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Lotto 1 - Signatures of French Kings. LOUIS XVI - LOUIS XVIII. LOUIS XVI. Autograph letter signed to Cardinal Muzio Gallo.Versailles, 31.01.1789 Folio. 368x240mm. Text on one page, signed and dated “Ecrit a Versailles le 31 Janvier 1789”. Seal with Crown and Lilies of France embossed on the applied label. On the reverse to the recipient "A Mon Cousin le Cardinal Gallo". Excellent condition. Autographed letter from the King reciprocating the New Year's greetings. Muzio Gallo, Cardinal since 1785, had been appointed Bishop of Viterbo and Toscanella the same year. It is interesting to note that Louis XVI addresses the Cardinal calling him "Mon Cousin", since the cardinal is a prince of the Church and therefore the King attests with this use of "cousin" the meaning of royalty of the cardinal's dignity. Bound with: LOUIS XVIII. "Ordonance du roi". Louis par la grace de Dieu, Roy de France & de Navarre.Paris, 20.05.1814 Folio. 295x192. On headed paper “Ministere de la Guerrre”. Text on one page. At the end signature of the King and date “Donne au Chateau des Tuilleries, le 20 Mai 1814”. Good condition. Important document, one of the first official acts signed by the King, who had returned to Paris as ruler a few days earlier, on May 3rd. In this ordinance the King appoints the 'Lieutenant-general' Louis Auguste Victor de Ghaisne, comte de Bourmont, 1773–1846, who had served in Napoleon's army, Commander of the Sixth Military Division. Interesting is the correction that changes the Division from 18e to 6e, which proves the first-hand drafting of the document, in a period of great excitement.

Stima 1 500 - 1 800 EUR

Lotto 9 - Rome. BENOIST. Rome dans sa grandeur. 3 volumes in Folio, 490x340 mm. Lavish publisher’s binding from the Charpentier atelier in quarter hazel shagreen and marbled cardboard, spine with 4 nervs and blind tooling with gilt title and coat of arms of Pope Pius IX, polychrome marbled endpapers. Half-title and titlepage printed in red and black with vignette engraved on steel in each volume. Vol. I: pp. IV, 90, 72. Headpieces, initial and illustrations engraved on steel, 28 full page plates.Vol. II: pp. 214, 32, 40. Headpieces, initial and illustrations engraved on steel, 34 full page plates.Vol. III: pp. 68, 74, 18, 28, 24, 36, 2 blank, Headpieces, initial and illustrations engraved on steel, 38 full page plates.A total of 100 lithographic plates, including the map of Rome at the end of the third volume.Scraped spines, little damage on end spine on the third volume. Tear restored on half title and titlepage on the third volume, spread foxing, overall a good specimen. Splendid collection with Roman views. The three volumes concern Ancient Rome, Christian Rome and Modern Rome: views of the city, landscapes, buildings and monuments are depicted. Sepia plates engraved by Felix and Philippe Benoist based on drawings by the major French artists of the time. Texts by various authors including Franz de Champagny, Eugène de La Gournerie, Edmond Lafond, Henri de Maguelonne, A. F. Rio and others. The work was presented on 17 February 1870 on the occasion of the inauguration of the Roman Exhibition of works of all art created for Catholic worship, commissioned by Pope Pius IX to honor the First Vatican Ecumenical Council. Philippe Benoist, French painter and lithographer, Geneva 1813 – Paris 1905, pupil of Louis Daguerre, created several works dedicated to cities such as Rome, Venice, Paris and Pompeii, reproducing their monuments and views.

