravelot designed 89 of the 111 plates, and all 97 of the tailpieces, his largest single commission. Some 115 of his preliminary sketches by this series are in the Rosenwald Collection, Library of Congress; 131 of the final engraver's models are in the Widener Collection at the National Gallery of Art; and two other finished drawings are in the Ray Collection, Pierpont Morgan Library. Ten plates were designed by Eisen, and Cochin and Boucher had six each. As some plates in the later volumes are dated as late as 1761, the actual issuing of the volumes apparently extended to that date." -
Three priests: Le Pere Matthieu Ricci, Le Pere Adam Schaal, and Le Pere Ferdinand Verbiest. Three priests with navigational instruments. Image taken from Description geographique, historique, chronologique et physique de l'Empire de la Chine et de la Tartarie Chinoise. Enrichies des cartes generales et particulieres de ces pays, etc. by Jean-Baptiste Du Halde (1674–1743), vol. 3, page 78. Originally published/produced in La Haye [The Hague], 1736. J.v.Solingen fecit
Jean-Baptiste Du Halde (Chinese: 杜赫德; 1 February 1674 – 18 August 1743) was a French Jesuit historian specializing in China. He did not travel to China, but collected seventeen Jesuit missionaries' reports and provided an encyclopedic survey of the history, culture and society of China and "Chinese Tartary," that is, Manchuria. Voltaire said of Du Halde's work: "Although it is developed out of Paris, and he hath not known the Chinese, [he] gave on the basis of the memoirs of his colleagues, the widest and the best description the empire of China has had worldwide." Le Pere Matthieu Ricci, a.k.a. Matteo Ricci, S.J. (Italian pronunciation: [matˈtɛːo ˈrittʃi]; Latin: Mattheus Riccius Maceratensis; 6 October 1552 – 11 May 1610), was an Italian Jesuit priest and one of the founding figures of the Jesuit China missions. His 1602 map of the world in Chinese characters introduced the findings of European exploration to East Asia. He is considered a Servant of God by the Roman Catholic Church. Ricci arrived at the Portuguese settlement of Macau in 1582 where he began his missionary work in China. He became the first European to enter the Forbidden City of Beijing in 1601 when invited by the Wanli Emperor, who sought his services in matters such as court astronomy and calendrical science. He converted several prominent Chinese officials to Catholicism, such as Xu Guangqi, who aided in translating Euclid's Elements into Chinese as well as the Confucian classics into Latin for the first time. Le Pere Adam Schaal, a.k.a. Johann Adam Schall von Bell (1 May 1591 – 15 August 1666) was a German Jesuit and astronomer. He spent most of his life as a missionary in China (where he is remembered as "Tang Ruowang") and became an adviser to the Shunzhi Emperor of the Qing dynasty. Le Pere Ferdinand Verbiest, a.k.a. Father Ferdinand Verbiest (9 October 1623 – 28 January 1688) was a Flemish Jesuit missionary in China during the Qing dynasty. He was born in Pittem near Tielt in the County of Flanders (now part of Belgium). He is known as Nan Huairen (南懷仁) in Chinese. He was an accomplished mathematician and astronomer and proved to the court of the Kangxi Emperor that European astronomy was more accurate than Chinese astronomy. He then corrected the Chinese calendar and was later asked to rebuild and re-equip the Beijing Ancient Observatory, being given the role of Head of the Mathematical Board and Director of the Observatory. He became close friends with the Kangxi Emperor, who frequently requested his teaching, in geometry, philosophy and music. Verbiest worked as a diplomat and cartographer, and also as a translator because he spoke Latin, German, Dutch, Spanish, Hebrew, and Italian. He wrote more than thirty books. During the 1670s, Verbiest designed what some claim to be the first ever self-propelled vehicle – many claims this as the world's first automobile, in spite of its small size and the lack of evidence that it was actually built.Joshua Van Solingen was an engraver and publisher from Holland, working, besides other places, in Scotland. Information about him can be found at Catastrophic Bliss (The Griot Project Book Series) by Accounting in Scotland (RLE Accounting): A Historical Bibliography History of the Scottish Metrical Psalms: With an Account of the Paraphrases ... The History of Edinburgh, from the Earliest Accounts to the Present Time ... History of the Bassandyne Bible, the First Printed in Scotland: With Notices ...
-
LE PLAN DE LA VILLE, | CITE, ET | UNIVERSITÉ | DE PARIS. | Capitale du Royaume | de France. | {5 lines in italic} | Par N. de Fer. | A Paris, | Chez l’Auteur dans l’Isle du | Palais a la Sphere Royale. | Avec Privilege du Roy. | 1705 | H. van Loon sculp. || Dimensions: Sheet: 27 x 39 cm; Image: 22 x 33 cm. Contributors: Nicolas de Fer (French, 1646 – 1720) – cartographer. Harmanus van Loon (Flemish, fl. c. 1690 – c. 1725) – engraver. -
Two volumes in-12, 16.8 x 11.5 cm each, uniformly bound in ¾ red crushed morocco over marbled boards, spine with raised bands and gilt lettering, marbled endpapers, text printed on laid paper, 6 plates (3 in each vol.) on India paper pasted in on thick laid paper leaves. This edition seems similar to Nordmann I 203 but without Félicien Rops' frontispiece and plates, replaced by unsigned etchings attributed to Gustave Staal. Title-page (red and black): LE RICHE DE LA POPELINIÈRE | – | TABLEAUX | DES | MŒURS DU TEMPS | DANS LES DIFFÉRENTS AGES DE LA VIE | – | NOTICE DE | CHARLES MONSELET | – | TOME PREMIER (SECOND) | {fleuron} | PARIS | IMPRIMERIE DES CI-DEVANT FERMIERS GÉNÉRAUX | – | M D CCC L XVII || Vol. 1: π2 (h.t., t.p.) a4 (Notice), 1-1312 151 (Table); total 91 leaves plus three leaves of plates. Pagination: [4] [i] ii-vii [viii] [3] 4-168 [2]; total 182 pp, ils. facing pp. 59, 78, and 94. Vol. 2: π2 (h.t., t.p.), 1-1312, 152; total 88 leaves plus three leaves of plates. Pagination: [4] [1] 2-170 [2]; total 176 pp, ils. facing pp. 74, 78, and 145. Catalogue raisonné: Dutel I: A-1044 — without Félicien Rops ‘ornementations’, but with ‘6 gravures de 1865’. Dutel suggests that the edition was performed by A. Poulet-Malassis, Briard or Lécrivain. Catalogue Poulet-Malassis & ses amis description: № 43. LE RICHE DE LA POPELINIÈRE. Tableaux des mœurs du temps dans les diérents âges de la vie, tome premier (— second). Notice de M. Charles Monselet. Imprimerie des ci-devant fermiers généraux, Paris, M D CCC LXVII [A. Poulet-Malassis, 1867]. Exemplaire sans le frontispice de Félicien Rops mais bien complet des 6 figures de Staal, justification qui illustre les aléas de la confection des publications clandestines. D’une part, c’est une autre édition qui est décrite par Launay. L’exemplaire vendu chez Maître Loudmer avait 6 figures, comme ici. Cluzel a vu un “front. et 4 vignettes de Rops plus cinq figures libres (par Staal)”, Simonson a vu 5 figures de Rops, etc., etc. Il y a 3 bandeaux et 3 culs-de-lampe de Rops qui ont été fréquemment utilisés par d’autres éditeurs pour d’autres titres pendant toute la seconde moitié du xixe siècle. La Léonina présente une fiche détaillée sur 4 pages. 3 bandeaux et 3 culs-de-lampe gravés sur bois de Rops. Bibliographie : Pia 1389, Launay 327, Gay 6-308, Pey 122 (1800 frs avec 5 figures), PC 503 et 504, Lemonnyer 3-1173, LL 66, Leonina 81, Nordmann 1-203, Dutel A-1043. Contributors: Alexandre Jean Joseph Le Riche de La Popelinière (French, 1693 – 1762) – author. Charles Monselet (French, 1825 – 1888) – author (foreword). Pierre-Gustave-Eugène Staal (French, 1817 – 1882) – artist. Auguste Poulet-Malassis (French, 1825 – 1878) – publisher. -
