TEFAF New York Fall 2017 Stand 95 TEFAF New York — Fall 2017

TEFAF New York Fall 2017 Stand 95 TEFAF New York — fall 2017

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Tuurdijk 16 3997 ms ‘t Goy – Houten The Netherlands Phone: +31 (0)30 6011955 Fax: +31 (0)30 6011813 E-mail: [email protected] Web: www.forumrarebooks.com www.forumislamicworld.com

front cover no. 15 back cover no. 14 v 1.01 · 18 Oct 2017 The most important source for the Philippines and the Moluccas in the early colonial period, with matter relating to Sir Francis Drake and American voyages

1. ARGENSOLA, Bartolome Leonardo de. Conquista de las islas Malucas. [Madrid, Alonso Martin, 1609]. Small 2º (22 × 30 cm). With an engraved architectural title-page showing an allegorical scene (the Moluccas represented by a native woman with feather headdress, cornucopia and sword, riding a crocodile, with the Spanish royal coat of arms in the sky) and a sleeping lion (representing the author?) in a separate cartouche below. Early 18th-century richly gold-tooled red morocco, each board with a large centrepiece a petit fers made partly with pointillé stamps. $ 42 000

First edition of the author’s principal work, in the original Spanish, dedicated to King Philip III of Spain, whose father had untied the Portuguese and Spanish crowns in 1580. It centres on the Philippines and the Moluccas, but also discusses China, Java, Sumatra and Ceylon, and even “los estrechos Persico y Arabico” (p. 12). The Portuguese naval commander Afonso de Albuquerque had conquered Malacca by 1511, a few decades after Arabic merchants introduced Islam there. This provided a base to quickly establish Portuguese influence over the islands of the region. “Few narratives are written with so much judgment and elegance ... One of the most important works for the history of the Philippine islands ... The book also contains matter relating to Sir Francis Drake and American voyages, and to the history of Spanish and Portuguese exploration in the Indies” (Cox). “For the compilation of this work, the author had the command of all authentic manuscript relations, which were either in official custody, or in private hands, besides the testimony of such persons then living as had been eyewitnesses to any part of what he delivers” (Griffin). With the engraved armorial bookplate of Jeremiah Hill (ca. 1820). Later in the celebrated library of Sir Thomas Phillips (1792–1872), then the library of Philip Robinson. The imprint of the engraved title-page appeared below the thin-rule border at the foot and is usually shaved or (as in the present copy) wholly lost, along with part of the foot border itself but the title-page is otherwise complete and intact. A few leaves have marginal chips repaired at an early date or small worm holes in the head margin unobtrusively repaired, and one has a small hole repaired slightly affecting 4 words of text. A few leaves are slightly browned or show some spots or smudges, but the book is otherwise in good condition. The hinges are worn, with a few small cracks, and the head and foot of the spine slightly damaged, but the binding is otherwise good, with nearly all of the tooling very good. A beautifully bound copy of an essential source for any study of the Moluccas and the Philippines in the early Portuguese (from 1580 also Spanish) colonial period. Cox I, p. 284; Griffin & Phillips, Philippine Islands 23; Medina, Hisp.-Amer. 551; Palau 16089; Sabin 1946.

3 First edition of one of the most important natural history books of the Renaissance, with 158 hand-coloured woodcuts

2. BELON, Pierre. L’Histoire de la nature des oyseaux, avec leurs descriptions, & naïfs portaicts retirez du naturel: escrite en sept livres, ... Paris, Gilles Corrozet (colophon: printed by Benoit Prévost), 1555. 7 parts in 1 volume. 2º. With woodcut portrait (apparently of the dedicatee King Henri II), large woodcuts of the skeletons of a man and a bird on pp. 40-41, and 158 woodcuts (157 birds, 1 bat). All coloured by a contemporary hand. Late 19th-century gold-tooled parchment, each board with the coat of arms of Count of Goblet d’Alviella, probably the Belgian lawyer, senator and professor at the University of Brussels, Eugène Félicien Albert, Count Goblet d’Alviella (1846–1925), in a frame of fillets, spine with gold fillets, gilt edges. $ 75 000

First edition of an extremely important ornithological work in which Belon attempted to match birds named by Aristotle and Pliny with those then current in France. It is one of the first ornithological compendiums to be based, at least in part, on field observations, and “one of the earliest books dealing entirely with birds” (Zimmer). The work is divided into 7 parts, each with its own title- page: the first on the anatomy and physiology of birds; the second on birds of prey; the third on swimming birds; the fourth on shore birds; the fifth on galliformes (fowl); the sixth on crows and similar species; and the seventh on songbirds. The second part also includes an chapter on falconry. Pierre Belon du Mans (1517?–1564) studied medicine in Paris, where he took the degree of doctor before becoming a pupil of the brilliant botanist Valerius Cordus at Wittenberg, with whom he travelled throughout Germany. Cordus died of malaria in Italy in 1544, and Belon, on his return to France, came under the patronage of François, Cardinal de Tournon. De Tournon provided him with the means to undertake, in 1546, a wide ranging journey, apparently of scientific intent. He travelled through Greece, Asia Minor, Egypt, Arabia and Palestine, returning to Paris in 1549, where a full account of the journey was published in 1553. Besides the narrative of his travels he wrote several scientific works of considerable value. Belon was highly favoured both by King Henry II and Charles IX. With an owner’s name dated 1582 on the title-page. With some marginal waterstains and occasional marginal foxing, and the colouring of the portrait shows through on the title-page. The old flyleaves were reattached, probably when the book was rebound, but one has since detached. An extraordinary ornithological work with woodcuts coloured by a contemporary hand. Anker 9; Brunet I, 762; Nissen, IVB 86; Ronsil 189; Zimmer, p. 52; for the coat of arms on the binding: de Jonghe d’Ardoye (a.o.), Armorial Belge du bibliophile, p. 734.

