The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

Displayed below are some selected recent viaLibri matches for books published in 1817

        Pomona Britannica; or, a collection of the most esteemed fruits at present cultivated in Great Britain; selected principally from the royal gardens at Hampton Court, and the remainder from the most celebrated gardens around London

      London: Bensley & Son for Longman, Hurst, Rees, Orme & Brown and John Lepard, 1817. 2 volumes in one, large 4to. 60 stipple-engraved plates by G. Brookshaw, printed in colours and finished by hand. Contemporary olive straight-grain morocco with elaborate borders in gilt and blind, spine gilt in compartments with raised bands, gilt edges. Brookshaw's masterpiece: a good copy in untouched "country house" condition. Although this work has traditionally been considered the second edition of Brookshaw's earlier work of the same name, it is essentially a new work: the format is different (quarto rather than large folio), the plates are different (and engraved by the author himself), and the text was extensively re-worked and brought up to date. The result is a work whose plates are both spectacular examples of the art of stipple engraving and also important and useful historical records of particular cultivars. In total, the work includes details of 174 cultivars of 15 types of fruit (5 strawberries, 3 raspberries, 12 gooseberries, 15 cherries, 25 plums, 8 apricots, 25 peaches, 13 nectarines, 4 grapes, 4 melons, 8 figs, 4 hazel or cob nuts, 19 pears and 26 apples). The plates, numbered from I-LX, are of the following fruits: 1 of strawberries; 1 of raspberries, 1 of currants, 1 of gooseberries, 5 cherries, 9 plums, 2 apricots, 10 peaches, 4 nectarines, 4 grapes, 4 melons, 1 nuts, 8 pears and 7 apples). The introduction lays out the aims of the book (the main one being Brookshaw's wish to "excite in gentlemen ... a predominant turn and ardour for horticultural pursuits"), whilst also bemoaning the fact that between October 1815 and May 1816 almost £60,000 worth of apples had been imported from France. The main text gives useful details of each cultivar pictured: its history, cultivation, usefulness and taste. A 4pp. table at the end of vol. II lists the owners and locations of the gardens from which Brookshaw obtained his specimens: most from specimens in various royal gardens (Hampton Court; Windsor; Kensington Gardens; the Prince of Wales' house at Blackheath and the Duke of York's residence at Oatlands), but others came from the noble collections at Sion House, Strawberry Hill, Osterley Park and Chiswick House, and the private collections of connoisseurs such as James Maddock of Walworth, Dr. John Coakley Lettsom of Grove Hill in Camberwell and Sir Joseph Banks. Until the early 1990s details of Brookshaw's life had been lost, but in a recent article, Lucy Wood uncovered much of the remarkable story of the man who began his career as a celebrated cabinet-maker and died a relatively unknown botanical artist. By 1783, the Birmingham-born Brookshaw was a fashionable and successful cabinet-maker, known for his furniture with all-over painted decoration with figurative, landscape and, above all, floral themes. By the mid-1790s he had disappeared. Lucy Woods suggests that a scandal of some sort drove him to abandon his career and to live under an assumed name, working at a completely new career. She believes that A New treatise on Flower Painting, published anonymously in 1797 and later (in the third edition of 1799) in the name of G.Brown, was actually by Brookshaw, whose A Supplement to the Treatise on Flower Painting published in 1817 has largely the same content - including 11 plates supposedly by Brookshaw but identical to those in the earlier work, where they were attributed to Brown. If Wood's hypothesis is correct, then the Pomona (the first edition was published between 1804 and 1812) marks the first public resumption by Brookshaw of the use of his own name, as well as the first indication of his new metier. Sadly, Brookshaw and his work seem to have been disregarded by the eminent botanists of his day - perhaps the whiff of scandal still acted as a deterrent, perhaps his scientific pedigree lacked the necessary gravitas. He died in 1823 with less than 100 pounds in his bank account. The anonymous preface to his Horticultural Repository, published posthumously, relates that "although ... undistinguished in his death, his latter days were passed in comfort; and although he died poor, he did not want". Bunyard p.432; Dunthorne 51; Great Flower Books (1990) p.81; Nissen BBI 244; Oak Spring Pomona 40b; Prideaux p.295.

      [Bookseller: Donald Heald Rare Books]
 1.   Check availability:     Biblio     Link/Print  


        Flora Londinensis: containing a history of the plants indigenous to Great Britain, illustrated by figures of the natural size ... A new edition, enlarged by George Graves

