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[LIGNE (Charles-Joseph de)]. Coup d'œil sur Belœil et sur une grande partie des jardins de l'Europe. ÀBelœil, et se trouve à Bruxelles, chez F.Hayez, 1786. In-8, copy with very wide margins, approx. 22x14cm, (2)-206 [mis-calculated 1à115, 114, and 115à204]pp. in burgundy glazed calf, spine ribbed, cloisonné and fleuronné, boards framed with gilt fillets and gilt plant and animal motifs with gilt coat of arms in center, gilt head; lacking false title, upper margin of boards and spine faded, one corner restored to title (binding circa 1900). Partly first edition, the second of this work originally published in 1781. It is enlarged by a long passage occupying pages 84 to 115, in which the general principles of garden design are set out. It was printed using the same typographic equipment as the first, on what was the Prince de Ligne's private press. Installed for him in a room in Brussels, it had operated in this capacity from 1781 to 1783 under the direction of François Pion, former protector of the Imprimerie académique. In 1783, Pion obtained a printer's licence in his own name, but died in 1784. He passed on the collection to his son-in-law, Frédéric Hayez, whose professional status was not officially established until 1791, but who was already printing, for example, the present volume. "Amateurs des jardins, soyez amateurs de l'humanité" (p.199). A writer and wit who graced most of the courts of his time, Prince Charles-Joseph de Ligne here describes the garden at his château de Belœil, in what is now Belgian Hainaut, which his father had landscaped. He then goes on to describe the gardens he visited throughout Europe, from Italy to Russia. He sees gardens as a total work of art, capable of satisfying the mind as well as the senses, and as a living illustration of the liberal principles that should lead mankind to happiness: "It seems to me that the time has finally come when all the arts, which were once only for pleasure, will spread enlightenment and lift up our existence. I foresee that gardens will contribute to this from one end of the Pole to the other. I see painting, poetry & sculpture marching in their wake, guided by philosophy" (p. 110). Provenance: Count Adhemar de Brotty d'Antioche (gilded coat of arms on boards and armorial bookplate on first flyleaf).

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[LIGNE (Charles-Joseph de)]. Coup d'œil sur Belœil et sur une grande partie des jardins de l'Europe. ÀBelœil, et se trouve à Bruxelles, chez F.Hayez, 1786. In-8, copy with very wide margins, approx. 22x14cm, (2)-206 [mis-calculated 1à115, 114, and 115à204]pp. in burgundy glazed calf, spine ribbed, cloisonné and fleuronné, boards framed with gilt fillets and gilt plant and animal motifs with gilt coat of arms in center, gilt head; lacking false title, upper margin of boards and spine faded, one corner restored to title (binding circa 1900). Partly first edition, the second of this work originally published in 1781. It is enlarged by a long passage occupying pages 84 to 115, in which the general principles of garden design are set out. It was printed using the same typographic equipment as the first, on what was the Prince de Ligne's private press. Installed for him in a room in Brussels, it had operated in this capacity from 1781 to 1783 under the direction of François Pion, former protector of the Imprimerie académique. In 1783, Pion obtained a printer's licence in his own name, but died in 1784. He passed on the collection to his son-in-law, Frédéric Hayez, whose professional status was not officially established until 1791, but who was already printing, for example, the present volume. "Amateurs des jardins, soyez amateurs de l'humanité" (p.199). A writer and wit who graced most of the courts of his time, Prince Charles-Joseph de Ligne here describes the garden at his château de Belœil, in what is now Belgian Hainaut, which his father had landscaped. He then goes on to describe the gardens he visited throughout Europe, from Italy to Russia. He sees gardens as a total work of art, capable of satisfying the mind as well as the senses, and as a living illustration of the liberal principles that should lead mankind to happiness: "It seems to me that the time has finally come when all the arts, which were once only for pleasure, will spread enlightenment and lift up our existence. I foresee that gardens will contribute to this from one end of the Pole to the other. I see painting, poetry & sculpture marching in their wake, guided by philosophy" (p. 110). Provenance: Count Adhemar de Brotty d'Antioche (gilded coat of arms on boards and armorial bookplate on first flyleaf).

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