4 Large folio Bible with 6 maps and 336 illustrations, in contemporary colouring with extensive gold

3. [BIBLE—DUTCH]. Biblia, dat is: de gantsche H. Schrifture, vervattende alle de canonijcke boecken des Ouden en des Nieuwen Testaments. Amsterdam, widow of Paulus Aertsz. van Ravesteyn, 1660. 3 parts in 1 volume. Large 2º (47.5 × 32 cm). With an integral engraved general title-page, 6 double-page engraved maps, including a world map and a plan of Jerusalem, and 336 Bible-illustrations by Claes Jansz. Visscher (after Matthäus Merian?) on 42 numbered single-page plates. The maps and illustrations coloured by an early hand with extensive use of gold. 18th-century black so-called sharkskin over bevelled wooden boards (ca. 1770?), with 8 large silver corner-pieces and 2 large silver clasps with catchplates and anchorplates, all with matching stamped relief decoration, gilt and gauffered edges. The silver furnishings bear Amsterdam city hallmarks with year letter C and master’s mark DF. Rebacked with most of the original backstrip mounted on the spine. $ 75 000

Extra-illustrated large folio edition of the Dutch Statenbijbel (States Bible) with 6 maps and 336 illustrations hand-coloured, the translation officially authorized by the Dutch Reformed Church and published with a privilege from the States General of the Dutch Republic. The 1619 Synod of Dordrecht established a committee to prepare the new translation, and leading Dutch scholars worked on it for nearly twenty years before Paulus Aertsz. van Ravesteyn (ca. 1586–1655) published the first edition in 1637. The 6 maps and the engraved illustrations were produced to be inserted into Van Ravesteyn’s folio editions. The series of 336 illustrations by Claes Jansz. Visscher with eight to one leaf, are engraved by Cornelis Danckerts. With some browning, but still generally in good condition and with large margins. The binding has been rebacked, as noted, and the “sharkskin” on the boards has some cracks and wear, but the silver furnishings and gauffered edges are well-preserved. A stunning, large States Bible with 6 maps and 336 illustrations coloured by an early hand with extensive gold. Poortman, Bijbel en prent I, p. 233 (cf. pp. 147, 151); cf. Darlow & Moule 3315; for the maps: Poortman & Augusteijn 27.1–6; the prints not in Hollstein; Poortman Bijbel en prent; for the zilver furnishings: Voet, Amst. zilversmeden 448–449.

5 56 large, detailed and finely coloured Dutch costume plates

4. BING, Valentijn and Jan BRAET VON UEBERFELDT. Nederlandsche kleederdragten, naar de natuur geteekend. | Costumes des Pays-Bas, dessinés d’après nature. Amsterdam, Frans Buffa and sons, [1850–]1857. Large 2º (58 × 42.5 cm). With 56 numbered tinted lithographed plates in fine publisher’s hand colouring and highlighted with gum arabic, each 4 plates preceded by one leaf of explanatory letterpress texts in Dutch and French. Near contemporary mottled half sheepskin, gold-tooled spine. $ 8000

Deluxe issue (finely coloured and on large paper) of one the finest Dutch costumes books ever published. The plates depict men, women and children in the traditional costumes of towns in the Dutch provinces, showing (seasonal) attires for different occupations and occasions (fishermen, farmers, festivities etc.). While all people are wearing headdresses — except one man holding one in his hand —, one plate specifically depicts eight varieties of coifs. Other plates include tobacco pipes, books, shoes, jewellery and other accessories. The sceneries are typically Dutch, and include boats, windmills, ice skating, several animals (dogs, cats, horses), a carriage, a dog cart, etc.; most of them are outside, but some show the interior of living rooms. The plates were available in three issues: regular colouring in folio (ƒ 56), regular colouring on large paper (ƒ 70) and fine colouring on large paper (ƒ 140; that is around € 1400 in today’s currency). The spectacular colouring of the present issue contributes tremendously to the details of the costumes and the scenery. Binding slightly rubbed along the extremities, otherwise in very good condition. The papers has a few occasional specks and the tissue guards are removed, leaving traces of glue in the gutter, but the illustrations are in fine condition. Colas 333; Hiler, p. 91; Landwehr, Coloured plates 242 (“the most variegated costume book of the Low Countries”); Lipperheide 969m; Vinet 2221 (“Belle publication”).