      London: printed for George Graves by Richard and Arthur Taylor, 1817-1828. 5 volumes, folio. (18 3/4 x 11 5/8 inches). 647 plate sheets containing 659 subjects, all engraved and hand-coloured, after Sydenham Edwards, William Kilburn, James Sowerby, George Graves and William Jackson Hooker. Expertly bound to style in dark green half morocco over contemporary marbled paper covered boards, spines with wide bands in six compartments, lettered in the second, third and fourth compartments, the others with a repeat decoration in gilt, marbled edges. A very fine set of the first issue of the second enlarged edition of the first national flora of Great Britain with coloured plates. This copy inscribed by Hooker to Francis Boott, the American-born physician, botanist and secretary of the Linnaean Society. This second edition is a substantially new book, containing over 200 more plates than the 434 in the first edition of 1775-1798 and with the text rewritten by Hooker. Henrey notes that "the five volumes may contain a total of 648 plates", but of the copies listed as having sold at auction in the past thirty-five years, only the Botfield copy had 648. John Collins has speculated that this "extra plate is very likely to be a cancel" and therefore not required for the work to be considered complete. The first edition was originally published in seventy two numbers which appeared between 1775 and 1798, and was highly acclaimed by Curtis's fellow naturalists. John Lightfoot wrote to Curtis in 1781, "I am charmed with every number of your excellent Flora." The plates for the first edition, all of which reappear in the present edition, were generally unsigned but from those that are signed it is known that the artists involved included William Kilburn, Sydenham Edwards, James Sowerby and Francis Sansom. After William Curtis's death in 1799, the plates and stock of the Flora passed to Samuel Curtis, and then, in part, to George Graves. Graves published the present enlarged edition between 1817 and 1828, with over 200 additional new plates by Graves and William Jackson Hooker and with revised text by Hooker. In 1834, the plates and other materials were sold to Henry G. Bohn, who reissued the work using the existing text and plates but with new title pages (dated 1835) and with the species re- arranged in alphabetical order according to their Latin binomials. This first issue of the second edition is in many ways the most desirable, as it contains the maximum number of plates and with Hooker's valuable textual additions present here for the first time. This copy a particularly handsome set, and a rare association copy, inscribed by Hooker to a noted botanist and the secretary of the Linnaean Society. Brunet II,447; Bradley Bibliography I, p.395; Freeman 883; Great Flower Books (1990) p.88; Henrey III, 596; Nissen BBI 440 (incorrect plate count); Pritzel 2005; Stafleu & Cowan I, 1286.

      [Bookseller: Donald Heald Rare Books]
 2.   Check availability:     Biblio     Link/Print  


        (Botanique, Fac-similé) - Les Roses, par P.J. Redouté, peintre de fleurs, dessinateur en titre de la Classe de Physique de l'Institut et du Muséum d'Histoire naturelle. Avec le texte, par Cl. Ant. Thory

      PARIS, (ANTWERP) FIRMIN DIDOT (DE SCHUTTER S.A.), 1817-1824 (1974 [- 1978).. 4 vol. très gr. in-f°. Rel. moderne , -- Bound, Large folio (55 x 36 cm). 4 volumes.156,122,125,386 pp. With 179 very fine colour plates. A complete facsimile of the first edition. FAC-SIMILÉ de l'édition originale illustrée du portrait de Redouté, d'une couronne florale en guise de frontispice et de 169 gravures en couleurs finement gravées d'après Redouté, le "Raphaël des fleurs". Monument de la littérature botanique, tant sur le plan artistique que scientifique et documentaire, donnant des spécimens anciens dont plusieurs ont disparu entre-temps. Texte et classification dans leur ordre naturel par Thory (1757-1827), amateur botaniste et polygraphe. Pour le fac-similé, il a été ajouté 1 volume de "Commentaires" en français et anglais par Gisèle de La Roche et Gordon D. Rowley. Tirage à 510 ex. num.-- An limited reprinted edition to 510 copies, With 179 colour plates. Finely a foreword by George Taylor, introduction and bibliography by G.D. Rowley, biographies and bibliographies, with additions from the third edition, portraits, and extensive new material including commentaries, fine condition.

      [Bookseller: ERIK TONEN BOOKSELLER]
 3.   Check availability:     Biblio     Link/Print  


        La Divina Commedia di Dante Alighieri: dell'Inferno, del Purgatorio, del Paradiso [complete in 3 vols]: gia ridotta a miglior lezione dagli Accademici della Crusca ed ora accuratamente emendata.

      Livorno:: Presso Tommaso Masi e Comp,, 1817.. Hardcover. Near Fine. Vol I: xxiv, 422, plus the portrait frontis, and the diagram of the Inferno facing p.1; Vol II: [ii], 431, with a frontis; Vol III: [ii], (3-) 468, with a frontis: [and, unexpectedly, bound with: Morte di Ugo Bas-Ville e Orrori della Rivoluzione di Francia; cantica di Vincenzo Monti: Londra, Da Torchj di Schulze e Dean, 1814: 36pp including title]. There is an 1828 gift inscription at the head of each title page of the Commedia, with an 1870 inscription below, recording the former recipient passing the set on to her neice. Contents very clean. 150x95mm, in contemporary full calf bindings, spines each with lattice decoration in gilt and two black labels. A few marks to the lower board of Vol III. Some subtle refurbishment to joints and ends with Japanese tissue. A very pretty bright set.