Description: Two volumes, 16.5 x 11 cm, collated 8vo, uniformly bound in the mid-19th century by H. Stamper (stamp to verso free endpaper) in red Morocco, ornated with gilt fillets and dentelles to boards and turn-ins, spine with raised bands and gilt decorations and lettering in compartments, marbled endpapers, all edges gilt; printed on laid paper; bookplate to front pastedown “EX LIBRIS | DANIEL | BERDITCHEVSKY”. Title-page (red and black, tall ‘s’): LES CENT | NOUVELLES | NOUVELLES. | SUIVENT LES CENT NOUVELLES | CONTENANT | Les Cent Histoires Nouveaux, | Qui sont moult plaisans a raconter, | En toutes bonnes Compagnies, | Par MANIERE DE JOYEUSETÉ. | Avec d'excellentes Figures en Taille-douce, | Gravées sur les desseins du fameux Mr. | ROMAIN DE HOOGE | & retouchées par feu | B. PICART LE ROMAIN | TOME PREMIER (TOME SECOND) |{device} | A COLOGNE | Chez Pierre Gaillard. | M.DCCXXXVI. || Vol. 1: Collation: [1] flyleaf torn out, [1] frontispiece, [1] title-page, [3] preface (*2-4), [1] Auertissement, [10] table (2+**-**8), A-Bb8 (Bb8 blank); 45 in-text half-page copperplate etchings by various engravers after Romain de Hooge; total 215 leaves plus ffl and frontispiece by Gilliam van der Gouwen after Romain de Hooge. Pagination (starting from t.p.): [30] 1-397 [398] [2], total 430 pages. Vol. 2: Collation: ffl, [*1] t.p., [11] table (*2-8, **-4), A-Aa8 Bb4 (Bb4 blank); 55 in-text half-page copperplate etchings by various engravers after Romain de Hooge; total 208 leaves plus ffl. Pagination: [24] 1-389 [390] [2], total 416 pages. Catalogue raisonné: Landwehr (1970) № 94, p. 203; Lewine (1898) p. 326; Cohen-DeRicci (1912) p. 658. Landwehr cites two editions after the 1st of 1701: Amsterdam 1732 and Cologne 1786 [i.e. 1736]. Both Lewine and Cohen-DeRicci attribute the text to Louis XI and mention the 1736 reprint (though not 1786). The first edition of “Les cent nouvelles nouvelles” appeared in 1486 by commission of Duke of Burgundy Philippe le Bon; the text is attributed to Philippe Pot (1428 – 1493), Antoine de La Sale (c. 1385 – c. 1460) or King Louis XI (1423 – 1483). Contributors: Artists: Romain de Hooge (Dutch, 1645 – 1708) Bernard Picart (French, 1673 – 1733) Engravers: Gilliam van der Gouwen (Dutch, c. 1657 – 1716) (frontispiece) Laurens Scherm (Dutch, fl. 1689 – 1701) (nouvelles XXIX, XXX, LXXVII) Jan Van Vianen (Dutch, c.1660 – 1726?) (nouvelles L, LII, LVII-LX, LXIV-LXVII, LXX) Binder: Henry Stamper (British, 1802? – 1887) Commissioner: Philippe le Bon [Philip III] (French, 1396 – 1467) Publisher: Pierre Gaillard (French, fl. 1715 – 1737) -
Title-page: LUKAS ROTGANS | POËZY, | VAN VERSCHEIDE | MENGELSTOFFEN; | MET KONSTPLAATEN VERSIERT. | Tweede Druk | {vignette} | TE AMSTERDAM; | By ANTONI SCHOONENBURG, 1735. || Collation: 4to; fep, 1st blank, engraved t.p. by M. Pool, t.p., *3,4; 2*-9*4, 10*1, *LII2, *LII, 10*2 —> *-10*4 (40 leaves); A-Z4, 2A-2Z4, 3A-3Z4, 4A-4Q4, last blank, fep; (340 leaves), 2 plates extraneous to collation. Pagination: [2] [1-5] 6-14 [15-80] [1-3] 4-680 [2], 2 unsigned plates not included in pagination after pp. 634 and 652, 50 headpieces by Jacob Folkema after Arnold Houbraken, and 2 tailpieces by Jan de Ruijter. Marks: Armorial bookplate: “Ex Libris J. J. Mak | {coat of arms} | Inveni Intermanere Melius”. Oval ink stamp: “HOOGERE BURGERSCHOOL. | DELFT” Provenance: Johannes Jacobus Mak (Dutch, 1908 – 1975). Edition: 2nd, 1st edition published in 1715 in Leeuwarden by François Halma. Contributors: Lukas Rotgans (Dutch, 1653 – 1710) – author. Arnold Houbraken (Dutch, 1660 – 1719) – artist. Jacob Folkema (Dutch, 1692 – 1767) – engraver. Matthijs Pool (Dutch, 1676 – 1740) – engraver. Jan de Ruijter (Dutch, 1688 – 1744) – engraver. Antoni Schoonenburg (Dutch, 1682 – 1754) – publisher. -
Mons the Capital City of Hainault in y Low Countries, taken by y French in 1691, Restor'd to y Spaniards by y Peace of Ryswick in 1697, retaken by y Allies in 1709, and left to y Emperor by y Treaty of Utrecht. attribution to publication source has been trimmed.
Dimensions: Sheet: 40.7 x 52.5 cm; Image: 37.5 x 48 cm. Published between 1744 and 1747. Attribution to publication source has been trimmed. Reference: Royal Academy 03/2919. Source: Maps for Mr. Tindal's Continuation of Mr. Rapin's History of England. London: John and Paul Knapton. Nicolas Tindal (British, 1687 – 1774) – the translator and continuer of the History of England by Paul de Rapin. Paul de Rapin (French, 1661 – 1725) – a Huguenot historian, author of the History of England. -
Description: Two volumes 23.1 x 14.9 cm each, collated in 4to, uniformly bound in French flapped wrappers with the title and an engraved vignette, coloured; wrapped in glassine; cased in a cardboard chemise (23.1 x 15 cm) with a diaper of two hearts pierced by an arrow, in pink; and both volumes cased in a slipcase (23.8 x 15.2 cm) with the same diaper. Printed on unpaginated dense wove paper watermarked ‘Arches’, engravings with clear plate marks. Illustrations are by Jean Dulac. Title-page (double-fillet frame, black and red in manuscript) Nelly et Jean | – | nous deux | simples | papiers | du| tiroir secret | {vignette} | Première partie (Deuxième partie) | – | Gravé | et imprimé | pour les auteurs | et leurs amis || Vol. 1: 1 blank, π4 (blank, h.t., frontis., engr. t.p.), 1-84, [2 blanks]; total 39 leaves with 19 hand-coloured burin engravings, incl. wrapper, frontis., and t.p. Unpag. Vol. 2: 1 blank, π4 (blank, h.t., frontis., engr. t.p.), 1-114, [1 colophon] [2 blanks], total 52 leaves with 27 hand-coloured burin engravings, incl. wrapper, frontis., and t.p. Unpag. Limitation: total print run of 295 copies of which 12 (№№ 1-12) on Japon Impérial, 13 on Vélin d’Arches (№№ 13-25), 30 on Japon Impérial (№№ 26-55) and 240 on Vélin d’Arches (№№ 56-295); this is copy № 97 on Vélin d’Arches. Contributors: Marcel Valotaire (French, 1889 – 1979) – author. Jean Dulac (French, 1902 – 1968) – artist. Printed by Coulouma (Argenteuil) and Vernant (Paris). The same title with illustrations by Gaston de Sainte-Croix was published in 1956: LIB-2880.2021. -
Title: NIEUWE KAART | der platte Grond van de Stad | PARYS | en derzelver Voorsteden. | Met aanwyzing van de Kwartieren, Staaten, | Markten, Pleinen, Paleizen, Abtyden, Kerken, | Kloosters en andere voornaame Gebouwen. | Na het Origineel van | M. DE LA GRIVE. | Te Amsterdam by | I. Tirion. | 1756. ||
Author : Jean Delagrive (French, 1689-1757)
Publisher: Isaak Tirion (Dutch, 1705 – 1765)
Publication date: 1756.
Dimensions: Sheet: 42.5 x 53.8 cm; Image: 30.7 x 37.7 cm.