6 Coloured copy of Blaeu’s atlas of China, in richly gold-tooled contemporary vellum

5. [BLAEU, Joan]. MARTINI, Martino. Novus atlas Sinensis a Martino Martinio … [Nieuwe atlas van het groote rijck Sina, …]. Including: GOLIUS, Jacob. [Drop-title:] Byvoeghsel van ‘t Koninckryck Catay. [Amsterdam, Joan Blaeu, 1655]. Super royal 2º (51x34 cm). With engraved title-page (lacking the letterpress title-label) and 17 double-page engraved maps, all coloured by a contemporary hand. The maps include 16 maps of China and 1 general map of Japan, with richly decorated cartouches often showing several Chinese in traditional garb. The preliminaries bound at the end. Contemporary richly gold-tooled, slightly overlapping vellum, remains of ties, gilt edges. $ 57 500

Separately published edition, with the text in Dutch, of Blaeu’s atlas of China, the first atlas and geography of China to be published in Europe. “The seventeen maps are noteworthy not only for their accuracy, remarkable for the time, but also for their highly decorative cartouches featuring vignettes depicting regional Chinese dress, activities, and animals. … In addition, it is one of the first true Sino-European publications, based on Chinese land surveys but presenting geographic data in a highly visual European cartographic format” (Reed & Demattè). The first map is a general map of China (including Japan and parts of Korea), followed by 15 maps of the provinces of China and a general map of Japan. The maps are based on Chinese cartographic sources collected by the Jesuit missionary Martinus Martini’s (1614–1661). Martini also added a lengthy preface on the compilation process, geographical descriptions of the provinces of China and Japan, a list of towns with their geographical co-ordinates and a history of the Manchurian war. Golius, as a result of his fruitful contact with Martini, wrote his Byvoeghsel van ‘t Koninckryck Catay, on the Chinese reign, which is published here for the first time as a supplement to the atlas. Lacking the letterpress title-label on the engraved title-page, tears in the outer margin of two pages and small corner off one page torn off; a very good copy. Binding also in very good condition, with only the spine slightly soiled and the tooling on spine slightly faded at a few points. V.d. Krogt, Koeman’s Atlantes Neerlandici II, 2:521A; Reed & Demattè 25.

7 Most important 19th-century scientific expedition to South America, with nearly 500 plates, mostly hand-coloured

6. CASTELNAU, Francis de (botanical volumes by Hugh Algernon WEDDELL). Expédition dans les parties centrales de l’Amérique du Sud, de Rio de Janeiro a Lima, et de Lima au Para; exécutée par ordre du gouvernement Français pendant les années 1843 a 1847. Paris, P. Bertrand, 1850–1859. 7 parts in 15 volumes. 8º (6 vols.), 4º (7 vols.), 2º (2 vols.). With 493 lithographed and tinted lithographed plates and maps, including 401 partly or completely hand-coloured. Later rust-red half morocco. $ 150 000

First edition, beautifully illustrated, of the reports of the most important scientific expedition to South America in the 19th century, led by the French naturalist Francis de Castelnau (1810–1880). The scientific results of this expedition are of considerable importance. Besides the zoological, botanical, mineralogical and ethnographical collections he brought to Europe, Castelnau provided a wealth of information with the astronomical, barometrical, hydrographical and hydraulic observations and determinations he made. The beautifully coloured plates make it a desired work for bibliophiles as well. During their travels Castelnau and his men gathered an enormous amount of information through meteorolog- ical, magnetic, botanical and zoological observations. They lost a great deal of their work when Indians killed one of the expedition members and destroyed most of his records of the astronomical and barometrical observations. Fortunately his minutes were saved and with considerable effort the reports of the expedition were completed. The expedition ended when Castelnau returned to France in 1848. Fine, complete set. The binding with occasional small chips or minor abrasions, but still very good. Borba de Moraes, pp. 167–168; Howgego, 1800–1850, C14; Nissen, ZBI 88–89; Sabin 11411.

8 17 delicate Chinese drawings in bright colours: 5 botanical, 8 zoological and 5 portraits

7. [CHINA]. [17 Chinese watercolours made for the export market]. [China, first half of the 19th century]. Collection of 17 Chinese watercolours on Asian paper with chain lines, including 3 watercolours of birds seated on a branch, 3 watercolours of ensembles of fruit and flowers and 5 watercolours of fishes (all ca. 30 × 37 .5 cm), 2 watercolours, each showing 2 branches of flowers and trees in a drawn oval border (ca. 39 × 30 cm) and 4 watercolours of Chinese people posing with an object (ca. 25 × 21 cm). Modern gold-tooled dark green morocco clam shell box, in contemporary style. $ 30 000

Thirteen detailed Chinese watercolours of birds, fruits, flowers, plants and fishes, together with four portraits of Chinese people posing with a pipe, lute, flower and a handheld fan. The drawings in this album show the mixture of the Chinese and European styles which was popular in the market for export paintings in the first half of the 19th century: a combination of the Chinese approach to rendering with European aesthetics concerning light, shadow and realism. As traditional in these paintings, large areas of flat colour have been subtly shaded very thin lines draw the veins of the leaves, fins of the fish and feathers of the birds. The production of these export paintings began earnestly in the 1820s and reached its height in the 1830s and 1840s, especially after China’s defeat in the First Opium War (1839–1842) opened the country to foreign trade. Photography was introduced in China in the 1840s and the market for export paintings declined after 1860. By the end of the 18th century Chinese painters in Hong Kong and Canton started producing paintings and drawings for European buyers. Although they were made for artistic and decorative purposes, many European naturalists began collecting drawings to study Chinese plants and species. Most of the plants and animals would simply not survive the journey to Europe whereas dried specimens did not preserve the colour or shape of the flower. Most of the export paintings were ensembles of flowers and animals placed on a background. Imagination was more important than copying nature, and the realistically painted flowers could have different colours or even be a composition of elements from different species. For that reason serious naturalists commissioned Chinese artists to paint according to the standards of European scientific illustration. With a few tiny spots and minor smudges, but otherwise in very good condition.