Stima 6 000 - 7 000 EUR

Lotto 10 - DÜRER. Della simmetria de i corpi humani. Folio. 330x225mm. Ancient vellum binding with handwritten title on the spine. [6], 143 [but 141], [1] leaves. Numbering errors, leaves 74 and 101 skipped. Printer's device on the title page and at the end, a fully illustrated volume with almost always full-page illustrations. Leaves M4, Q4 and Q5 are double leaves added to the quires: leaf Q4 printed on the recto and verso; leaves M4 and Q5 printed on the recto only. Some foxing and slight signs of wear, small lack on the fold of two folded leaves. A good copy with wide margins. First Italian edition of the first book dedicated to the proportions of the human body. Illustrated book with many illustrations of the human figure. Durer intends to demonstrate that the proportions and harmony of the human body depend on precise geometric rules, and are therefore reproducible through drawing. He then comes to theorize beauty itself as linked to mathematical proportions. Dürer, at the conclusion of numerous studies carried out on different types of individuals, accompanied his work with many illustrations of the human figure, the same, moreover, also reported in this first Italian edition. Garrison-Morton: “Written, designed, and illustrated by Dürer, this work is notable for its extraordinary series of anthropometrical woodcuts. The first two books deal with the proper proportions of the human form ; the third changes the proportions according to mathematical rules, giving examples of extremely fat and thin figures, while the last book depicts the human figure in motion and treats of foreshortenings. Dürer's work is the first attempt to apply anthropometry to aesthetics. The woodcuts represent the first attempt to employ cross-hatching to depict shades and shadows in wood engraving.” The Italian translation from the Latin version is by G.P. Gallucci, who adds a fifth book «which deals with which ways painters and sculptors can show the diversity of the nature of men and women [...]».

Stima 4 000 - 5 000 EUR

Lotto 27 - PIAZZETTA – PITTERI. I Dodici Apostoli. Series of twelve prints. Burin engravings on laid paper. 430x325 mm. ca. All of them in ancient frame. The engravings are signed on platemark.On left below: “Ioannes Bapta. Piazzetta pinxit”; on the right: “Marcus Pitteri sculpsit”.Under: latin title / “Venetiis cum privilegio Excellentiss. Senatus”. The plates are:1. “Sanctus Petrus”. Wiel 112. “Sanctus Andreas”. Wiel 123. “Sanctus Jacobus Maior”. Wiel 134. “Sanctus Joannes”. Wiel 145. “Sanctus Thomas”. Wiel 156. “Sanctus Jacobus Minor”. Wiel 167. “Sanctus Philippus”. Wiel 178. “Sanctus Bartholomaeus”. Wiel 189. “Sanctus Matthaeus”. Wiel 1910. “Sanctus Simeon”. Wiel 2011. “Sanctus Thaddaeus”. Wiel 2112. “Sanctus Mathias”. Wiel 22 Engraving masterpiece of the Venetian eighteenth century, from the masterful drawings of Piazzetta. Superb and rare complete collection of this prestigious series, in antique frames.Succi: “Queste stampe sono fra le più apprezzate del Pitteri … Questi magistrali bulini del quinto decennio del Settecento … evidenziano lo sforzo compiuto dal Pitteri verso la realizzazione del suo ideale di incisione pittorica, capace di una resa vibrante e appassionata delle peculiari qualità di luminosità radente e di poderoso risalto chiaroscurale dei modelli piazzetteschi … Pitteri, vieppiù affinando la propria tecnica, riuscì ad interpretare i modelli del Piazzetta con esiti di eccezionale vivacità e di sfolgorante orchestrazione chiaroscurale.” Wiel: “Dal punto di vista stilistico gli Apostoli segnano un decisivo progresso nella tecnica del Pitteri […] Gli Apostoli del Pitteri riscossero grande successo …”.

Stima 8 000 - 10 000 EUR

Lotto 37 - Woodblock printing. PAPILLON. Traite historique et pratique de la gravure en bois. 2 volumes in 4to. 205x135 mm. Contemporary quarter calf binding, richly gilt spines with 3 labels. Pages [7], VI-XXXII, 540; XV, [1], 388; [4], 124. With woodcut-portrait, 5 plates on chiaroscuro printing and numerous (24 full-page) woodcuts and vignettes within the text. Ink marginalia. Small hole to p. 535-540 of 1st vol. with loss of pagination, tear to leaf i8 and ink-stain to outer margin of p. 154 and on the opposing plate in 2nd vol. Defects on the bindings, some browning and foxing, occasional stains. First complete edition. Classic work on woodblock printing, including a history, a technical manual and a supplement with glossary. The dating of the third volume with the supplement comes from a marriage speech of June 13, 1768, on page 97.Royal Academy of Arts: “The frontispiece portrait in Volume I is signed as drawn by J. Bap. Noel Gamot junior and engraved and drawn by Caron. The plates are unsigned. The title-page vignette of Volume I and several other in-text decorations are signed as designed and engraved by Papillon. … The publication date of 1766 is given on the three title pages, but the third volume contains a 'Discours Nuptial ... 1768'. … The frontispiece of Volume I shows a portrait of J. Baptiste Michel Papillon. The plate in Volume I, showing St Andrew, is a chiaroscuro woodcut; and the five plates in Volume II, showing a draped figure carrying a book, are an unusual series of prints from five variant chiaroscuro woodcuts, which would be used in succession to compose one final image. In-text illustrations show technical aspects of wood-engraving. The whole book is copiously decorated with examples of the vignettes, headpieces and tailpieces for which Papillon is now best known. Papillon was indeed so much in demand for this type of decorative wood-engraving and spent so much time at it that he wore out his own eyesight and was suspected by his wife of infidelity.”