      [Bookseller: Chapel Books]
 4.   Check availability:     Biblio     Link/Print  


        The New Testament of Our Lord and Saviour, Jesus Christ

      Calcutta: printed by P. Pereira, at the Hindoostanee Press,, 1817. Translated into the Hindostanee Language from the Original Greek, and now printed in the Nagree Character. By the Rev. H. Martyn... and afterwards carefully revised with the assistance of Mirza Fitrut, and other Learned Natives. For the British and Foreign Bible Society. Octavo (200 × 135 mm). Contemporary native polished tree-calf, numbered "23" in gilt at foot of spine. 2 title pages, one English, one Urdu, text in Urdu. Bookplate of the Theological Institute of Andover. Joints and corners very lightly rubbed, small tears to front free endpaper, English title page very slightly loose, otherwise internally fresh and overall in excellent condition. First complete and accessible edition of the New Testament in Urdu, a form of Hindustani used as the vernacular language by the native inhabitants of the Upper Provinces of India. Before Henry Martyn, there had been two previous translations into Urdu: one poor translation (into the unprevalent Dakhini form of Urdu) of the New Testament by Benjamin Shultze of the Danish Mission in 1745; and a partial translation, of only the Four Gospels, into the Nagree script by William Hunter of the College of Fort William in 1805. "The real story of Urdu translation begins with the arrival in India of Henry Martyn" (Bible Society of India); his painstakingly accurate Urdu translation of the entire New Testament was the best and most complete to that date, but its first publication, in Serampore in 1814, was in a Persian character unfamiliar with the natives. This second edition, for the first time printed in the familiar Nagree character, is therefore the first complete translation of the New Testament in an accessible script, and marks a significant typographical achievement by the Indian missionary press, widening the diffusion of Christianity by making the Urdu text accessible to the Urdu speaking native population. Shortly before the publication of this 1817 Nagree edition, the British and Foreign Bible Society reported: "The circulation of the Scriptures in the vernacular dialects of India, though a primary object of ... this Society, has not yet been extended to any of the languages spoken by the native inhabitants of the provinces connected with the Presidency ... An excellent translation of the New Testament in the Persian character ... has not been published in the Negree character. A specimen of the Deva Nagree character [was] obtained from the Hindoostanee Press ... The time necessarily occupied in preparing the manuscript in the Negree character, has prevented any progress being yet made in this edition ... it is hoped that the Gospel may still be diffused in the colloquial tongue and familiar character of the Hindoostan, before the expiration of the present year." (Thirteenth Report of the British and Foreign Bible Society, p. 5-7, 1817. Darlow & Moule 5273). Of the 2000 copies printed only five are located by OCLC in US institutions: Yale, Amherst, Harvard, Bowdoin, and Dartmouth; and fewer in the UK, OCLC and COPAC together locating only Oxford, Kings Colllege London, and Cambridge.

      [Bookseller: Peter Harrington]
 5.   Check availability:     Biblio     Link/Print  


        Rosa muscosa / Rosier mousseux [Single Moss Rose 'Andrewsii']

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Gouten. Very good condition apart from some minor foxing in the image. 14 x 10 1/4 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 6.   Check availability:     Biblio     Link/Print  


        Rosa centifolia. Rosier à cent feuilles." Darstellung eines Zweiges der Zentifolie (Provence-Rose) Rosa Centifolia L. "Major" mit großer gefüllter Blüte, Knospen und Blattwerk

      Altkolorierter Kupferstich von Couten nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 7.   Check availability:     Biblio     Link/Print  


        Rose Orbessanea

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Lemaire. Very good condition apart from some very light foxing. 14 1/2 x 10 3/4 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 8.   Check availability:     Biblio     Link/Print  


        Rosa Rubiginosa Cretica. Rosier de Crête." Darstellung eines Zweiges der Weinrose Rosa Rubiginosa L. mit Blüte, Knospen und Blattwerk

      Altkolorierter Kupferstich von Langlois nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25.5 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Mit dem beschreibenden Textblatt. Papierränder leicht gebräunt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 9.   Check availability:     Biblio     Link/Print  


        Rosa Alpina pendulina. Rosier des Alpes à fruits pendants." Darstellung eines Zweiges der Eschenrose Rosa Blanda Aiton mit Blüte, Knospen und Blattwerk, unten links zwei Hagebutten

      Altkolorierter Kupferstich von Bessin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 10.   Check availability:     Biblio     Link/Print  


        Rosa Cinnamomea Maialis. Rosier de Mai." Darstellung eines Zweiges der gefüllten Mairose Rosa Majailis Herrm. "Foecundissima" mit Blüten, Knospen und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierrand oben leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 11.   Check availability:     Biblio     Link/Print  


        Rosa Centifolia Caryophyllea. Rosier Oeuillet." Darstellung eines Zweiges der nelkenblütigen Zentifolien-Sorte Rosa Centifolia L. CV. mit Blüten, Knospen und Blattwerk

      Altkolorierter Kupferstich von Charlin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34.5x26 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierränder leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 12.   Check availability:     Biblio     Link/Print  


        Rosa Lucida. Rosier Luisant." Darstellung eines Zweiges der Glanzrose Rosa Virginiana Herrm. mit Blüten, Knospe und Blattwerk, unten links eine Hagebutte