9 12 delicate Chinese pith paintings

8. [CHINA]. [Album with 12 Chinese watercolours]. [China, 19th century]. Oblong album (23.5 × 33.5 cm) with 12 delicate gouache and watercolour paintings on so-called rice paper (each ca. 19 × 28 cm), mounted on the album’s leaves, each painting framed with strips of blue silk ribbon backed with paper attached at the corners. Embroidered binding (1917 or earlier), green braided ties. $ 6000

An album with 12 vibrantly coloured “pith paintings” showing Chinese junks and other boats, each mounted on a verso (so that the book opens from what in a western book would be the back). Chinese texts appear on the flag of the first boat and stern of the fifth. Pith paintings, often depicting scenes from daily life, flowers, birds or butterflies, were most popular from the 1830s to the end of the century. Parts of the image are painted with a thick layer of gouache (some parts matte and some parts glossy) that sits on the surface of the velvety paper while the watercolour soaks in, giving a distinctive texture and three-dimensional quality. Typically small and fragile, these subtle watercolours were created for the export market to meet the increasing demand for inexpensive souvenirs. There was a flourishing trade in the miniatures, until they were superseded by the less expensive picture postcard. They are painted on what is usually called “rice paper”, now sometimes “pith paper”, which is neither paper nor made from rice. It is a thin layer of pith cut with a knife from the plant Tetrapanax papyriferum, related to ginseng. With small tears or holes in a few paintings, mostly in the corners and affecting only the open water or sky of the background, some indentations in the paper across the sky, occasionally touching the rigging of a boat, minor spotting, first album leaves and paste-down with marginal waterstains, overall in good condition. A lovely album of brightly coloured Chinese pith paintings of boats.

10 3 Princes of Orange, with much information on the Dutch in Brazil and illustrated with 80 double-page plates beautifully hand-coloured

9. COMMELIN, Isaac. Fredrick Hendrick van Nassauw Prince va[n] Orangien zyn leven en bedryf. Amsterdam, Jodocus Janssonius, 1651 (colophon: printed by Paulus Matthijsz., 1651). With an engraved title-page, a full-page engraved portrait of Frederik Hendrik, and 34 double-page (or in 2 cases larger folding) engraved plates. All beautifully coloured by a contemporary hand and most highlighted with gold. With: (2) [ORLERS, Jan Jansz., and Isaac COMMELIN]. Wilhelm en Maurits van Nassau, Princen van Orangien, haer leven en bedrijf, of ‘t begin en voortgang der Nederlandsche oorlogen. Amsterdam, Johannes Janssonius, 1651. With an engraved title-page, full-page engraved portraits of William and of Maurits, Maurits’s full-page engraved coat of arms, and 46 double-page (or in 2 cases larger folding) engraved plates, mostly maps, plans and bird’s- eye views of cities, fortifications and battles. All beautifully coloured by a contemporary hand and most highlighted with gold. 2 complementary works, each with 2 parts in 1 volume. 2º (32 × 21.5 cm). Uniform contemporary or near contemporary gold- and blind-tooled vellum. Ties lacking. $ 140 000

First editions of two complementary works, in matching format, similar layout and beautifully and extensively illustrated, devoted to the lives, history and military careers of the three most important stadtholders and Princes of Orange to the time of publication, including a great deal of information on the Dutch conquests, trade and commerce in the Americas in general and Brazil in particular. In the present copy the engraved title-pages, portraits, coat of arms and illustrations are all beautifully coloured by a contemporary hand, most of them highlighted in gold. Truusje Goedings, expert in 17th-century Dutch colourists, has identified the colouring as the work of Frans Koerten (1603–1668), the most acclaimed Dutch colourist of the middle of the 17th century. Something must have gone wrong with the printing or colouring of Maurits’s portrait, for one can see that the portrait was printed on the leaf, but another print from the same plate has been pasted over it as a cancel.With a small tear in the foot of one map and water stains at the foot of the leaves in both works, but otherwise in very good condition. The bindings have cracks in the joints. Beautifully coloured copies of two magnificently illustrated works on the Princes of Orange and Dutch activities in Brazil and elsewhere. Ad 1: Alden & Landis 651/53; Borba de Moraes, p. 19; ad 2: Alden & Landis 651/110; Borba de Moraes, pp. 634–635.

11 “The first European book devoted exclusively to China”

10. CRUZ, Gaspar da. Tractado em que se co[n]tam muito por este[n]so as cousas da China, co[m] suas particularidades, [e] assi do reyno d[‘]Ormuz. Evora, André de Burgos, 1569 (colophon: 1570). Small 4º in 8s (18.0 × 14 cm). Title-page with woodcut Portuguese royal coat of arms and a 4-piece woodcut border, and further with some woodcut initials. Modern richly gold-tooled red morocco, boards gold-tooled in a panel design, with earlier brass clasps and catchplates. $ 265 000