Stima 4 000 - 5 000 EUR

Lotto 48 - CALLOT. Les Bohémiens. Complete series of four engravings. The Gypsies. Complete series of four engravings. First half of the 17th century Etchings and burin. Each one about 120x240 mm. Without margins, as Lieure indicates. State II/II. Each composition with slight framing line. At the bottom left, above the framing line, the writing “Callot” is engraved. Top left, in each engraving, two descriptive verses. Track numbering 1-4, top right.The four plates are in order: - Les Bohémiens en Marche: L'Arrière-Garde, pièce aussi appelée Le Départ. Bottom left, above the framing line “Callot”.- Les Bohémiens en Marche: L'Arrière-Garde, pièce aussi appelée L’Avant-Garde. Bottom left, above the framing line "Callot"- La Halte des Bohemias: les diseuse de bonne-aventure. Bottom left, above the framing line “Callot f”.- La halte des Bohemias: les apprets du festin. Bottom left, above the framing line “Callot” Magnificent complete set of the 'Bohemiens' in rare second state. Lieure: “Les Bohémiens, serie appelee aussi Les Egyptiens, La Marche des Bohemiens, La Vie errante des Bohemiens, Les marches Egyptienne. Suite de quatre pieces, une de plus connues et des plus recherchees de l’oeuve de Callot. Le maitre a traité admirabilment un suiet cher a sono cœur d’artiste. Ce sont ces bohémiens qui l’ont adopté lorsque tout enfant il s’est enfui de la maison paternelle pour aller vers le pays de l’art, ce sont eux qui l’ont conduit en Italie, c’est à eux qu’il doit la première vision des chefs-d’œuvre de tous genres sous le ciel lumineux de Florence.” [The Gypsies, series also called The Egyptians, The March of the Gypsies, The Wandering Life of the Gypsies, The Egyptian Markets. Suite of four pieces, one of the best known and most sought after of Callot's work. The master has treated admirably a subject dear to his heart as an artist. It was these bohemians who adopted him when he ran away from his father's house as a child to go to the land of art, they were the ones who took him to Italy, it was to them that he owes the first viewing of masterpieces of all genres under the luminous skies of Florence.]

Stima 2 000 - 2 500 EUR

Lotto 63 - CALLOT - COLLIGNON. Veduta di Roma. View of Rome.XVII century Etching and burin. 102x250mm. Small margins. Laid paper. Composition framed by a thin line. Bottom left: 'Israel ex. cum privil. Regis'. Good specimen. Magnificent general view of Rome. In the background the Roman countryside; to the right, a very high wall, the bastion of Castel Sant'Angelo, surmounted by a sentry box under which is the Pope's coat of arms; near the sentry box, there is a soldier looking over the wall. At the back of this wall are seated two men and, towards the centre, two other smaller ones, who are also seated. A little further to the left, and in the background, we see a church with a quadrangular bell tower surmounted by a dome; is the church of San Girolamo. Finally, on the far left, there is a building, pierced by numerous windows, above which appear the two bell towers of the Church of the Trinità del Monte. In between various houses and trees.The engraving has been attributed, by Faucheux, to J.B. Collignon, a pupil of Callot, based on a design by Silvestre. The British Museum, however, attributes the engraving to Callot: «This plate was published as part of Callot's set of 12 landscapes made in Florence (Lieure 268-277). The series is problematic: see comment on 1861,0713.1318. Mariette and Meaume both attribute the execution of the set to Collignon, and the design of the present plate to Silvestre.» According to Faucheux, it is part of Sylvestre's suite ‘Diverses vues de Rome et des environs’.