Plate № 59 from Beknopte Atlas van omtrent honderd platte gronden der voornaamste vestingen, kasteelen en Steden van Europa. -
Description: two volumes, 38.3 x 25.5 cm each, uniformly bound in red morocco, boards decorated in gilt in the style of Luc-Antoine Boyet, with gilt dentelle inside out; spine with raised bands, gilt lettering, gilt in compartments; all edges gilt; marbled endpapers; printed on laid paper, text in the floral frame, engraved frontispiece (after Hyacinthe Rigaud), plates, t.p. vignette with the portrait of Desiderius Erasmus (after Quentin Metsys), head- and tailpieces (total of 40, some repeating) and 2 initials by Bernard Picart, folded portrait of dedicatee Guillelmine Charlotte Princesse de Galles &c &c &c by van Gunst after Kneller. Title-page (red and black, tall ‘s’): OEUVRES | DE | NICOLAS BOILEAU | DESPRÉAUX. | AVEC DES | ÉCLAIRCISSEMENTS | HISTORIQUES, | DONNEZ PAR LUI-MEME. | Nouvelle Edition revuë, corrigée & augmentée de diverses Remarques. | Enrichie de figures gravées par Bernard Picart le Romain. | TOME PREMIER (SECOND). | {vignette} | A AMSTERDAM, | Chez DAVID MORTIER. | — | M DCCXVIII. | AVEC PRIVILEGE. || Vol. 1. Collation: 4to; 1 ffl, a-c4 d1 A-3K4, 3L2, 1ffl; (K3 marked I3). Plates: t.p. vignette, frontispiece, 24 head- and tailpieces, f.t. in a grotesque frame and 6 full-page for ‘Le Lutrin’ in the same frame by Bernard Picart; folded portrait of Guillelmine Charlotte, Princess of Wales by van Gunst after Kneller. Pagination: [4] [i-v] vi-xviii [4] [1] 2-450 [2]. Vol. 2. Collation: 4to; 2 ffl, π2 A-3C4 3D3 2 ffl; (V3 marked T3, 2L4 marked A). Plates: t.p. vignette (same as vol.1) and 7 head- and tailpieces by Bernard Picart. Pagination: [4] [i-iii] iv-vii [viii] [1] 2-370 [2] [20]. Catalogue raisonné: Lewine 72-3; Cohen-De Ricci 165-6. Contributors: Luc-Antoine Boyet (French, fl. 1684 – 1733) – bookbinder. Claude Brossette (French, 1671 – 1743) – author, remarks. André Dacier (French, 1651 – 1722) – author, preface. Nicolas Boileau Despréaux (French, 1636 – 1711) – author. Pieter Stevens van Gunst (Dutch, 1659-1724) – engraver. Sir Godfrey Kneller (British, 1646-1723) – artist. David Mortier (Dutch-British, 1673 – 1728) – publisher. Bernard Picard (French, 1673 – 1733) – artist, engraver. Quentin Massijs [Metsys, Matsys] (Flemish, 1466 – 1530) – artist. Hyacinthe Rigaud [Jacint Rigau-Ros i Serra] (French, 1659 - 1743) – artist. Guillelmine Charlotte, Princess of Wales (Wilhelmina Charlotte Caroline of Brandenburg-Ansbach) (1683 – 1737) – dedicatee -
Amoris Divini Emblemata, Studio Et Aere Othonis Vaeni Concinata. — Antverpiae: Ex Officina Plantiniana Balthasaris Moreti, MDCLX [1660]. — pp.: [1] (Van Veen port.), [1] title, [2] (Isabella port.), 3-127 [1], 60 illustr. — 2nd impression. Octavius Vaenius, a.k.a. Otto Vaenius or Otto Van Veen (c. 1556-1629) was Rubens's last and most influential teacher. The Amoris divini emblemata was first published in 1615 by Nutius & Meursius in Antwerp. Vaenius’s book was to influence Herman Hugo's Pia desideria (LIB-1657.2018). Book structure: On frontispiece, trimmed and mounted portrait of Octavius Vaenius painted by his daughter Gertruida van Veen (signed Gertrudis filia) and engraved by Nicolas de Larmessin. Trimmed portrait of the Infanta Isabella Clara of Austria (1566 – 1633) pained by Peter Paul Rubens and engraved by Jan de Leeuw mounted to title verso. 60 engraved plates with emblems are on recto pages with facing texts: Latin quotations from Bible and Fathers, Spanish verses by Alphonso de Ledesma, Dutch by Vaenius and French by Carolus Philippus Hattron (d. 1632). Rebound in the mid-19th century in brown quarter Morocco with blind marbled boards and gilt lettering to spine. Inscription in ink on verso to van Veen portrait: "I bought this volume with the portraits inserted at the sale of the library of my uncle Samuel Rogers, Esq." Signed: "Frederick Sharpe, 1856". Frederick Sharpe (born was a son of Samuel Sharpe (1799–1881), the nephew of Samuel Rogers (1763–1855), a celebrated English poet. Size: 23.3 x 17.9 cm. Ref.: Emblem Project Utrecht (with an explanation of all the emblems); PETER BOOTHUYGENS: Similar or Dissimilar Loves? -
Title: OVID'S | METAMORPHOSES | IN | FIFTEEN BOOKS. | Translated by the most Eminent Hands. | Adorn’d with Sculptures | London: | Printed for Jacob Tonson at Shakespeare’s–Head | over-against Katharine-Street in the Strand. | M DCC XVII. || Physical description: Folio, laid paper, engraved title as frontispiece, letterpress title-page, portrait of the dedicatee, the Princess of Wales, engraved by George Vertue (British, 1684 – 1756) after Sir Godfrey Kneller (German, 1646 – 1723), [4] – dedication with headpiece vignette engraved by Elisha Kirkall (British, 1682 – 1742) after Peter Berchet (French, 1659 – 1720 London), [i]-xx – preface, [4] – contents, 1-548; collation: π3 a-f2, B-Zzzzzz2, +15 full-paged engravings, one heading each book; bound in full contemporary tan English calf blind-tooled with a darker panel, raised bands, crimson label with gilt lettering, sprinkled compartments with blind tooling, rebacked, later endpapers, 15 1/4 x 9 1/2 in (39.5 x 26 x 5 cm). Contributors: Author: Ovid (Roman, 43 B.C. – A.D. 17) Translator: Sir Samuel Garth (British, 1661 – 1719) Translator: John Dryden (British, 1631 – 1700) Translator: Joseph Addison (British, 1672 – 1719) Translator: John Gay (British, 1685 – 1732) Dedicatee / Sitter: Caroline Wilhelmina of Brandenburg-Ansbach, Princess of Wales, Queen of England (German-British, 1683 – 1737) Engraver: Elisha Kirkall (British, 1682 – 1742) Artist: Peter Berchet (French-British, 1659 – 1720) Artist: Sir Godfrey Kneller (German, 1646 – 1723) Engraver: George Vertue (British, 1684 – 1756) Engraver: Louis Du Guernier, the younger (French, 1677 – 1716) Engraver: Michael Vandergucht (Flemish, 1660 – 1725) Engraver: Elisha Kirkall (British, 1682 – 1742) Engraver: R. Smith (British, fl. early 18th century) Engraver: Matthys Pool (Dutch, 1670 – c. 1732) Publisher: Jacob Tonson, the Elder (British, 1655 – 1736) -
Vol. 1 title: OVID'S | METAMORPHOSES | IN LATIN AND ENGLISH, | TRANSLATED BY | THE MOST EMINENT HANDS. | With HISTORICAL EXPLICATIONS | Of the FABLES, | WRITTEN IN FRENCH BY | The ABBOT BANIER, | MEMBER OF THE ACADEMY OF INSCRIPTIONS | AND BELLES LETTRES. | TRANSLATED INTO ENGLISH. | Adorned with Sculptures, by B. Picart, and other able Masters. | VOLUME THE FIRST. | [Device] | AMSTERDAM, | Printed for the WETSTEINS and SMITH. | MD CC XXII || — Pagination: [26 – Half-title, frontis., t.p., dedic., The Bookseller's Preface To This Edition, Mr. Banier's Preface To The French Translation, Contents], [1] 2-247 – Text of books 1-7, with illus., [1 blank]. Vol. 2 half-title: OVID'S | METAMORPHOSES | IN LATIN AND ENGLISH | TWO VOLUMES || — Pagination: [2 – half-title / blank], 249-524 – Text of books 8-15, with illus., incl. 3 leaves of pl., [4 – Index]. Three leaves between pages 264 and 271 are included in the pagination as pp. [265-70] but do not carry page-numbers or letterpress text. They each carry two prints on their rectos and are blank on the verso. Vol. II without the engraved title page. The names of the translators are given in the list of Contents as Dryden, Addison, Eusden, Arthur Mainwaring, Croxall, Tate, Stonestreet, Vernon, Gay, Pope, Stephen Harvey, Congreve, Ozel, Temple Stanyan, , Catcot, Rowe, Samuel Garth, Welsted. The frontispiece is signed as made by B. Picart. The six plates on pages [265, 267, 269] are all signed as painted by C. Le Brun and engraved by Iakob Folkema. Of the 124 illustrations, most are unsigned by a draughtsman, but some are signed as designed by G. Maas, one as designed by Jul. Romain, two as designed by G. Maas and drawn by J. de Wit, one as drawn by 'HA', one as painted by C. le Brun, one as made by B. Picart, one as designed by P. Testa and drawn by B. Picart, one as designed by S. Le Clerc, one as designed by B. Picart. Many are signed by their engravers - Philip à Gunst (one as directed by B. Picart