Very rare first edition of “the first European book devoted exclusively to China” (Lach). A highly important work, the first printed book published in the West on the subject, serving as the primary source on China for European authors and their readers — most of whom never set foot in the East — for many decades following its publication. Including an account of a chronicle of the kings of Hormuz, based on a Persian or Arabic manuscript now lost, and thus “an irreplaceable source for the early history of the kingdom of Hormuz” (Loureiro), and a chapter on the Chinese Islamic communities in China. In 1548 Gaspar da Cruz, along with ten fellow Dominican friars, departed for Portuguese India with the purpose of establishing a mission in the East. Cruz visited Goa, Chaul, Kochi, and Portuguese Ceylon. In 1554 Cruz was in Malacca and then left for Cambodia in a (failed) attempt to found a mission there. In 1556 he was in Canton bay on the island of Lampacao and later went to Canton itself to preach. Cruz left China in 1560, sailed to Hormuz and stayed there for three years. In 1565 he sailed back to Goa and returned home to Lisbon in the next year. His Tractado provides a highly unusual and remarkable eyewitness account of Ming China, including many details never before published in the West. Comparing the work to the more renown account of Marco Polo’s travels to Asia, Boxer remarks: “there can be no doubt that the Portuguese friar [Cruz] gives us a better and clearer account of China as he saw it than did the more famous Italian traveler” (Boxer) With a couple manuscript annotations and underscoring (one shaved). Some restorations (to title-page, leaves a2, d3, e4, e5 and f8, quires a, b and k, and a few tiny corners), faint water stains in the head margins and washed. Still a good copy. Cordier, Sinica, col. 2063; Lach, Asia and the making of Europe I, p. 330 & 748; Porbase (5 copies, incl. 1 incomplete); R. Loureiro, “ in: Christian-Muslim relations: a bibliographical history VI, pp. 369–375; USTC 346100 (5 copies); WorldCat (3 copies); cf. Boxer, South China in the sixteenth century.

12 Greatly expanded second (and final) Dutch edition of Descartes’s collected works

11. DESCARTES, René. Principia philosophiae: of beginselen der wysbegeerte [and other works]. With: (2) Meditationes de prima philosophia of Bedenkingen van d’eerste wysbegeerte [and other works]. (3) Proeven der wys-begeerte; ofte Redenering. Om door bequame middelen de reden wel te leiden [and other works]. (4) Brieven, aan veele hoog-geagte personen, van verscheyde ampten, geschreven. Amsterdam, Jan Claesz ten Hoorn, 1690–1692. 4 volumes. 4º. With an engraved frontispiece and engraved portrait of the author in volume 1, and about 200 woodcut diagrams and other illustrations (including about 5 full-page) plus repeats. Contemporary and largely uniform blind-tooled vellum. $ 27 500

Surprisingly rare complete set of the greatly expanded second Dutch edition of the collected works of René Descartes, translated from the Latin by Jan Hendrik Glazemaker, here adding well over 300 pages of additional works. Descartes (1596–1650), one of the most brilliant and original thinkers of all time, was born and educated as a Catholic in a Protestant region in France’s Loire valley, but worked as a military engineer for the Dutch Protestant army in his early years and returned to the Dutch Republic in 1628 to study further at the universities there. He remained for twenty years, taking advantage of the Republic’s intellectual freedom and Amsterdam’s position as the most important centre of the world book trade. Descartes established our modern notions of empirical science and built the foundations for the work of Spinoza, Newton, Leibniz and many others. His work ranged widely over the fields of phi- losophy, mathematics, mechanics, light and optics (including practical aspects, such as lens grinding and telescopes), astronomy, ballistics, anatomy, sexual repro- duction, music, “passions of the soul” and much more, all covered in the present collected works. In nearly every field he made major contributions to knowledge, often debunking widely held beliefs. Volume 4 contains his correspondence. The principal works named in the four titles above are accompanied by numerous additional works Some browning at the end of the main text in volume 1 and in the middle of volume 2. Still in very good condition with further only occasional minor browning or foxing and a small marginal tear in one title-page, and with large margins. The bindings slightly dirty but still very good. The definitive Dutch edition of Descartes’s works: nearly 3000 pages in 4 volumes. STCN 101908407, 850528100, 850527104, 850527074 (5 sets of all 4 volumes plus individual volumes); cf. Guibert, Descartes bibliographie ... 17e siècle (recording Latin and French eds. only).

13 “almost the only comprehensive source of information for pirate activities in the seventeenth century”, bound by America’s finest bindery

12. EXQUEMELIN, Alexandre Olivier. Historie der boecaniers, of vrybuyters van America. Amsterdam, Nicolaas ten Hoorn, 1700. 3 parts (paginated as 2) in 1 volume. 4º. With an engraved title-page, a folding engraved map of South and Central America, and 7 engraved plates (1 folding). Red (goatskin) morocco (ca. 1920), with richly gold tooled turn-ins, double fillets on board edges, gilt edges, by the French Binders of Garden City,NY , a reincarnation of Robert Hoe’s Club Bindery, arguably the finest bindery ever to operate in America. $ 6500