Stima 400 - 600 EUR

Lotto 65 - Milestone of Roman Carthography. NOLLI. Nuova pianta di Roma data in luce da Giambattista Nolli l'anno M DCC XLVIII. Imperial Folio. 478x365 mm. XIXth century quarter calf binding, gilt title and rules on spine, marbled insidecovers. The work is entirely engraved on copper so composed: a sheet with the title, “La topografia di Roma” on double page, “Urbis Ichonographia a Leonardo Bufalino” on double page; a sheet with “Avviso al Lettore”, 4 sheets with “Indice de Numeri della Pianta”, 12 plates on double page with cartographic sections “La nuova topografia di Roma”, 4 sheets with “Indice alfabetico della Pianta”. After the sheet of “Avviso al Lettore”, the sheets are numbered 1-32: Index (pp. 1-4), 12 cartographic sections on double pages (pp. 5-28), index on single page (pp. 29-32).After the sheet with the title is added a plate in two sheets of 350x335. On the free end-paper the ex-libris “Comte Fernand de Rességuier”. Some leaves shorter. Defects on the binding, marginal foxing internally and some traces of humidity, overall a good copy. Rare first edition. Giovanni Battista Nolli's "Nuova pianta di Roma", created between 1736 and 1748, is considered a milestone in the art and science of cartography for the accuracy with which it records the dense urban fabric of Rome at the height of its eighteenth-century beauty: streets, squares, public spaces, villas, vineyards, monasteries and ancient ruins. In short, almost eight square miles of land exquisitely engraved on twelve copper plates and with the indexing of 1320 sites.The work was commissioned by Pope Benedict XIV to survey Rome and help to create the demarcations of the fourteen (14) traditional districts of Rome. It is by far the most accurate description of Rome produced up to that time, at a time when the architectural achievements of the papacy were in full development. Nolli's map reflects Bufalini's 1551 map, however Nolli made a number of important innovations. First, Nolli reorients the city from east (as was conventional at the time) to magnetic north, reflecting the fact that Nolli relies on the compass to orient himself in the city's topography. Second, Nolli represents closed public spaces such as the colonnades of St. Peter's Square and the Pantheon as open civic spaces. Finally, the map represented a significant improvement in terms of accuracy, even detecting the asymmetry of the Spanish Square. The map was used in government planning of the city of Rome until the 1970s; it was used as a base map for all Roman cartography and planning up to that date.This copy contains in addition to Nolli's work:“The topography of Rome” on a double page engraved by Nolli in 1748;“Urbis Ichnographiam a Leonardo Bufalino”, the map of ancient Rome by Leonardo Bufalini, originally engraved in 1551, reworked and reduced by G.B. Nolli in 1748. Luigi Ficacci 22, John Wilton-Ely 1007 (1095-5), Millard Architectural Collection, Italian and Spanish Books, p. 234-239.

Stima 15 000 - 18 000 EUR

Lotto 80 - Document on slavery trade. Lettera autografa firmata di Ch. Lamey & Damblat a Mr Francois Vallees a Bordeaux. 4to. 255x198 mm. Bifolio. Letter on two leaves. Recipient address on the fourth page. Prephilatelic with “Petite Poste de Bordeaux” stamped over the address. Document of a commercial nature sent by a company that dealt with the slave trade. It's about a civil case against a landowner in Guadeloupe. Lamey and Damblat complain about the privileges enjoyed by plantation owners: “Monsieur … Vous etes dans l’erreur de croire que l’ordonnance du 25 Decembre dernier emanée par nos chefs & non du Roi, permettent la saisie des biens & des Nègres des Planteurs. Au contraire, elle les en garantit entièrement. On n’a le droit que de saisir leur récolte, et cette mesure à tant de désadrément & d’inconvénient, que tout le monde y renonce. Telles & telles personnes ont fati saisir des Sucres sur une habitation, qu’elles ont été obligées de les y laisser, parce que ni l’habitant saisi, ni aucun de ses voisins, n’ont voulu preter leurs attelages pour les charroyer … En resumé, le Planteur est toujours protegé par ceux qui nou gouvernent & le commerce souffre beaucoup de cette prédilection. Il est donc presq’impossible de forcer un habitant planteur de payer ses engagements … Nous sommes fachès que cette affaire traine aussi longtemps; mais dans le colonies c’est toujours ainsi…”The signatories of the letter had a thriving slave trade, which was officially abolished by Napoleon in 1815; Louis XVIII, by royal decree of January 1817 forbade the introduction of black slaves into the French colonies, and with the law of April 15, 1818 abolished the slave trade itself.Delobette: “C’est au hasard de l’étude documentaire qu’un relevé systématique des noms et résidences d’armateurs et de négociants permet une première ébauche prosopographique sans qu’il soit possible d’affirmer en permanence le délit négrier. De plus, l’apparition aux Antilles de nouvelles maisons originaires de métropole désireuses de fonder une maison d’armement négrier commanditée depuis Paris ou les ports du royaume complique les relevés. La maison Bégouën Demeaux & Cie du Havre reste sous la Restauration en relation d’affaire avec plusieurs maisons négrières comme la société bordelaise P. C. Damblat Thomas & Cie dont une agence existe à la Guadeloupe sous la raison Lamey & Damblat pendant qu’une autre s’implante au Havre.”