and engraved by Phil. à Gunst), J. Vandelaar (or I. Wandelaar), Martin Bouche, Jan Schenck, 'MB', Petr. Paul. Bouche, Iakob Folkema, W. Jongman, Fred. Bouttats. The title-page vignette of Volume I is signed as drawn by B. v. Overbeke and engraved by F. Mulder. Many tailpieces are signed 'VLS'. The book is dedicated by the publishers, R. and J. Wetstein and W. Smith, to the Countess of Pembroke. [Description is cited from the Royal Academy of Arts] Physical description: Two large 4to volumes, first title page printed in red and black, added engraved title in the first volume; half-title in the second volume; illustrated throughout with copperplate engravings in text; text printed in parallel columns in Latin and English; three leaves extraneous to collation each with two engravings in the second volume; bookplate pasted to the front endpaper in each volume: Ex Libris Theodore C. Tebbetts (Theodore Charles Tebbetts, American, 1871 – 1920) designed after Francis Carruthers Gould (British, 1844 – 1925); pages 517-520 of the second volume torn with loss of bottom blank corners and a word or two; original full leather, spines tooled elaborately in gilt; some boards detached, endcaps and corners rather worn, contents bright and fresh. Size: Large 4to; 47.5 x 31 cm. -
-
Phaedri, Aug. Liberti Fabularum Aesopiarum libri V / notis illustravit in usum serenissimi principis Nassavii David Hoogstratanus. Accedunt ejusdem opera duo indices, quorum prior est omnium verborum, multo quam antehac locupletior, posterior eorum, quae observatu digna in notis occurunt. — Amstelaedami : Ex Typographia Francisci Halmae, MDCCI [1701]. — pp.: [1] title, [1] (portr.), [32] 160, [84], 18 leaves of plates. Vita Phaedri is written by Johannes Schefferus (February 2, 1621 – March 26, 1679). Appendix fabularum is written by Marquard Gude (Gudius) (1 February 1635 – 26 November 1689). Gaius Julius Phaedrus was a 1st-century CE Roman fabulist and the first versifier of a collection of Aesop's fables into Latin. David van Hoogstraten (Rotterdam, March 14, 1658 - Amsterdam, November 21, 1724), a physician, poet and linguist, annotated the fables and dedicated them to Johan Willem Friso van Oranje-Nassau (14 August 1687 – 14 July 1711). The book was published in Amsterdam by François Halma (Langerak, January 3, 1653 - Leeuwarden, January 13, 1722), a Dutch printer, publisher and bookseller, with a portrait of Prince of Orange-Nassau, engraved by Pieter van Gunst (Dutch, Amsterdam 1659–1724) after Bernard Vaillant (Dutch, Lille 1632–1698 Leyden). The title page was engraved by P. Boutats after Jan Goeree (Dutch, Middelburg 1670–1731 Amsterdam). The edition is adorned throughout with 18 plates, each with 8 médaillons, designed and engraved by Jan van Vianen (Dutch, 1660–1726), and with vignettes, head- and tailpieces, inhabited initials, etc. Contemporary vellum over boards, title in red and back, red edges, 4to, 26 x 20 cm. Seller's description:4to, engraved general title, letterpress red & black title page with allegorical engraved vignette. 18 full-page copper-engraved plates by Jan van Vianen, each featuring six circular images, and 38 in-text reproductions, engraved decorative initials, and head- and tailpieces. Phaedrus (15 BC - 50 AD, Italy), was a "Roman fabulist, the first writer to Latinize whole books of fables, producing free versions in the iambic metre of Greek prose fables then circulating under the name of Aesop." (Ency. Brit.). This deluxe edition was specially created for the Prince of Nassau, profusely illustrated with fine engravings. Dibdin spoke highly of it in his Greek and Latin Classics (4th edition): "I have always considered this as a correct and very sumptuous edition. It is ornamented with a great number of small plates, or medallions, in which the subject of the fable is very ably and spiritedly executed.Ref.: Metropolitan Museum; Musée Médard -
Title: L'ART | D'AIMER, | ET | POÉSIES DIVERSES | DE M. BERNARD. Pagination: [2] – t.p. / stanza by Voltaire; engraved t. p., frontispiece, [1] 2-170; pp. 1-61 – L'art d'aimer; pp. 62-111 – Phrosine et Mélidore; pp. 112-170 – Poésies diverses; illustrations. Collation: 8vo; π1 (letterpress t.p.), A-K8 L5; + 8 plates: (1)* engraved title page facing the stanza by Ch. Baquoy; (2) plate as a frontispiece by Ponce after Ch. Eisen, inscribed Chant I above the image, dated 1772, facing p. [1], chant 1er of l’art; (3)* Ch. Baquoy after P. Martini, inscribed Chant II below the image, facing p. 22, chant 2nd of l’art; (4) Ch. Baquoy after Eisen, inscribed Chant III above the image, facing p. 44, chant 3rd of l’art; (5)* Patas after P. Martini, inscribed Chant Ier below the image, dated 1775, facing p. 62, chant 1er of Phrosine; (6) Ch. Baquoy after Eisen, inscribed Chant II above the image, facing p. 74, chant 2nd of Phrosine; (7)* C. Gaucher after P. Martini, facing p. 84, chant 3rd of Phrosine; (8) Ch. Baquoy after Eisen, inscribed Chant IV above the image, facing p. 97, chant 4th of Phrosine; * – images additional to 1772 edition by Le Jay [LIB-2706.2021] (i.e. plates 1, 3, 5, and 7 are new). A counterfeit edition by an anonymous publisher. Binding: brown pebbled morocco, triple fillet gilt-ruled boards, raised bands, gilt in compartments, gilt label lettering to spine, marbled endpapers, AMG; printed on laid paper, with tall 's'. Catalogue raisonné: Cohen, De Richi (1912): p. 132: describes a counterfeit edition with 170 pages and 3 additional plates plus an engraved title. This seems to be a combination of Lejan [sic] Paris 1775 edition, which normally has 134 pages, 8vo, title engraved by Baquoy and three plates after Martini by Patas, Baquoy and Gaucher. Contributors: Nicolas Ponce (French, 1746 – 1831) – engraver. Jean Charles Baquoy (French, 1721 – 1777) – engraver. Jean-Baptiste Patas (French, 1748 – 1817) – engraver. Charles-Étienne Gaucher (French, 1740 – 1804) – engraver. Charles-Dominique-Joseph Eisen (French, 1720 – 1778) – artist. Pietro Antonio Martini (Italian, 1738 – 1797) – artist. Pierre-Joseph Bernard [Gentil-Bernard] (French, 1708 – 1775) – author of the text. -
Softcover volume, 25.9 x 16.7 cm, in French flapped wrappers lettered "PIETRO ARETINO | SONNETS | LUXURIEUX | {garland}" unbound, 6 gatherings in 4to (24 leaves, incl. those in wrappers), a few sheets of guard tissue laid in, unpaginated, lower margin untrimmed; in a burgundy double slipcase 26.3 x 17.3 cm. Illustrated with title-page vignette, red initials and tailpieces and 16 half-page engravings by Jean Baptiste Tavy Notton. Text in Italian and French. Title-page (red and black): SONNETS | LUXURIEUX | de | PIETRO ARETINO | dit L'ARÉTIN | avec accompagnement | de gravures au burin | d'après la description des gravures | de GIULIO PIPPI DE GIANNUZZI dit JULES ROMAIN | {vignette} | AUX DÉPENS | DE QUELQUES AMATEURS | 1948 || Clandestine limited edition, print run of 250 copies, of which this is copy № 20, printed on thick wove paper without watermarks. Catalogue raisonné: Dutel III № 2421. Original edition: Sonetti lussuriosi by Pietro Aretino, illustrated by Giulio Romano and engraved by Marcantonio Raimondi, published clandestinely in Venice in c.1527. Contributors: Pietro Aretino (Italian, 1492 – 1556) – author. Jean Baptiste Tavy Notton (French, 1914 – 1971) – artist. Antoine-Isidore Liseux (French, 1835 – 1894) – translator/comments. Giulio Romano [Giulio Pippi, Giulio Giannuzzi] (Italian, c.1499 – 1546) – artist. Marcantonio Raimondi (Italian c. 1470/82 – c. 1534) – engraver. -
Plan de la ville et citadelle de Cambray : place forte du pays bas capitalle du Comté Cambresis situé sur la riviere de l'Escaut a trois lieues de Bouchain, a cinq du Quesnoy, a six et demy de Landrecy, a six de Valenciene, a cinq de Douay, a huit d'Arras, et a six de Perone, l'Archeveque de Cambray est Duc de Cambray, Comté du Cambresis et Prince du S. Empire, elle fut prix sur les espagnoles par Louis XIV, le 5.me d'April 1677; A AMSTERDAM Chez Covens & Mortier, Avec Privilege.
Date of publication: [between 1721 and 1778].