      Altkolorierter Kupferstich von Bessin nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Papierrand oben leicht gebräunt. Mit dem beschreibenden Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 13.   Check availability:     Biblio     Link/Print  


        Rosa Indica / Rosier des Indes [Monthly Rose]

      Paris: 1817-1824. Stipple engraving, printed in colours and finished by hand, engraved by Chapuy. Very good condition apart from some minor foxing in the image. 14 1/2 x 10 1/2 inches. More than with any other painter, Redouté's flowers are alive, and always shown at the ephemeral moment of their greatest beauty. Pierre-Joseph Redouté was one of the world's great flower painters. Born into a family that had been painters for at least two generations, Redouté went to Paris in 1782 with his brother where they worked as scene painters for the Théâtre Italien. Redouté painted flowers in his spare time. The search for subjects led him to the Jardin du Roi and eventually to Gerard van Spaendonck who made him an assistant. While at the Jardin du Roi, Redouté came to know Charles-Louis L'Heritier, an amateur botanist and writer of independent means. He gave Redouté a full- time job as an illustrator, instructing him in plant anatomy. Redouté's scientific understanding of plants contributed greatly to the clarity of his depictions. But it was Redouté's work in stipple engraving and colour printing that was to be of the greatest importance. Stippling and the application of two or three colour inks to one plate were engraving innovations that Redouté brought to French printmaking, and these were brought to perfection in Les Roses from which this work comes. Redouté together with Claude-Antoine Thory, an ardent botanist and collector of roses, have together in Les Roses produced a work not only of great artistic merit, but also an invaluable scientific record as well. `Redouté and Thory knew, described and figured almost all the important roses known in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Great Flower Books (1990), p 128; cf. Nissen BBI 1599; cf. Pritzel 7455; cf. Stafleu & Cowan TL2 8748.

      [Bookseller: Donald Heald Rare Books]
 14.   Check availability:     Biblio     Link/Print  


        Rosa Indica acuminata. Rosier des Indes à pétales pointus." Darstellung eines Zweiges der weiß blühenden Zwerg-Bengalrose Rosa Chinensis Jacq. Var. Minima Voss mit Blüten und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt. - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 15.   Check availability:     Biblio     Link/Print  


        Rosa Leucantha. Rosier à fleurs blanches." Weiße Rose, Darstellung eines Zweiges der Flaumrose Otusifolia, wohl Rosa Dumetorum Thuill. "Obtusifolia" mit Blüten und Blattwerk

      Altkolorierter Kupferstich von Chapuy nach Pierre-Joseph Redouté, gedruckt bei Rémond aus "Les Roses" 1817 - 1824. 34x25.5 cm. - Thieme / Becker XXVIII, 77 - Nissen BBI 1599 - Altkolorierter Kupferstich ausgeführt als mehrfarbiger Einplattendruck mit zusätzlichem Original-Handkolorit. Mit dem beschreibendem Textblatt - Pierre-Joseph Redouté (1759 St. Hubert - 1840 Paris), der "Raphael des fleurs" kam als junger Mann nach Paris, wo der Jurist und Botaniker Charles Louis L’Héritier auf seine Zeichnungen von Blumen aufmerksam und zu seinem Gönner wurde. Königin Marie Antoinette verlieh ihm dem Titel des Dessinateur du cabinet de la reine und später wurde er an die Akademie berufen. Zum offiziellen Maler der Kaiserin Josephine ernannt, beauftrage sie ihn mit den Illustrationen des von ihr geplanten Werkes über die Blumen und Pflanzen ihres Gartens von Schloss Malmaison. Um 1810 hatte sie in diesem Garten eine Vielzahl Rosensorten zusammengetragen, die von Redouté in dem berühmten Werk "Les Roses" verzeichnet sind. Seine Rosendarstellungen in ihren zarten Farbtönen sind von bestechendem Reiz.

      [Bookseller: Wenner Antiquariat]
 16.   Check availability:     Biblio     Link/Print  


        Rosa Rubiginosa flore semi-pleno / Rosier Rouille à fleurs semi-doubles [Semi-double Sweet Briar]

      Paris: Firmin Didot, 1817-1824. Stipple engraving printed in black, after Redouté, printed by Rémond. Very good condition apart from some overall light soiling. 14 x 10 5/8 inches. A rare uncoloured impression from the first edition of 'Les Roses': Redouté's most famous work, and perhaps the most celebrated flower book of all time. Pierre-Joseph Redouté, the most successful flower painter of all time, produced a work that was not only of great artistic merit, but also formed an invaluable scientific recordl. Redouté described and figured almost all the important roses known in his day, and included were many of the ancestors of today's roses. "The plates in 'Les Roses' have artistic value, botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared' (Gisele de la Roche). The roses used as specimens for the work were taken from the collections of Thory, the Malmaison gardens, and from other collections around Paris. Many of the flowers were novelties in Redouté's time, and a number were dedicated to the memory of his friends and acquaintances, such as l'Héritier de Brutelle and Ventenat. The plates of 'Les Roses' were executed by means of stipple engraving, a method ideally suited to render the nuances of tone found in Redouté's original water-colours. During a trip to London, he met the renowned engraver Francesco Bartolozzi and learned that the most successful impressions of stipple engravings came from well-used plates. Redouté's printers therefore struck a limited number of black plates to take the edge off the plate before printing in colours. This print was printed in black on ochre-tinted paper. The ochre tint has subsequently been removed to reveal Redouté's full mastery of the stipple-engraving technique that this image so effortlessly demonstrates. Cf. Cleveland Collections 807; cf. Dunthorne p 232; cf. Hunt, Redoutéana 19; Hunt, Printmaking in the Service of Botany 25; Nissen BBI 1599; Pritzel 7455; Ray, French 89; Stafleu & Cowan TL2 8747