Stima 300 - 400 EUR

Lotto 83 - China - Indochina. BONS D'ANTY. Collection of 25 invoices and business letters. China, Hong Kong, Shanghai - Indochina-Tonkin. BONS D'ANTY, Pierre-Rémi. Collection of 25 invoices and business letters. 1890-1894 Sheets and bi-sheets of various sizes. Coming from:-Hong Kong:Hong Kong & Shanghai Banking Corporation, 1 Bank Draft, 1892; Maison A. R. Marty, 1 Business letter signed, 1891; Walter W. Brewer, (bookseller, stationer, newsagent, piano and music dealer), 1 Invoice 1892.- Lang-son:Imperial Chinese Telegraphs, 4 telegrams 1891-1893; B. Duverger & C. Negociant Lang-Son, 1 Invoice 1892, 1 Letter 1894; Vergriete & Deschwanden, Entreprise de Transports, 1 Invoice, 1891; Lafeuille & Menard, 2 Bills 1890-91;- Hanoi:Maison Fontaine, Quincaillerie, 2 invoices 1892-1894; Librairie Schneider, 2 Bills, 1890-92;- Nothon, Capital of the island of Ko Samui:Douane de l'Annan et du Tonkin, 1 Letter, 1893- Haiphong:Maison Reynaud A. Chaffanjon, 5 Invoices and a Letter, 1890-92; Maison Schiess. 1 Bill, 1894.- Personal letter signed “Elise”.Singapore, April 10, 1894.Bifolio in 4to. Letterhead "Hotel de l'Europe", with engraved view. Text in French on two pages. The documents from China are very important: the bank draft of the Hong Kong & Shanghai Banking Corporation, the telegrams of the Imperial Chinese Telegraphs, the invoices of companies active in Hong Kong and in Lang-son.The documents are all addressed to the French diplomat Pierre-Remi Bons d'Anty, 1859-1916, at the time consul of France in Tonkin, who had a brilliant career and was also the author of several works on China.

Stima 1 000 - 1 200 EUR

Lotto 84 - RICCI-FOSSATI. Raccolta di 24 incisioni. Oblong Folio, 322 x 480 mm. Contemporary binding in boards, latin title on red morocco label on cover. Ttilepage with dedication within decorated frame with floral motifs, 24 etchings numbered I-XXIV. All etchings are on thick laid paper, watermark with crossbow. The plates presents on the left “Marc. Ricci pinx.”, on the right the number of plate. Within the illustration, the monogram of Fossati. Very slight trace of wear on binding, inside very nice condition, a specimen with wide margin. Magnificent and very rare collection of twenty-four prints derived from works by Marco Ricci, with landscapes and ruins. The works were part of the collections of Joseph Smith and Anton Maria Zanetti. In the title page, outlined with a light and cursive phrasing, the work is dedicated to Count Francesco Algarotti. Succi: “le acqueforti di derivazione riccesca sorprendono piacevolmente per la raffinata orchestrazione dei grigi variamente graduati e, nei fogli migliori di tema rovinistico, per il tremolio delle vibrazioni luminose vagamente alludenti ai modi del Canaletto. Altrove le vellutate erpicature nerolucenti si oppongono al bianco assoluto degli spazi, liberi da segni, in un’alternanza complessa e meditata in cui l’artista rivela la sua fervida partecipazione al tema trattato.”Davide Antonio Fossati, Morcote 1708 - Venice 1795, landed in Venice in 1720, where he specialized in fresco painting and in particular in architecture and ornaments paintings. He stayed mainly in Venice, alternating his activity between Vienna (1723-28), where he successfully worked on the decoration of important noble palaces and city churches, Bratislava, the northern Hungary (1728-29) and Morcote. In 1743 he published a collection of etchings derived from paintings by Marco Ricci. He was appointed Academic of Honor of the Academy of Fine Arts of Venice in 1775 and of the Clementine of Bologna in 1778, the year in which he became a member of the College of painters of Venice.