Dimensions: Sheet: 48 x 58.3 cm; Image: 38.2 x 47.7 cm. Earlier editions of the same were by Pierre Husson in the Hague (ca. 1715) and by Eugene Henry Fricx in Brussels (1710). -
Oval cartouche in the upper-left corner, with tall “s”: Plan | OF | PARIS | and | SUBURBS | With all the Cross Streets | Before | THE REVOLUTION. || No indication of the makers. Dimensions: Sheet: 32.5 x 44.3 cm; Image: 28.5 x 41.3 cm. -
Four-volume edition with 6+4+5+5 = 20 plates. Vol. 1 : Title page, in double-border, within rules; accents as per original, with tall «s»: Les | Parisiennes, | ou | XL caractères generaux | Pris dans les Mœurs actuelles, | Propres à servir à l'instruction | des personnes-du-sexe : | Tirés des memoires du nouveau Lycée-des-mœurs. | I Volume : Les jeunes-filles, | & les filles-à-marier. | A Neufchâtel , | Et se trouve à Paris. | Chéz Guillot, libraire de Monsieur, rue | S.-Jacques, vis-à-vis celle des Mathurins. | 1787. Pagination : [1-5] 6-300, plus 6 etched/engraved plates w/guard tissue after Louis Binet (French, 1744 – about 1800). Collation: 12mo; A14 B-M12 N4; first 6 leaves in gatherings B to M signed, with exceptions: A1,2 unsigned, A3-8 signed, A9-14, D5, N3,4 unsigned. Vol. 2: Title page: Text above the first rule similar; below: II Volume : Les N.lles–mariées : | Les Mariées depuis 3 ans. | A Neufchâtel , | Et se trouve à Paris. | 1787. Pagination : [1-3] 4-388, plus 4 plates. Collation: 12mo; A8 B-Q12 R6; A1,5-8, R4-6 unsigned. Vol. 3: Title page: Text above the first rule similar; below: III Volume : Les epouses | à imiter : à— suir | A Neufchâtel , | Et se trouve à Paris. | 1787. Pagination: [1-3] 4-392, plus 5 plates. Collation: 12mo, A4 B-R12; A1,3,4, G4, N4,6, O5 unsigned. Vol 4: Title page: Text above the first rule similar; below: IV Volume : Les J.nes-Mères, | &—de grands-enfans. | A Neufchâtel , | Et se trouve à Paris. | 1787. Pagination: [1-3] 4-380 [4], plus 5 plates. Collation: A-Q12; A1 unsigned. Binding: later (c. 1875 – 1885) uniform binding of all four volumes in motley 'percaline anglaise' (buckram) with black gilt-lettered labels to spine, marbled endpapers; printed on laid paper; armorial bookplate of Masséna engraved by Stern to front pastedown. Provenance: Library of Masséna; Victor Masséna, duc de Rivoli, prince d'Essling (French, 1836 – 1910) [photo]. Catalogue Raisonné: P.-L. Jacob, 1875: № XXXII, pp. 247-250. P. L. Jacob. Bibliographie et iconographie de tous les ouvrages de Restif de la Bretonne. — Paris: A. Fontaine, 1875. [LIB-2634.2021]. Contributors: Nicolas Edmé Restif de la Bretonne (French, 1734 – 1806) – text. Louis Binet (French, 1744 – c. 1800) – illustrations. Sources: MFA: ACCESSION NUMBER 37.1667a-b lacking one plate in vol. 4. Collation: 12mo, 4 vols. in 2; [v. 1] 150 leaves, plus 6 plates; [v. 2] 194 ll., plus 4 pls.; [v. 3] 196 ll., plus 5 pls.; [v. 4] 192 ll., plus 4 [of 5] pls. BNF Identifier ark:/12148/bpt6k1050366b. Collation: 4 vol. (300; 388; 392; 380 p., XX f. de pl.) : ill. ; in-12 -
Two hardcover volumes 22.7 x 18.5 x 4.5 cm, uniformly bound in contemporary vellum with a blind border along the edges, handwritten title to spine, printed on laid paper with watermarks to ffls: “Leonard”, “ISRB”, and the arms of Amsterdam. Vol. 1: SPIEGEL van STAAT | des | VEREENIGDE | NEDERLANDS. | Waar in | De Macht en 't Vry Bestier, | Van yder der Zeven Verbonde PROVINCIEN en haar | byzondere Steeden, | Zo in Rechten als Regeeringen werd ontvouwd. | Aanwyzende | Aan, de In, en Uytheemschen, alle de Hooge en Lage Recht- | banken, Collegien en Ampten, dewelke in de zelve, tot | dienst van den Staat, en het Recht, zyn ingesteld. | Hoe, wanneer en waar, voor de zelve yets te verrichten is. | DOOR | Mr: ROMYN de HOOGHE. | EERSTE DEEL: | {fleuron} | t’ AMSTERDAM, | — | By JAN TEN HOORN, Boekverkooper 1706. Collation: 2ffl, *-**4, A-Z4 2A-Z4 3A-O4 4A-G4 5A-S4 6A-F4, 2ffl, (4G2 marked 3G2), total 372 leaves, plus 8 folded leaves of plates, t.p., and half-page vignette dedication by Romeyn de Hooghe. Pagination: [16], 1-267, 268-270 (marked 468-470) 271-480, [2] 3-55 [56], [2] 3-143 [144], [2] 3-44 [4], total 744 pages, ils. Vol. 2: SPIEGEL van STAAT. | VERVATTENDE | DE MACHT DER | GENERALITEYT. | De Edele Mogende Collegiën, | Hooge Rechtbaken, Steden, Schansen | en Onderhoorigheeden, | Welke van Hoog Mogende af angen. | DOOR | Mr: ROMYN de HOOGHE. | TWEEDE DEEL. | Met Figuuren. | {fleuron} | Te AMSTERDAM, | — | By JAN TEN HOORN, | Boekverkooper, 1707. Collation: 2ffl, *-**4, ***2, A-Z4 2A-T4, (A-Z)4, (2A-V)4 X2, 2ffl, total 352 leaves plus 9 folded leaves of plates, t.p., and half-page vignette dedication by Romeyn de Hooghe. Pagination: [20], 1-335 [336], 1-339 [340] [8], total 704 pages, ils. Contributors: Romeyn de Hooghe (Dutch, 1645 – 1708) Jan ten Hoorn (Dutch, fl. 1671 – 1715) -
Seated portrait of Russian diplomat Count Semyon Romanovich Vorontsov (Семён Романович Воронцо́в; 26 June 1744 – 9 July 1832). Engraved by August Weger (Born: 1823 in Nürnberg; died: 1892 in Leipzig) from the portrait painted by Richard Evans (1784–1871). Circa 1825-50. Semyon Romanovich Vorontsov, the son of Count Roman Illarionovich and Marfa Ivanovna Surmina, was born on June 15, 1744; Active Privy Councillor; Ambassador to Venice and London from 1784, for over 20 years. Died in London on June 26, 1832.
Inscription: Графъ Семенъ Романовичь Воронцовъ. Родился въ Москвѣ Iюня 15-го/26 1744, Скончался въ Лондонѣ Iюня 9-го/21 1822. | Le Comte Simon Woronzow. né à Moscou le 26 Juin 1744, Mort à Londres le 21 Juin 1832. | Richd. Evans, Peintre. - Gravé par A. Weger, Leipzig. Vorontsov family coat of arms in the middle.