      [Bookseller: Donald Heald Rare Books]
 17.   Check availability:     Biblio     Link/Print  


        Les Roses

      Paris: Firmin Didot, 1817-1824. Folio (21 x 14 inches). Half-titles, engraved portrait of Redouté by C. S. Pradier after Gerard printed in black on white and on ochre paper, stippled engraved wreath and 169 stipple-engraved plates after Redouté by Bessa, Bessin, Chapuy, Langlois, Victor and others, the plates in 2 states, printed in colors and finished by hand, and in black on ochre paper (some light mostly marginal spotting). Contemporary French quarter green morocco gilt, green mottled boards by Tessier (extremities a bit scuffed, spine of volume one restored at the head and foot). ONE OF A VERY FEW LARGE-PAPER COPIES WITH THE PLATES IN TWO STATES First edition, bound from the original 30 parts between March 1817 and March 1824, each part containing six plates (except no. 10, which had one plate, and no. 30, which had none). "Les Roses" was issued in four formats: a large-paper folio with colored plates; a "special issue" of each work with the extra suite of black impressions on ochre paper was apparently bound in very small quantities (Hunt, "Printmaking") (as here); folio with colored plates; and folio with the plates in two states. Commemorating the rose garden of the Empress Josephine, many of the roses having been painted in her garden at Malmaison. The subtle gradations of tone found in Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates. Redoute met the renowned and talented engraver Francesco Bartolozzi, on a trip to London and learned that the most successful impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate before printing in colors began. Redouté's printers struck black impressions-always on paper with a distinct ochre tint-from the plates for both "Les Roses" and "Les Liliacées". The botanical descriptions were by Claude Antoine Thory (1759-1827), a civil servant by profession, and an enthusiastic gardener who cultivated his own collection of roses. He and Redouté regularly traded cuttings and seeds. The roses depicted in the work included examples from Thory's own collection as well as from Malmaison. "Redouté and Thory knew, described, and figured almost all the important roses in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, and botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" [Sir George Taylor quoting Gisèle de la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Dunthorne 232; "Great Flower Books" p. 71; Hunt "Redoutéana" 19; Hunt "Printmaking in the Service of Botany" 25; Johnston Cleveland "Herbal" 807; Nisen BBI 1599; Pritzel 7455; Ray "French" 89; Stafleu TL2 9748. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department.

      [Bookseller: Arader Galleries]
 18.   Check availability:     Biblio     Link/Print  


        Rosa Arvensis Ovata

      Paris: 1817-1824 - Pierre-Joseph Redouté A selection from Les Roses Stipple engravings with original hand color Paris: 1817-1824 14 ¼ ” x 11” Some light foxing. Also known as "Ovoid-Fruited Field Rose" or Field Rose. Redouté (1759-1840) is unquestionably the best-known botanical illustrator of any era. The decorative appeal of his original engravings has led to their modern reproduction, which in turn has popularized Redouté’s work in a way unique among botanical artists. Yet no reproduction can capture the great and subtle beauty of his original engravings from Les Roses, nor can any introductory paragraph fully describe his many achievements. These magnificent engravings demonstrate the full mastery of his abilities, as the forms of the roses are set off dramatically by Redouté’s masterful and rich modulations of tone and hue. Born into a family of artists in what is now Belgium, Redouté’s talent was recognized and encouraged from an early age. Eventually, Redouté had, as pupils or patrons, five queens and empresses of France, from Marie-Antoinette to the Empress Josephine and her successor, Marie-Louise. Despite many changes of regime in a turbulent epoch, he worked without interruption, eventually contributing to over fifty works on natural history and archeology. The luminosity of stipple engraving, a technique perfected by Redouté, is particularly suited to the reproduction of botanical detail. The medium involved engraving a copper plate with a dense grid of dots that could be modulated to convey delicate gradations of color. Because the ink rested on the paper in miniscule dots, it did not obscure the “light” of the paper beneath the color. After this complicated printing process was complete, the prints were finished by hand in watercolor, so as to conform to the exquisite models Redouté provided. Pierre-Joseph Redouté’s Roses are perhaps his most celebrated images, which the artist issued while under the patronage of the Empress Josephine, wife of Napoleon. The present selection comprises the three images that are often considered the most magnificent roses that Redouté ever painted and engraved. Certain common themes run through them. In each, the flowers are classical “portraits” which lack backgrounds or settings. The regal simplicity of the compositions allows the viewer to focus without distraction on the beauty and delicate complexity of the plants themselves. Perhaps better than any other engravings that the artist ever made, these three images demonstrate the flawless and pristine French style of botanical art that Redouté pioneered and brought to a pinnacle of quality.