Stima 8 000 - 10 000 EUR

Lotto 93 - MAFFEI. La Merope tragedia con annotazioni dell'autore. 4to, 205x150 mm; full vellum binding, gilt title on label on back, sprinkled edges. Pp. 384, 6 plates on copper. Engraved frontispiece drawned by G. B. Tiepolo and engraved by A. Zucchi. Engraving on titlepage. Woodcut initial letters, head-pieces and end-pieces. The engravings are by P. Q. Chedel. The name of author, Scipione Maffei, is present in the dedication. Starts each with own half-title the works: La merope tragedia del marchese Scipione Maffei [leaf D1r]; Lettera del sig. di Voltaire [T1r:]; Risposta alla lettera del signor di Voltaire [Y4r]; Merope tragedie par monsieur le marquis Scipion Maffei [2D4r]; Merope a tragedy in the original italian of the marquis Scipio Maffei [2N3r]; Confutazione della critica ultimamente stampata [2Y2r]. Nice specimen. Beautiful illustrated edition of Maffei's most important tragedy, followed by a rich documentation related to it, such as the Annotations, the Letter of Mr. Voltaire, the French translation by Freret of the tragedy, a Confutation of the criticism, the composition "For the death of Electoral principle " The Merope, which appeared in 1713 and was very successful at the Modena court, caused the literary figures of the time to discuss for years. This was due to Maffei's attempt to "modernize" Euripides' theme, adapting it to the tastes of the time. It knew immense fortune, being quickly imitated by authors such as Voltaire and Alfieri. In addition to antiquarian studies, the Maffei never ceased, even in the following decades, to take an interest in theatrical themes. In addition to the frontispiece, etched by Zucchi and taken from a drawing by G. B. Tiepolo, the other five tables outside the text, engraved by Q. Chedel are taken from drawings by L. Tocque. In the text, the etched headpieces and endpieces depict bas-reliefs and ornaments of the Lapidary Museum of Maffei.

Stima 600 - 800 EUR

Lotto 94 - GIGAULT DE LA SALLE. Voyage pittoresque en Sicile dedie a son altesse royale madame la duchesse de Berry. 2 volumes in-plano. 610x470 mm. Contemporary red morocco binding, large red cardboard panel on the plates within a gilt decorated frame, gilt titles, rules and ornaments on the spines. Vol. I: 8 unnumbered pages with half-title, title page, notice to readers, dedication, 40, 90 unnumbered with 44 views and 1 geographical map. Vol. II: 4 unnumbered pages with half-title and title page, 100 unnumbered with 48 plates, 2 index. Typographic brand on the two title pages, with calligraphic initials, 'PD' and 'JD'. In total a geographical map of Sicily, 92 beautiful aquatints, some on a colored background. Copy without the list of subscribers, present only in some copies. Occasional foxing, sign of humidity on the margins, affecting some plates, some browning, however the copy is in good condition, with wide margins. Rare first edition, magnificently illustrated, edited by Jean Frederic Ostervald. The magnificent aquantints depict the most important monuments of Sicily and spectacular views of Syracuse, Catania, Messina, Etna, Palermo, Montreal, Termini Imerese, Sciacca, Agrigento, Taormina, etc. They are engraved by Franz Hegi, Theodore Henry Fielding, Newton Fielding and others after Forbin, Huber, Vauzelle, Lesamt, Bonington, Copley, Renoux and others, whose names appear in the plates. The plates are memorable for the skilful dosage of light and shadow which produces an evocative effect of three-dimensionality between bright skies, dark interiors and a series of other variably lit environments. The book was originally published in 24 parts and includes a historical summary by Gigault de La Salle that offers an overview of events from antiquity to his time. Abbey calls the work “the most ambitious of the colored aquatint books edited by J. F. d'Ostervald,” who produced a series of works on the picturesque, including two famous large editions focusing on the regions of France. To guarantee the quality of the aquatints, the work was printed in a limited number of copies. Abbey estimates that around 500 copies of the book were produced and comments that the book is “certainly rare, in this country at all events, only three copies being reported at auction in the last fifty years.”