Dimensions: 23 x 15 cm. Ref.: Подробный словарь русских гравированных портретов Д. А. Ровинского, том. 1, 534-540. -
Top: THE ENVIRONS OF PARIS. || Bottom centre: Published by Baldwin & Cradock, Paternoster Row, | Under the Superintendence of the Society for the Diffusion of Useful Knowledge. | March 1st. 1832. || Bottom right: J. & C. Walker sculpt. || Dimensions: Sheet: 34.7 x 40.5 cm; Image: 30 x 37 cm. Contributors: J & C Walker (British firm, fl. 1820 – 1895) Walker, John (British, 1787 – 1873) Walker, Alexander (British, 1797? – 1870) Walker, Charles (British, 1799? – 1872) Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846) -
London: Published under the superintendence of the Society for the Diffusion of Useful Knowledge; Charles Knight & Co., no. 22 Ludgate Street. Dimensions: Sheet: 34 x 41.8 cm: Image: 28.7 x 38.3 cm. J. & C. Walker, Society for the Diffusion of Useful Knowledge Charles Knight & Co.; Charles Knight (British, 1791 – 1873) – publisher. J & C Walker (British firm, fl. 1820 – 1895) Walker, John (British, 1787 – 1873) Walker, Alexander (British, 1797? – 1870) Walker, Charles (British, 1799? – 1872) Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846) -
Title-page: AMINTA | FAVOLA BOSCARECCIA | DI | TORQUATO TASSO | CON | LE ANNOTATIONI | D'EGIDIO MENAGIO | ACCADEMICO | DELLA CRVSCA• | {woodcut vignette} | IN PARIGI| Presso AGOSTINO Cvrbe`, nella Galeria del Palazzo, | all’ insegna della Palma. |—| M. DC. LV. || Collation: 4to; ā4 ē4 ī4 A2 B2 C-V4 Y-Z4 2A1,2 X4 2A3,4 2B-2Z4, 3A-3B4, total number of leaves = 200. Note: O2, 2K3, 2V3 2X3 2Y3, and 3B3 – unsigned, 2Z3 signed 2Z2 (Zzij), quire X (pp. 145-152) bound between 2A2 (p. 172) and 2A3 (p. 173); illustrated throughout with woodcut head- and tailpieces and initials, Atto Primo has copperplate engraved historiated initial and a headpiece signed “F. C. in. — I. B. fe.” “I. B.” was a monogram of engraver Giulio Bonasone (Italian, c. 1498 – after 1574). Pagination: [2] – t.p. / blank, [8] – dedication, i-xviii, [4], 1-341 [342-368]; total number of pages = 400. Binding: 22.3 x 18 cm, 19th-century quarter morocco over marbled boards, spine with raised bands and gilt lettering, rebacked, additional blank flyleaves at front and back, marbled endpapers and all edges. Bookplate to front pastedown: “The Robin Collection”. Verso front flyleaf stamped “RESTORED BY MACDONALD CO. | NORWALK. CONN. Provenance: The Robin Collection. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Gilles Ménage (French, 1613 – 1692) – author. Antoine Vitré (French, 1595 – 1674) – printer. Augustin Courbé (French, fl. c. 1625 – 1660) – publisher. Marie-Madeleine Pioche de La Vergne, comtesse de La Fayette (French, 1634 – 1693) – dedicatee. -
Title page: IL | GOFFREDO | OVERO | LA | GIERUSALEMME | LIBERATA | DI TORQUATO TASSO. || Engraved title: On the banner: IL GOFFREDO | OVERO | LA GIERUSALEMME | LIBERATA | DI TORQUATO TASSO ||; under the image, within frame: IN PARIGI NELLA STAMPERIA REALE MDC XLIV. Signed: J. Stella Invenit — Ægid Rousselet Sculpsit (with tall “s”) || Collation: 2 blank leaves with donation ink inscription to recto of the 1st: “Ex Dono Patruelis Do Roberto Willughby” [i.e. Robert Willoughby]; t.p. / blank, engraved t.p. by Gilles Rousselet after Jacques Stella / blank, “Allegoria dell poema” 4 leaves, 1st two leaves signed iij and iiij, respectively; π6 A-Z4 Aa-Zz4 Aaa-Rrr4, 2 blank leaves at the end; text paginated from 1 to 502 [2] (p. 503 tailpiece, p. 504 blank); a printable area marked with vertical and horizontal double lines; total: 252 leaves of text (504 pages), 6 prelims and 4 blanks. Illustrated throughout with head- and tailpieces, and historiated initials. Binding: 18th-century red crushed morocco, triple-fillet gilt border, triple-fillet gilt frame, panel with gilt lozenge centrepiece, lozenges at corners, marbled endpapers, AEG, crudely rebacked retaining original spine with raised bands, gilt in compartments, crimson label with gilt lettering; The Robin Collection bookplate to front pastedown. Provenance: The Robin Collection; Robert Willoughby family. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Jacques Stella (French, 1596 – 1657) – artist. Gilles [Aegidius] Rousselet (French, 1610 – 1686) – engraver. -
Vol. 1: Engraved t.p.: An architectural setting with flags and arms, and sitting male and female figures in armour, perhaps representing Tancredi and Clorinda, with lettering above their heads: “GIERVSA– | LEMME | LIBERATA”. Title-page: IL | GOFFREDO, | OVERO | GIERUSALEMME | Liberata , | POEMA HEROICO | del Sig. Torquato Tasso. | CON L’ ALLEGORIA | Universale dell istesso, | Et con gli Argomenti del Sig. Horatio Ario- | sti, & di belissime figure adornato. | {woodcut element} | In Amsterdam, nella Stamperia del S.D. ELZEVIER, | Et in Parigi, si vende | Appresso Thomaso Jolly. | Nel Palazzo, M. DC. LXXVIII. || Collation: 8vo; [A1] 1st blank, engraved t.p., [A2] letterpress t.p., pp. [1-4]; signatures start at A3, pagination starts at p. 37; Allegoria: A3-B1, pp. [5-18], Tavola: B2-C2, pp. [19-36]; Il Goffredo: C3-R8, pp. 37-271 [272]. Total A-R8: 136 leaves (272 pages), plus 11 plates, incl. engraved t.p., and frontispiece (sculptural bust portrait of Torquato Tasso in a laurel wreath, with a lettered plate below “TORQVATO | TASSO”). Vol. 1: Title-page: Similar but “TOMO II.” after “sti, & di belissime figure adornato.” and before the woodcut element. Collation: 8vo; 1st blank, letterpress t.p., signatures start at A3, p. 5; A-S8, pp. [4] 5-285 [3]. Total A-S8: 144 leaves (288 pages) plus 10 engraved plates. Binding: Two volumes 15 x 6 cm, uniformly bound in 19th-century green morocco, gilt triple-fillet border, bull heads at corners, spine with raised bands, gilt in compartments, two gilt-lettered crimson labels, blue endpapers, 2 blank laid paper leaves in the front, AEG. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Daniel Elzevir (Dutch, 1626-1680) – publisher. Thomas Jolly (French, fl. 1648 – 1694) – publisher. -
Engraved title-page: L'AMINTA | FAVOLA BOSCHERECCIA | DI | TORQUATO TASSO | Aggiuntovi il Poemetto | Amore Fugitivo |{vignette} | IN VENEZIA | MDCCLXIX |—| PRESSO ANTONIO ZATTA | CON LICENZA DE’ SUPERIORI || in historiated frame, signed below: “Pet. Ant. Novelli in — Fambrini inci.” Pagination: [i] ii-xxiv, [1-2] 3-84, total 108 pages, ils. Collation: 12mo; a12, A-C12 D6, last blank; first 6 leaves signed in 12-leave quires, first 3 in D; total 54 leaves plus 9 plates, incl. engraved title and frontispiece, and numerous head- and tailpieces by Fambrini after Novelli. Binding: 18.6 x 11 cm, contemporary tree calf, rebacked, crimson label with gilt lettering; clipping and bookplate of The Robin Collection to front pastedown; verso front flyleaf stamped “RESTORED BY MACDONALD CO. | NORWALK. CONN.” Additional blank leaves at front and back. Provenance: Satinsky, Robin F. (American, 1919 – 2008); The Robin Collection. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Pietro Antonio Novelli (Italian, 1729 – 1804) – artist. Ferdinando Fambrini (Italian (1764 – c.1793) – engraver. Antonio Zatta (Italian, c. 1722 – 1804) – printer, publisher. -
A two-volume set. Vol. 1:Title: LA | GERUSALEMME | LIBERATA | DI | TORQUATO TASSO | Tomo Primo | {vignette} | IN PARIGI | M.DCC.LXXI | Appreßo { Agostino Delalain. | Pietro Durand. | Gio: Claudio Molini. | Droüet ∫crip.
Pagination: ffl [1] 2-331 [332] bfl; illustrations after Gravelot: frontis. by Henriquez, t.p. vignette by Patas, engraved dedication by Le Roy, 10 head- and 7 tailpieces by Le Roy, 5 full-page vignettes by Le Roy, and 10 plates by: Baquoy, Duclos (3), Le Roy, Lingée, Née, Rousseau, and Simonet (2).
Collation: 8vo; A-V8 X6.