Second, much expanded, edition in the original Dutch, of a best-selling illustrated adventure story written by a former Caribbean pirate: the most important primary source and “almost the only comprehensive source of information for pirate activities in the seventeenth century”(Howgego). Exquemelin (ca. 1645–1707) began his career in service of the French West India Company on a 1666 voyage to Tortuga in the Caribbean. There he went into the service of the notorious Welsh privateer Henry Morgan. He returned to Europe ca. 1674 and made a new career as a reputable surgeon in Amsterdam, where he wrote the present book. The text is divided into three parts. The first tells of the French voyage to the West Indies in 1666 and describes the circumstances there. The second recounts the dreadful deeds of the Caribbean pirates, especially François l’Olonnais and Henry Morgan, and the third describes the burning and looting of Panama City by Morgan’s unruly men. In 1895 a group of Grolier Club members led by Robert Hoe, founded the Club Bindery, with the intention of elevating America’s bookbinding to match that of Europe. The Club Bindery works “surpassed–in design, forwarding, and finishing–anything that had been produced in the United States until then” (Antonetti). After Robert Hoe’s dead the bindery reincarnated as the French Binders of Garden City, New York. With a dampstain throughout, in the lower right corner, a couple smudges and specks and the map with a small restored tear, otherwise a good copy. Some very minor wear along the board edges and a bit more noticeably along the hinges and the raised bands, otherwise the bindings is in very good condition. Alden & Landis 700/11; Sabin 23469; cf. Howgego, to 1800, E-39 (other editions); for the bindery: T. Boss & M. Antonetti, Bound to be the best: The Club Bindery. Catalogue of an exhibition at the Grolier Club (2004).

14 Splendid manuscript on the state, condition and organization of the French Royal navy in 1732, from the library of Henri Beraldi

13. [FRENCH ROYAL NAVY]. [Binding title:] Abregé de la marine du Roy 1732. [Paris?, 1732]. 13.5×19 cm. Manuscript in brown-black, red and blue ink on vellum, some of the lettering and borders gilt. With a beautiful frontispiece painting in coloured gouaches (14×9.5 cm) pasted on the page facing the opening of the text, showing a small warship at a shipyard in a small harbour being repaired by workmen. Contemporary red morocco, gold-tooled spine, gold-tooled fillets on boards and board edges, richly gold-tooled frame, gilt edges. $ 110 000

Splendid vellum manuscript on the condition and organisation of the French Royal Navy of King Louis XV in the year 1732, including maritime data on the French colonies in Canada, Louisiana and the West Indies. The manuscript is beautifully calligraphed in a formal roman and italic in brown-black, red and blue, sometimes with gold covering the ink, with 2 decorated initials in gold over red. The use of the high quality vellum, the fine gouache illustration, the lavishly executed calligraphy and the beautiful contemporary binding, indicate that the manuscript must have been produced for an important person, probably a head of the marine or an official at the court. The manuscript gives a complete survey of the size and organisation of the French navy of the Ancien Regime in 1732 and must have been top secret at the time! From the library of the well-known art historian and book collector Henri Beraldi (1849–1931). The manuscript is generally in fine condition, with only an occasional minor spot or small stain. The binding is slightly worn at the hinges, head and foot of spine and on the raised bands, but is also generally fine. A remarkable and luxurious manuscript providing a wealth of information on the French Royal Navy in 1732. Bibliotheque Henri Beraldi II (Paris, 1934), 168; Sotheby’s, London, Sale 16 & 17 december 1963, lot 223.

15 Magnificent French Renaissance colour drawings of birds, including falcons and other birds of preyin a beautiful contemporary “ fanfare” binding

14. [GOURDELLE, Pierre?]. [Title on the spine of the modern box:] Recueil de dessins d’oiseaux. [Paris or Lyons?], [ca. 1550/60]. Royal 2º (42.5 × 29 cm), mostly in 4s. With a full-page coat of arms of the first owner in coloured gouaches and gold (on an oval shield: azure, a chevron or, between 3 stags’ heads caboshed), probably of the arms of Charuel (Paris?) or Bourdin; and 58 watercolour drawings of birds (and a bat) on 50 leaves, with the paper glazed and some drawings with highlights in gold. Contemporary (1560s) richly gold-tooled light brown calf, each board in a “fanfare” design, with strapwork and stylized plant decoration (with the calf darker in the strapwork and some of the plant decorations), each of the 8 spine spine com- partments with the same stylized plant decorations, fillets on board edges, gilt edges. In a 20th-century black morocco clamshell box with a perspex front (so that the binding remains visible in the closed box) and “Pierre Gourdelle–Recueil de dessins d’oiseaux” in gold on the spine. $ 3 300 000

A magnificent book of large and finely executed French Renaissance watercolour drawings of a wide variety of birds, mostly with a single large drawing (up to about 25 cm tall) on the recto of each leaf, but a few leaves show 2, 3 or 4 drawings of smaller birds together on one page to give 58 drawings on the 50 leaves. It is one of the earliest known series of French ornithological drawings and one of the best and most extensive Renaissance bird books. It shows 14 different varieties of birds of prey, including falcons, hawks, eagles, owls, a vulture and a buzzard. Two of the falcons are shown with jesses, probably a lanner falcon (Falco biarmicus) and a kestrel (Falco tinnunculus), the former also with a bell. A lesser fish eagle Ichthyophaga( humilis) is shown devouring a fish and a buzzard(?) devouring a snake. The book also includes a wide variety of water birds, song birds in colourful plumage (including a kingfisher), an occasional exotic species (parrot, parakeet, peacock) and even a bat. Following mythological tradition the pelican is shown feeding its young with its own blood and the wholly mythological phoenix is shown rising up out of the flames. To a mid-16th-century audience these may have appeared more plausible than the peacock. By ca. 1725 the book had apparently come into British hands, for an English manuscript note accompanying an index of the drawings on the front paste- down refers to the dispersal of Jean Grolier’s library “about fifty years ago”, an allusion to Le Caille’s claim that the library remained intact until 1675/76 (this has been shown not to be true and may allude to the 1676 sale of the library of Jean Ballesdens (1595–1675), who had many books from Grolier’s library). The British owner who wrote the note suggests that this book came from Grolier’s library, but may have simply supposed that based on the style of the binding. Another anonymous English note, on leaf 10, refers to the shooting of a bustard in Dorsetshire in 1781. The book has a 19th-century armorial bookplate of Thomas Snodgrass, with motto, “beata petamus arva”. Pierre Berès acquired it from H.P. Kraus in New York in January 1949. In very good condition. A remarkably early set of fine and large French ornithologial watercolour drawings showing 58 varieties of birds, including falcons and other birds of prey, in a contemporary fanfare binding. Pierre Bergé, Pierre Berès: 80 ans de passion, IV, Paris, 20 June 2006, lot 16; for the binding style: Hobson, Les relieures à la fanfare, 1970, p. 4, no. 13; for the only comparable manuscript we have located: Museum National d’Histoire Naturelle, Catalogue général des manuscripts, p. 267, ms. no. 1914.