      [Bookseller: Arader Galleries San Francisco]
 19.   Check availability:     AbeBooks     Link/Print  


        Axel Sigfridsson.

      Roman. Sthlm, Cederborgska boktryckeriet, 1817. 8:o. 108 s. Häftad och oskuren i samtida gråpappersomslag. Ryggen lite defekt upp- och nedtill. Några sidor ouppskurna. Pappersförluster och smårevor på s. 5-7. Bra ex.. Ofullbordad, endast denna första del utkom. Ytterligare tre ark, sidorna 109-56 finns tryckta men saknar uppgift om tryckort och år. Enligt Kungliga biblioteket utgavs dessa aldrig. En svensk bildningsroman i Goethes anda. Texten behandlar den moderna kvinnans krav på möjlighet till förhållande utan giftermål och föregriper därmed Almquists "Det går an". Likheten har ansetts vara så stor att det har diskuterats om Almquist läst och lånat från berättelsen eller inte

      [Bookseller: Mats Rehnström]
 20.   Check availability:     Antikvariat     Link/Print  


        Vegetable Materia Medica of the United States; or Medical Botany: Containing A Botanical, General, and Medical History, of Medicinal Plants Indigenous to the United States. 2 volume set

      Philadelphia: M. Carey and Son, 1817.. First Edition. Half-leather board cover. Cover rubbed with edge and corner wear. Spine worn with outer spine split to volume I. Some offsetting and scattered foxing. Several plates becoming loose. Library stamp to titles and a few text leaves. Overall contents G and illustrations bright and G+. 280mm x 220mm (11" x 9"). 273pp; 243pp. 50 hand-coloured plates including one fold-out. Volume II published in 1818. Includes list of subscribers.

      [Bookseller: Barter Books]
 21.   Check availability:     UKBookworld     Link/Print  


        NUOVO TRATTATO SULLA VERA RETTIFICAZIONE DEL CIRCOLO misurato esattamente con il diametro. Utile alla trigonometria, alla misura delle curve, e degli spazj curvilinei?. Con una Dissertazione sul modo di navigare sott'acqua, inventato dallo stesso Autore l'anno 1799.

      Campitelli 1817 in-8, pp. 75, 34, 1 cb, leg. cart. color. coevo. Con 6 tavv. più volte ripiegate e inc. in rame. Nonostante la dichiarazione al frontespizio di "seconda edizione" non abbiamo trovato alcun riferimento di un'edizione precedente, in nessuna biblioteca o repertorio bibliografico. Rara opera scientifica del nobile scienziato e matematico originario di Foligno (1778-1857). La seconda parte, certamente la più interessante, comprende lo studio di uno più primi tentativi di navigazione sott'acqua attraverso un sottomarino, da lui inventato e sperimentato a Sarzana come dichiara nella prefazione, e riprodotto qui in una delle tavole. Dal momento che altri gli avevano sottratto il primato di questa invenzione decise di pubblicare il trattato, nel quale spiega anche quale potrebbe essere l'impiego militare del sottomarino che preserva le armi e i soldati dallo stare in acqua per un lungo periodo di tempo. Sotheran 15312: "Rare". Leg. stanca e mancanza della carta al d., ma internamente bell'esempl. in barbe su carta forte. [472]

      [Bookseller: Studio Bibliografico Scriptorium]
 22.   Check availability:     maremagnum.com     Link/Print  


        Proposta di alcune correzioni ed aggiunte al Vocabolario della Crusca.

      Regia Stamperia 1817-26 Sette parti legate in quattro volumi di cm. 22, pp. 2.800 ca. complessive. Solida ed elegante leg. coeva in mezza pelle verde, dorsi lisci con titoli e fregi romantici in oro. Ottima conservazione, parzialmente a fogli chiusi. Completo del volume di "Appendice alla Proposta" uscito nel 1826. Opera che tende a risolvere un problema linguistico divenuto essenziale per la cultura e la politica italiana del primo '800; periodo in cui appare più forte del legame esistente fra la lingua e la vita di una nazione. Il disegno del Monti è di opporsi ai numerosi frazionamenti municipalistici seguendo la concezione che la vera lingua italiana è quella che viene proclamata dall'universale consenso della nazione. Edizione originale.