Vol. 2: Title: LA | GERUSALEMME | LIBERATA | DI | TORQUATO TASSO | Tomo Secondo | {vignette} | IN PARIGI | M.DCC.LXXI | Appreßo { Agostino Delalain. | Pietro Durand. | Gio: Claudio Molini. | Droüet ∫crip. Pagination: ffl [1] 2-340 bfl; illustrations after Gravelot: frontis. by Henriquez, t.p. vignette by Mesnil, 10 head- and 6 tailpieces by Le Roy, 4 full-page vignettes by Le Roy, tailpiece by Ponce, and 10 plates by: Duclos, Henriquez, Leveau, Lingée, Massard, Née, Patas, Ponce, Rousseau, and Simonet. Collation: 8vo; A-X8 Y2. Size: 21.5 x 14.5 cm. Size of the copy sold at Sotheby's in 2015: 23.3 x 14.0 cm; Christie's in 2008: 23.2 x 14.4 cm Page size: 21 x 13.5 cm. In referenced sources, the page size is bigger than that. N. Ray gives 11 ½ x 8 7⁄8 inches or 9 x 5½ inches. Cohen and De Ricci do not bother to give sizes, considering that octavo is octavo. MFA: 30.3 x 23.1 x 4 cm (11 15/16 x 9 1/8 x 1 9/16 in.) Binding: Two volumes uniformly bound in full marbled calf, ruled in gilt, flat spine with gilt decorations and monogram, cream lettered label. Geoffrey Lord Cross of Chelsea [Geoffrey Cross, Baron Cross of Chelsea] (British, 1904 – 1989) bookplate to front pastedown. Catalogue raisonné: N. Ray №22, p. 48; Cohen De Ricci 974-975 According to MFA printing by: François-Augustin Quillau (French, 1743–1804). This edition was illustrated by Hubert François Gravelot (French, 1699–1773) and engraved by the following engravers: Jean Charles Baquoy (French, 1721–1777) Antoine Jean Duclos (French, 1742–1795) Benoît Louis Henriquez (French, 1732–1806) Jean Jacques André Le Veau (French, 1729–1785) Charles Louis Lingée (French, 1748–1819) Jacques Le Roy (French, born in 1739) Jean Massard (1740–1822) Elie du Mesnil (French, born about 1728) François Denis Née (French, 1735–1818) Charles Emmanuel Jean Baptiste Patas (French, 1744–1802) Nicholas Ponce (French, 1746–1831) Jean François Rousseau (French, born in 1740) Jean Baptiste Simonet (French, 1742–1813) Droüet (French, 18th century) -
Engraved title-page 1, as per British Museum: An architectural setting with, at upper centre, a portrait of Carlo Emanuele I, Duke of Savoy, in an ornate cartouche lettered “"Spectandus Certamine Martio"; a central title “LA | GERUSALEMME | DI | TORQUATO | TASSO | FUGURATA A | DA BERNARDO CASTELLO | A | CARLO EMANUELLO | DVCA DI SAVOIA” flanked by Tuscan columns and crests with mottos and imprese showing compasses lettered "Dvm Premor Amplior", at left, and a crossed sword and sceptre with a crown lettered "Illaesa Super Sunt", at right; in the lower register, male and female figures in armour, perhaps representing Tancredi and Clorinda, with a central crest showing an impresa of armour”. Central title: Below, within frame: "In Genova, Appresso Giuseppe Pavoni. […] Con licenza de' Superiori. MDCXVII." Engraved title-page 2, as per British Museum: Portrait of Torquato Tasso, bust, facing front, wearing a laurel crown; within an oval pendant, lettered “TOROVATO […] TASSO EF”, suspended from a pediment, beneath which a view of Genoa is flanked by two columns, and above is a tablet, lettered: “LA GERUSALEMME | LIBERATA | DI TORQUATO | TASSO. | Con le annotazioni | di Scipion | Gentili, e di Givlio | Guastauini , | Et li argomenti di Oratio Ariosti , | STAMPATA | Per Giuseppe Pauoni ad instanza di | Bernardo Castello,in Genova | L’Anno MDCXVII." Collation: 8vo; 2 leaves of engraved title-pages, 1 leaf signed †2, 1 leaf unsigned, 2 leaves signed †† and ††2, respectively, 1 leaf unsigned, 1 leaf with engraving to verso (frontispiece to Canto Primo) —> 8 prelims (besides FEP or a blank leaf before 1st t.p.); π8 A-Q8 (pp. 1-255 [256 blank], plated within collation), G1, I1, K1, O1, and P1 (recto to plates without text) unsigned, L3 signed as second L2; A-D8 E4 (pp. 1-71 [72]; A-B8 C4 χ1 (pp. [1] 2-36 [37-40] [2]), in the 4-leaf quires E and C only two first leaves signed, in the 8-leaf quires four first leaves signed. Illustrations: woodcut head- and tail-pieces, woodcut initials, some historiated, and 20 plates within collation and pagination engraved by Camillo Cungio after Bernardo Castello. Binding: 30.5 x 21.4 cm overall, 30 x 20.5 cm leaves; contemporary vellum, rebacked with modern brown morocco, crimson morocco label with gilt lettering and double-fillet outline. Two bookplates to front pastedown: (1) Chippendale armorial bookplate (8.3 x 7.6 cm): Thos. Brand Esqr. Signed: W Austin — Fecit; (2) The Robin Collection bookplate. Bookseller’s ticket to back pastedown: “J. POOLE. | British & foreign | BOOKSELLER, | 39 BOOKSELLERS ROW, | STRAND |〰️| Books Bought.” All edges green. Provenance: The Robin Collection; Thomas Brand Hollis (British, 1719 – 1804). Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Scipione Gentili [Scipio Gentilis] (Italian, 1563 – 1616) – author. Giulio Guastavini (Italian, fl. 16th century) – author. Bernardo Castello [Castelli] (Italian, 1557 – 1629) – artist. Camillo Cungi (Italian, fl. 1597 – 1649) – engraver. Giuseppe Pavoni (Italian, 1551 – c. 1641) – printer, publisher. Carlo Emanuele I, Duke of Savoy (Italian, 1562 – 1630) – dedicatee. -
Title page (in red and black): LA | GERUSALEMME | LIBERATA | DI TORQUATO TASSO | Con la Vita del medesimo , Allegoria del Poema , Argomenti incisi | ne’Rami del Tempesta , ed Indice di tutti i Nomi proprj , | e Materie principali contenute nell’Opera ; | e con le Annotazioni | DI SCIPIONE GENTILI | E DI | GIULIO GUASTAVINI. | A Sua Eccellenza il SIGNOR | D. ORAZIO ALBANI | Principe di Soriano, &c. | {printer’s device} | URBINO, MDCCXXXV. | — | Nella Stamperia della Venerabile Cappella del SS. SAGRAMENTO per Girolamo Mainardi | Stampator Camerale a sue proprie spese . Si vendono dal medesimo in Roma | nella sua Libraria all’insegna di S. Crescentino, e nella Stamperia Camerale | CON LICENZA DE SUPERIORI. || Half-title: Title page: IL | GOFFREDO | OVVERO | LA GERUSALEMME | LIBERATA | DI | TORQUATO TASSO. || Collation: 4to; [2] blank leaves, [1] – h.t. / blank, [1] – t.p. / blank, [1] – dedication signed *2, [2] – vita, 1st signed *3, [2] – allegoria, [3] – indice, first two signed ** and **2, respectively, [1] – frontispiece to Canto Primo —> total 13 prelims; π13 (incl. 2 blanks), A-Z4 Aa-Bb4 Cc6 Dd-Qq4, χ1 (blank); 20 engraved frontispieces, one headpiece and initials, some historiated. Frontis. to Cantos II-XX incl. in collation and pagination; the number of leaves from A1 to Qq4 = 158; pagination: 1-316. The total number of leaves incl. prelims and blanks = 172. Note: three first leaves in the Cc quire of six leaves are signed; all other four-leaf quires only have the first two first leaves signed. Frontispiece to Canto Quarto cut down and laid down on D2v (as in Christie’s copy sold on 6 Jun 2010 – Live Auction 5475 – Fine Printed Books and Manuscripts, lot 168, price realized GBP 600). Illustrations: Frontispiece to Canto Primo signed “Arnoldo van Westerhout formis Roma”. Headpiece to Canto Primo signed “Eq. Petrus Leo Ghezius Inu. et. delin. — Frãn. Aquila incid.” Other plates unsigned but all attributed to Westerhout after Antonio Tempesta; Numeration of frontispieces in roman numbers, IIII for VI, VIIII for IX, XIIII for XIV, inverted numbers XVII, XVIII, and XIX, respectively: IIVX, IIIVX, and IIIIVX. Binding: 35 x 24 cm, 34 x 23 cm leaves, contemporary calf, rebacked retaining original spine, verso front flyleaf stamped “RESTORED BY MACDONALD CO. | NORWALK. CONN. Marbled endpapers, all edges red. Speckled calf, gilt triple-fillet borders, with remnants of blind-stamped and gilt design to an upper inside corner, spine with raised bands, gilt acorn tooling in compartments, later crimson label with gilt lettering. Damp staining to inside edges affecting all leaves. The Robin Collection bookplate to front pastedown. Provenance: The Robin Collection. Contributors: Torquato Tasso (Italian, 1544 –1595) – author. Scipione Gentili [Scipio Gentilis] (Italian, 1563 – 1616) Giulio Guastavini (Italian, fl. 16th century) Antonio Tempesta [Tempestino] (Italian, 1555 – 1630) – artist. Arnold [Arnoldo] van Westerhout (Flemish, 1651 – 1725) – artist, engraver. Pier Leone Ghezzi (Italian, 1674 – 1755) – artist. Francesco Faraone Aquila (Italian, c. 1676 – c. 1740) – engraver. Girolamo Mainardi (Italian, c. 1679 circa – 1763) – printer, publisher. Orazio Albani (Italian, 1576 – 1653) – dedicatee. -
Engraved title with the portrait of Torquato Tasso, displayed in an oval medallion, bound in “TORQUATO TASSO”, between two naked putti; Architecture with two columns and Ionic capitals supporting an architectural pediment; between the columns is a table with the inscription: LA GIERVSALEMME | LIBERATA | DI TORQVATO TASSO | Con le Figure di Bernardo | CASTELLO; | E le Annotazioni di Scipio | GENTILI, e di Giulio | GVASTAVINI. | IN GENOVA. M.D.LXXXX .|| Contents: The 20 cantos are followed by: Tutte le stanza intere, che dall'autore sono state refiutate in questo libro; Annotationi di Scipio Gentili; Luoghi osservati dal mag. Giulio Guastavini, quali il Tasso nella sua Gierusalemme hà presi & imitati da poeti & altri scrittori antichi; Allegoria del poema; Tavola di tutti i nomi proprii et di tutte le materie principali contenute nel presente libro. Pagination: [2] engraved t.p. / blank, 3-11, [1] 2-255 [256], 1-71 [72] [1] 2-40, 4 unpag. leaves ‘Allegoria del poema’; total 387 pp. Collation: 8vo; π6 A-Q8 A-D8 E4 A-B8 χ4 (in the first quire M4 marked L4), ills. signed in collation. At p. 17 canto 3rd marked as 2nd, pp. 135 and 139 in 12th canto marked as 11th. Binding: later full polished calf, blind double-ruled covers, blind double-ruled raised bands, gilt lettering: GIERVSALEMME | LIBERATA and GENOVA | 1590. TMG. Printed on laid paper. Front joints split at head and tail. Title page and twenty full-page ill. facing the opening of each canto, engraved by Agostino Carracci and Giacomo Franco after Castello. Those for cantos 6-8, 10, 12, 16-17, 19-20 are by Carracci, 8 and 19 with his initials. The remainder are by Franco and are signed by him. Woodcut head and tailpieces, the Argomenti at the head of each canto within cartouches, initials. Catalogue raisonné: Adam Bartsch. Le peintre graveur. — Vienne: J. V. Degen, 1803.Author: Written by Torquato Tasso (Italian, Sorrento 1544–1595 Rome)
Designer: Illustrations designed by Bernardo Castello (Italian, Genoa (?) 1557–1629 Genoa)
Engraver: Illustrations engraved by Agostino Carracci (Italian, Bologna 1557–1602 Parma)
Engraver: Illustrations engraved by Giacomo Franco (Italian, Venice 1550–1620 Venice)
Publisher: Published by Girolamo Bartoli , Genoa
Ref.: MET, HathiTrust, -
VALENCENA, QUONDAM | CYGNORUM VALLIS | URBS HAN: PERELEGÃS | ET VALDE MAGNIFICA. ||Engraved and hand-coloured map of Valenciennes first produced for Braun & Hogenberg's 6-volume Civitates orbis terrarum edition in 1570.