16 17 18 1146 outstanding watercolours of flowering and fruit-bearing plants and trees

15. HAPPE, Andreas Friedrich. Conspectus, praecipuarum plantarum, earumque florum et fructum, in omni terrae situ provenientium, ordinatus juxta systema Linnaeanum. Berlin, 1790–1794. 5 volumes. 1º (45.5 × 32.5 cm). With a manuscript title-page with a floral border, 1146 outstanding watercolours of flowers and fruits, and 7 leaves of manuscript index. Some of the woody plants and trees include a cross-section of the wood. All watercolours numbered by hand, with commentary in pencil and titles in ink, and an occasional longer commentary in ink. Contemporary gold-tooled, mottled calf, marbled edges; rebacked with the original backstrip laid down, later endpapers. $ 995 000

A beautiful collection of 1146 outstanding watercolours of flowering and fruit-bearing plants (including branches of trees) by the well-known botanist and pharmacist Andreas Friedrich Happe (1753–1802), probably prepared for publication but apparently never published. Happe is the author of several extremely rare illustrated botanical books, including a few other unpublished collections of watercolours. One is located in the Hunt Botanical Library: “The drawings are made with considerable care for botanical detail, and with a delicate eye for color and line (...) he communi- cates an appreciation of a very large variety of nature’s forms, and at the same time simple statement now of value to the historical taxonomist.” With the 20th-century bookplate of Otto Salmonson on paste-down. A fine copy. Binding in very good condition, some restorations and some tooling possibly retouched, rebacked, as noted. A magnificent collection of watercolours. Cf. Hunt 659; Nissen, BBI 782 & 787.

19 24 engraved views made for the Emperor of China, showing the campaign expanding his western territories

16. [HELMAN, Isidore-Stanislas]. [Suite de seize estampes représentant les conquêtes de l’Empereur de la Chine, avec leur explication]. With: (2) [Supplement 1 with views 17–20]. (3) [Supplement 2 with views 21–24]. Paris, Isidore Stanislas Helman, Nicolas Ponce, 1783–1788. Oblong Imperial 2º (35 × 48.5 cm). A series of 24 numbered engraved views (plate size 27 × 43 cm; image size 24 × 41 cm), with reproductions of the engraved explanation of the views, in both the earlier state covering views 1–16 and the later state covering views 1–24. Loose prints in folders in a modern archival box. $ 60 000

A fine complete series of 24 large and meticulously engraved views of the western conquests by the Qianlong Emperor (1711–1799), the favourite grandson of the Kangxi Emperor in the Manchu Qing dynasty, who ruled China officially from 1735 to 1796. The first series of 16 views illustrates events from 1754 to 1760, the first and most important of what the Chinese termed Qianlong’s ten great military campaigns. The views give very detailed images of the battles, with large numbers of foot soldiers and cavalry. The Qianlong Emperor had close relations with Europe. In 1765 he ordered the production of a series of 16 European copperplate prints commemorating the campaign against the Zunghars, drawn by the leading European artists in China: Giuseppe Castiglione (1688–1766), Jean Damascène, Jean Denis Attiret (1702–1768) and Jesuit Ignaz Sichelbart (1708–1780). The first edition was engraved on enormous plates under the direction of Charles-Nicolas Cochin in Paris in the years 1769 to 1774, but few of his prints ever reached China and it was decided to have the present new edition of the same views produced at a more practical scale. This edition was a great success. Helman added two supplementary series to his edition, each with 4 views, giving a total of 24. In fine condition. A rare and remarkable series of views made for the Qianlong Emperor, mostly showing his conquests in western China. Cordier, cols. 641–642; M. Pirazzoli-t’Serstevens, Gravures des conquêtes de l’Empereur de Chine K’ien-Long, 1969, pp. 37–42 (views 1–20 only); Walraven, China illustrata 177 (cf. pp. 38–48).