      [Bookseller: Studio Bibliografico Benacense]
 23.   Check availability:     maremagnum.com     Link/Print  


        Les Roses, peintre de fleurs, dessinateur en titre de la Classe de Physique de l'Institut et du Muséum d'Histoire naturelle. par P.J. Redouté

      Paris - Anvers., Firmin Didot - De Schutter. , 1817-1824 (1974 [- 1978).4 vol. très gr. in-f°. Rel. moderne, Bound, Large folio (55 x 36 cm). 4 volumes.156,122,125,386 pp. With 179 very fine colour plates. A complete facsimile of the first edition. FAC-SIMILÉ de l'édition originale illustrée du portrait de Redouté, d'une couronne florale en guise de frontispice et de 169 gravures en couleurs finement gravées d'après Redouté, le "Raphaël des fleurs". Monument de la littérature botanique, tant sur le plan artistique que scientifique et documentaire, donnant des spécimens anciens dont plusieurs ont disparu entre-temps. Texte et classification dans leur ordre naturel par Thory (1757-1827), amateur botaniste et polygraphe. Pour le fac-similé, il a été ajouté 1 volume de "Commentaires" en français et anglais par Gisèle de La Roche et Gordon D. Rowley. Tirage à 510 ex. num .An limited reprinted edition to 510 copies, With 179 colour plates. Finely a foreword by George Taylor, introduction and bibliography by G.D. Rowley, biographies and bibliographies, with additions from the third edition, portraits, and extensive new material including commentaries, fine condition.

      [Bookseller: Antiquariaat Erik Tonen]
 24.   Check availability:     maremagnum.com     Link/Print  


        [Recueil de "pièces détachées", brochures et prospectus ] Lettre de Son Altesse Royale Monseigneur le Duc d'Angoulême, à l'Auguste Princesse, Fille de Louis XVI (par Armand Garreau, Broquisse, Angoulême, Août 1817) [ Suivi de divers prospectus publicitaires : ] Nouvel Atlas des Départemens de la France par Girault de Saint-Fargeault [ Suivi de : ] Catalogue Général de la Maison Baudouin [ Suivi de : ] Librairie Brissot-Thivars. Prospectus 1828. Les Six Codes [ Suivi de : ] Librairie de H.-B. Aigre 10 février 1828. Livres au rabais [ Suivi de : ] Collections des rapports de la Chambre des Pairs [ Suivi de : ] Librairie de Ladvocat. Oeuvres complètes de Chateaubriand [ Suivi de : ] Librairie de Dupont. Oeuvres complètes de La Fontaine [ Suivi de : ] Histoire de la Révolution Française de Thiers [ Suivi de : ] Librairie de Salmon. 1825. Oeuvres complètes de Voltaire [ Suivi de : ] Igonette. Oeuvres complètes de La Fontaine illustrée [ Suivi de : ] Voyage du Jeune Anacharsis. J. Didot [ Suivi de : ] H.-B. Aigre. Collection des Ouvrages Français. [ Suivi de : ] Librairie de Béchet Ainé. Oeuvres de Pothier. Mars 1825 [ Suivi de : ] Lebègue. 1810. Chefs-d'Oeuvre de l'Abbé Prévost [ Suivi de : ] Firmin Didot. Oeuvres complètes de Volney [ Suivi de : ] Desray. Histoire Générale de France de Velly, Villaret [ Suivi de : ] Ambroise Dupont et Cie. Mémoires et Mélanges historiques et littéraires par le Prince de Ligne [ Suivi de : ] Jules Didot l'Aîné. Oeuvres complètes de Voltaire [ Suivi de : ] Collection complète de la Minerve Française [ Suivi de : ] Etrennes aux disciples de Flore et de Pomone [ Suivi de : ] Giraudeau de St-Gervais. L'art de se guérir soi-même, ou Traitement des maladies Syphilitiques, par la Méthode Végétale, d'après un Mémoire présenté à la faculté de Médecinee, le 1er Février 1825 [ Suivi de : ] Prospectus Méthode Végétale dépurative de Laffecteur. Défense du Rob anti-syphilitique contre les Manoeuvres spoliatrices des contrefacteurs en général, et, en particulier, contre les Diffamations calomnieuses du Sr Giraudeau de St-Gervais [ Suivi de : ] Dissertation sur l'Utilité des Frictions, ou Méthode Préservative pour conserver la Santé [ Suivi de : ] Partarrieu. Journal des Arrêts de la Cour Royale de Bordeaux [ Suivi de : ] Librairie de Charles-Béchet. Journal des Avoués, ou Recueil Général [ Suivi de : ] Marvaud Ainé. Procès-Verbal de la Distribution des Prix Faite le 28 Août 1828 aux Elèves du pensionnant communal de Cognac dirigé par Marvaud Aîné [ Suivi de : ] Oeuvres complètes de Démosthène et d'Eschine, en grec et en français [ Suivi de : ] Cognac, Charente. Maison d'Education pour les Jeunes Demoiselles. [ Suivi de : ] Catalogue des Livres de Fonds et d'Assortiment qui se trouvent chez Pierre Dufart [ Suivi de : ] Dépôt Général de la Librairie de Paris et des Départems [ Suivi de : ] Librairie de H.-B. Aigre. Catalogue des Livres destinés à la Lecture par Abonnement [ Suivi de : ] Catalogue de la Librairie de H.-B. Aigre, rue de Friedland n°3 à Angoulême