Stima 8 000 - 10 000 EUR

Lotto 95 - Composite Atlas. 63 Geographical maps on double pages, engraved in copper on laid paper. Paris, first half of the 17th century In-folio. 440x277 mm. Havana half leather binding and beige hardback, label with gold title on the spine. The maps are mounted on guards. The first map, with the World Map of Jodocus Hondius restored with two parts missing. Ancient handwritten manuscript index with titles in French. Some maps with traces of wear and small stains on the margins. Two small repaired wormholes on most plates. Overall good copy. Important collection of rare geographical maps, printed in Paris in the years from 1635 to 1652. The maps are by the most important cartographers and map publishers of the time: Jean Boisseau, Cornelis Danckerts, Pierre Duval, Jacques Honervogt, Jean Le Clerc, Henri Le Roi, Michel Van Lochom, Christophe / Nicolas Tassin, Pierre Mariette, Salomon Rogers, Fernando Alvares Seco, Jean Tarde, Melchior Tavernier, Damien de Templeux.Jean Boisseau's map "Description de la Nouvelle France ..."; in the very rare first state of 1643 is of particular importance: this is the first map to illustrate and name all five Great Lakes (Burden, 261; Kershaw, Canada 83); by Boisseau there are also, among others, the maps of Crete (1645), of the Holy Land (1637), Switzerland (1742). Furthermore, of considerable importance, the map of Scandinavia and the Baltic regions, published separately in 1644.The collection opens with the Map of the World "Nova Totius Terrarum Orbis Geographica ac Hydpographica Tabula"; by Jodocus Hondius, in Pierre Mariette's edition of 1642; by J. Hondius there are also the four Continents, Europe, America, Asia and Africa, published by Mariette in 1650. We also highlight the rare maps by Pierre Duval, by Henri Le Roi, by Christophe / Nicolas Tassin, by Melchior Tavernier. Upon request, we have the complete list of maps.

Stima 18 000 - 20 000 EUR

Lotto 100 - HEINEKEN. Lucidum Prospectivae Speculum, Das ist: Ein heller Spiegel der Perspective. Folio. mm. 385 x 235, Full leather binding, title on label. Engraved Frontispiece signed Georg David Nessenthaler after C.P. Heineken, Pages [4, including Titlepage], 32. 105 figure on 95 consecutively numbered plates (many folded). On the Frontispiece Exlibris manuscript by Frid Leopold Gagg de Levenborg and label on the reverse. Slight marginal foxing, some tears and restoration, but generally good specimen. Splendid first edition of this baroque worck richly illustrated on practical perspective. Descargues: “This is one of the most beautiful comprehensive ‘monumental’ treatises written in the eighteenth century”. Kemp identifies Heineken’s text as one commonly used by 18th-century artists to master the technicalities of perspectival representation (The Science of Art, p. 227), and indeed, Heineken addresses his work on the “beautiful Science” to “amateurs and beginners.” The Lucidum Prospectivae Speculum consists of a striking series of richly Baroque views, many of church interiors. In addition to ornate capitals, altars and tombs, etc., Heineken includes a remarkable group of trompe l’oeil ceilings observed from different vantage points. He also discusses at length the falling of shadows outside and within enclosed spaces, and the effect of candlelight by day as well as night. Polyhedrons and the reflections in water complete the volume. The majority of the non-geometrical plates include at least one human figure to provide a sense of scale. A concise preface explicates the images. Heineken (1680-1740) was an artist in Lübeck. This, his only publication, received a second edition in 1753. OCLC lists a single copy, Princeton. We have also located a copy at HAB-Wolffenbüttel.

Stima 5 000 - 6 000 EUR