English translation of the text printed on verso: "The Loire, an exceedingly well-known river in France, flows directly past the city and is very beneficial for trade. The fields surrounding the city are very fertile, and for this reason, the city is also called the granary throughout France, just as in earlier times Sicily was the granary of Rome. A famous wine also grows in this soil, which is exported from here not only throughout France but to all the countries in Europe. [...] The French spoken here is pure and uncorrupted, which is also the reason why so many foreigners settle here. For some are here for trade, others for study and others again to acquire the language, but also many without doubt for both these last two reasons, [...] and Germans, in particular, send their children here." [by Barry Lawrence Ruderman Antique Maps Inc.]
Dimensions: Sheet: 39.8 x 53.5 cm; Image: 35.2 x 38.5 cm.
Probably published in Cologne is 1612-18 by Petrum à Brachel: [Coloniae Agrippinae: apud Petrum à Brachel, sumptibus auctorum, 1612-1618]. Ref: LOC.Georg Braun [Brunus; Bruin] (German, 1541 – 1622).
Frans Hogenberg (Flemish-German, 1535 – 1590).
Abraham Ortelius [Ortels; Orthellius; Wortels] (Dutch, 1527 – 1598). -
[Michael Hoyer]. Vita B. Ioannis Chisii a Maciaretto, ord. ermit. s. p. Augustini. — Antverpiæ, Apud Henricum Aertssens, Anno MDCXLI [1641]. Pagination: [2] *3+recto unpag. *4+recto unpag., [10], 5-135 [3]. Illustrations: Frontispiece missing, 4 copperplate engravings (pp. 22, 64, 90, and 120) by Pieter de Jode the Younger (1606–1674, Flemish printmaker, draughtsman, painter and art dealer) after Erasmus Quellinus the Younger (1607–1678, Flemish painter, engraver, draughtsman and tapestry designer). Size: Pott 8vo (15.5 x 10 cm), vellum binding. Expanded title: Vita Beati Ioannis Chisii, a Maciaretto, Ordinis Eremitarum Sancti Patris Augustini. [Translation: Life of Blessed Giovanni Chigi from Maciaretto, Order of Hermits of St. Augustine]. Blessed Giovanni Chigi (1300 - 1363) [1] was a lay brother of the Order of Hermits of St. Augustine. The Chigi family is a Roman princely family of Sienese extraction descended from the counts of Ardenghesca. The earliest authentic mention of them is in the 13th century, with one Alemanno, counsellor of the Republic of Siena. The Wikipedia article does not mention Giovanni Chigi, however, it states that one of the Chigi, Cardinal Fabio Chigi, was elected pope as Alexander VII at the Conclave of 1655. The book was published in 1641 with a dedication to the said Cardinal Fabio Chigi before he was elected pope. The town, Maciaretto, where Giovanni Chigi was from, is unclear because there is no such place in modern Italy, and there are two places called Macereto: (1) Macereto Alta/Basso in Perugia province and (2) Macereto in the municipality of Visso, in the province of Macerata, region Marche. I assume that our Giovanni Chigi was from the one that is closer to Siena, i.e. Macereto in Perugia province. Regarding the author. There is no author's name in the book. However, in various sources, the book is mentioned as written by Michel Hoyer, who was born in Hesdin, Flanders in 1593 and died in 1650. He pursued an ecclesiastical career and professed rhetoric at the College of Saint Pierre in Lille. He later joined the Order of Saint Augustine, in the convent of Ypres, and settled in various schools in the Netherlands. His reputation attracted many students, among them Albert Rubens (1614–1657), the eldest son of Peter Paul Rubens and Isabella Brant. Michel Hoyer wrote several books, the most known is Flammulae amoris, S.P. Augustini versibus et iconibus exornatae:
Surprisingly, there is only limited information about Michel Hoyer in Spanish Wikipedia; other language versions of his biography do not exist. Another author mentioned in the book is some anonymous Augustinian from Cologne.
Regarding the illustrations. In our copy, the frontispiece is missing. It was probably ripped off by some unscrupulous seller of antique prints.
The image on the missing frontispiece is this:
The names of the artists engraved in the bottom of the stone: E. Quellinus, delin. to the left and P. de Jode, fecit. to the right. We can infer that the other illustrations in that book are produced by the same duo. The image represents three cherubs: one with Athena's serpent in his left hand and a cardinal's hat in his right hand; another in Athen's helmet on his head and her owl beside his feet, with the staff of Mercurius (serpent-twined staff adorned with a winged hat) in his left hand, and the House of Chigi - Della Rovere coat of arms in his right hand; the third cherub depicted with the Hercules attributes - lion pelt and a club.
Regarding the publisher. Henricum Aertssens or Hendrik Aertssen, 1586-1658. Besides the other books, he published PIA DESIDERIA by Herman Hugo in 1636 [1621 french edition by Jean Cnobbartin in Antwerp in his collection LIB-1657.2018]. According to Nina Lamal [2], nothing is known about career of this publisher, besides what's said in Adresboek van zeventiende-eeuwse drukkers, uitgevers en boekverkopers in Vlaanderen / Directory of seventeenth-century Printers, Publishers and Booksellers in Flanders / Vlieger-De Wilde, Koen De (editor). The list of his publications can be seen here.
Other artists who turned to the figure of Blessed Giovanni Chigi were Abraham van Diepenbeeck (painter) and Conrad Lauwers (engraver). The print is in Rijksmuseum, in Amsterdam.
Here we see a more complex composition but with a clear reference to the work of Quellinus and de Jode: The cherub in Athena's helmet takes away the old coat of arms of the Chigi, and the other cherub points out to the new one, with papal symbols of St. Peter's keys, another cherub carries the papal tiara. Rijksmuseum dates the image as 1642 - 1685; most probably it is ca. 1655, when Fabio Chigi became Pope Alexander VII, and propaganda was focused on promoting his outstanding ancestor Giovanni, who died 300 years before. Giovanni Chigi is depicted here resurrected, accompanied by the archangel, and receiving the blessing from Jesus on the cross.
1 - Michael J. Walsh. A New Dictionary of Saints: East and West, p. 308.
2 - Nina Lamal. Publishing military books in the Low Countries and in Italy in the early seventeenth century in 'Specialist Markets in the Early Modern Book World', ed. Richard Kirwan, Sophia Mullins, Leiden: Koninklijke Brill, 2015, pp. 232-233.
-
WESTERN DIVISION OF | PARIS. | Containing the Quartiers | {4 lines in italic} | Published under the Superintendence of the Society for the | Diffusion of Useful Knowledge || Under the frame: Drawn by W. B. Clarke, Archt. […] Published by Baldwin & Cradock, 47 Paternoster Row, April 1st. 1834. Dimensions: Sheet: 40.5 x 34.5 cm; Image: 39 x 28.8 cm. Contributors: William Barnard Clarke (British, 1806 – 1865) – artist. John Shury (fl. c. 1814-1844) – engraver. Baldwin & Cradock (London) – publisher. Society for the Diffusion of Useful Knowledge (SDUK) (British firm, 1826 – 1846).