      1 vol. in-8 reliure de l'époque demi-basane marron, circa 1817-1829, de 2 à 87 pp. Rappel des Titres : Lettre de Son Altesse Royale Monseigneur le Duc d'Angoulême, à l'Auguste Princesse, Fille de Louis XVI (par Armand Garreau, Broquisse, Angoulême, Août 1817) [ Suivi de divers prospectus publicitaires : ] Nouvel Atlas des Départemens de la France par Girault de Saint-Fargeault [ Suivi de : ] Catalogue Général de la Maison Baudouin [ Suivi de : ] Librairie Brissot-Thivars. Prospectus 1828. Les Six Codes [ Suivi de : ] Librairie de H.-B. Aigre 10 février 1828. Livres au rabais [ Suivi de : ] Collections des rapports de la Chambre des Pairs [ Suivi de : ] Librairie de Ladvocat. Oeuvres complètes de Chateaubriand [ Suivi de : ] Librairie de Dupont. Oeuvres complètes de La Fontaine [ Suivi de : ] Histoire de la Révolution Française de Thiers [ Suivi de : ] Librairie de Salmon. 1825. Oeuvres complètes de Voltaire [ Suivi de : ] Igonette. Oeuvres complètes de La Fontaine illustrée [ Suivi de : ] Voyage du Jeune Anacharsis. J. Didot [ Suivi de : ] H.-B. Aigre. Collection des Ouvrages Français. [ Suivi de : ] Librairie de Béchet Ainé. Oeuvres de Pothier. Mars 1825 [ Suivi de : ] Lebègue. 1810. Chefs-d'Oeuvre de l'Abbé Prévost [ Suivi de : ] Firmin Didot. Oeuvres complètes de Volney [ Suivi de : ] Desray. Histoire Générale de France de Velly, Villaret [ Suivi de : ] Ambroise Dupont et Cie. Mémoires et Mélanges historiques et littéraires par le Prince de Ligne [ Suivi de : ] Jules Didot l'Aîné. Oeuvres complètes de Voltaire [ Suivi de : ] Collection complète de la Minerve Française [ Suivi de : ] Etrennes aux disciples de Flore et de Pomone [ Suivi de : ] Giraudeau de St-Gervais. L'art de se guérir soi-même, ou Traitement des maladies Syphilitiques, par la Méthode Végétale, d'après un Mémoire présenté à la faculté de Médecinee, le 1er Février 1825 [ Suivi de : ] Prospectus Méthode Végétale dépurative de Laffecteur. Défense du Rob anti-syphilitique contre les Manoeuvres spoliatrices des contrefacteurs en général, et, en particulier, contre les Diffamations calomnieuses du Sr Giraudeau de St-Gervais [ Suivi de : ] Dissertation sur l'Utilité des Frictions, ou Méthode Préservative pour conserver la Santé [ Suivi de : ] Partarrieu. Journal des Arrêts de la Cour Royale de Bordeaux [ Suivi de : ] Librairie de Charles-Béchet. Journal des Avoués, ou Recueil Général [ Suivi de : ] Marvaud Ainé. Procès-Verbal de la Distribution des Prix Faite le 28 Août 1828 aux Elèves du pensionnant communal de Cognac dirigé par Marvaud Aîné [ Suivi de : ] Oeuvres complètes de Démosthène et d'Eschine, en grec et en français [ Suivi de : ] Cognac, Charente. Maison d'Education pour les Jeunes Demoiselles. [ Suivi de : ] Catalogue des Livres de Fonds et d'Assortiment qui se trouvent chez Pierre Dufart [ Suivi de : ] Dépôt Général de la Librairie de Paris et des Départems [ Suivi de : ] Librairie de H.-B. Aigre. Catalogue des Livres destinés à la Lecture par Abonnement [ Suivi de : ] Catalogue de la Librairie de H.-B. Aigre, rue de Friedland n°3 à Angoulême Très intéressant recueil de diverses brochures et prospectus (dont nombreuses pièces angoumoises), témoignant de la situation de l'édition française sous la Restauration. Français

      [Bookseller: Librairie Du Cardinal]
 25.   Check availability:     maremagnum.com     Link/Print  


        Carte topographique, minéralogique et statistique de la France réduite de celle de Cassini, à l'échelle de 1/388800 (1 lig. pr. 450t). Rectifiée d'après les nouvelles Observations astronomiques, les levés du Cadastre., les Travaux des Ponts-et-Chaussées, des Mines &c. Dressées et dessinée par Alexis Donnet... Gravées par R. Wahl, Dandeleux et Malo... La lettre gravée par A. Peliciers.

      Paris, chez Hyacinthe Langlois, 1817. Engraved map, comprising the 'Tableau d'Assemblage' sheet and 24 numbered sheet (25 sheet in all), with borders hand-coloured and roads highlighted in red and orange. Dissected and mounted on 25 folding linen sheets, vellum pull tags lettered and numbered in pen. Contained in 2 contemporary French green quarter-morocco gilt cases. A beautiful preserved copy. Alexis Donnet likewise is the author of a large map of Paris and environment.

      [Bookseller: Antiquariaat Junk B.V.]
 26.   Check availability:     maremagnum.com     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     563 Years   Links     Contact      Search Help      Terms of Service      Privacy     


Copyright © 2019 viaLibri™ Limited. All rights reserved.