20 Flower watercolour with insects, by the daughter of Maria Sibylla Merian

17. HEROLT, Johanna Helena. [Watercolour of a branch of a French roses, with several flowers and buds, ants and a hoverfly]. [Amsterdam, ca. 1700]. Watercolour drawing (38.5 × 29 cm) on extremely fine white parchment, said to be uterine lamb, showing a branch of French roses with three fully opened flowers, five buds or partly opened flowers, four ants (with and without wings) and probably a hover fly. Framed. $ 90 000

Characteristic original watercolour botanical drawing by Johanna Helena Herolt (1668–post 1721), the eldest daughter of Maria Sibylla Merian and Johann Andreas Graff. It shows a branch of French roses Rosa( gallica) with three large, fully-opened flowers and five buds or partly opened flowers, four ants (one winged) and probably a hoverfly (Syrphidae). She probably drew it in Amsterdam around 1700. Though she still remains in the shadow of her mother, she was a fine flower and insect artist in her own right and there is growing appreciation of her work. Her watercolours, more baroque than her mother’s and often with brighter colours, radiate vigour and vivacity: the flowers, painted with intensity in every detail, really come to life. A series of Herolt’s works from 1698 in the Herzog Anton Ulrich Museum in Braunschweig includes similar sheets of roses (nos. 10, 26, 28, etc.). Reitsma, p. 135, notes that the prices for the flower watercolours increased with the number of insects. In the finest state of preservation. Cf. Reitsma, Maria Sibylla Merian & dochters (2008), ills. 103 & 110 (pp. 139 & 147); Wettengl, ed., Maria Sibylla Merian 1647–1717, kunstenares en natuuronderzoekster (1998), p. 85.

21 Flower watercolour with moths, larvae and pupae, by the daughter of Maria Sibylla Merian

18. HEROLT, Johanna Helena. [Watercolour of a wallflower and a double hyacinth, with inchworm moths, larvae and pupae]. [Amsterdam, ca. 1700]. Watercolour drawing (38 × 29 cm) on extremely fine white parchment, said to be uterine lamb, showing a wallflower and a double hyacinth with two inchworm moths in the air (2 different species) and two inchworms and two pupae on the leaves and flowers. Framed. $ 90 000

Characteristic original watercolour botanical drawing by Johanna Helena Herolt (1668–post 1721), the eldest daughter of Maria Sibylla Merian and Johann Andreas Graff. It shows a wallflowerCheiranthus ( cheiri) and double hyacinth (Hyacinthus orientalis) with two inchworm moths (Geometriae) in the air, two inchworms and two pupae. She probably drew it in Amsterdam around 1700. Though she still remains in the shadow of her mother, she was a fine flower and insect artist in her own right and there is growing appreciation of her work. Her watercolours, more baroque than her mother’s and often with brighter colours, radiate vigour and vivacity: the flowers, painted with intensity in every detail, really come to life. Reitsma, p. 135, notes that the prices for the flower watercolours increased with the number of insects, so the present watercolour must have been unusually expensive. Characteristic watercolour in fine state of preservation. Herolt herself may have revised the upper part of the hyacinth. Cf. Reitsma, Maria Sibylla Merian & dochters, ill. 110 (p. 147); Wettengl, Maria Sibylla Merian 1647–1717, kunstenares en natuuronderzoekster, no. 120 (ill. 44 on p. 85).

22 180 hand-coloured lithographs of China

19. MALPIERE, D. Bazin de. La Chine, moeurs, usages, costumes, arts et métiers, peines civiles et militaires, cérémonies religieuses, monuments et paysages, d’après les dessins originaux du père Castiglione, du peintre chinois Pu-Qua, du W. Alexandre, Chambers, Dadley, etc. Paris, De Malpiere, Goujon & Formentin, and Firmin Didot, 1825–1827. 2 volumes. Large 4º (34 × 25.5 cm). With 180 lithographed plates in publisher’s hand-colouring (including a frontispiece to each volume and 1 plan of Beijing), 4 engraved plates (the first with hand-coloured illustration and the other three with musical notation). Lacking 1 plate and its accompanying letterpress description (“Porte-enseigne du corps des archers”), facsimile included. Contemporary half tanned goatskin, gold-tooled spine. $ 53 500

First edition of “a huge collection of attractively lithographed copies of scenes from Chinese life of the mid-Ch’ing period” (Lust). The illustrations show scenes of everyday life, ships, views, interiors, (military) costumes and much more, each with one leaf of descriptive text. The plates were issued from 1825 to 1827 in 30 instalments, each consisting of 6 hand-coloured plates, and are seldom found complete. This copy lacks only one plate and description. All the illustrations are lithographed copies of earlier prints, including Alexander’s Picturesque representations of the dress and manners of the Chinese (1814), Chamber’s Designs of Chinese buildings... (1757), Mason’s The costume of China (1800) and The punishments of China (1804), the works of Castiglione, and others. A description of Beijing is included in the second volume illustrated with a plan. With the bookplate of Louis Becker, Paris. Binding rubbed along the extremities, but otherwise good. Lacking one plate and text leaf, as noted, foxing throughout, and some occasional browning; a good copy. Brunet III, pp. 1346–1347; Colas 1957; Cordier, Sinica, col. 69; Lipperheide 1531; Löwendahl 845; Lust 60.

23 The first book printed in Egypt

20. MARCEL, Jean Joseph. Alphabet arabe, turk et persan, à l’usage de l’imprimerie orientale et française. Alexandria, Imprimerie orientale et française, an VI [1798]. Small 4º. Modern brown half calf, gold-tooled spine. $ 75 000

The first book ever printed in Egypt, unquestionably the rarest and most important of the early books printed in the Middle East, published in the very year when modern printing was introduced to the Arab world. Only in October 1798 did J. J. Marcel arrive in Cairo with his employees and types to organize the Imprimerie Orientale. “The expedition of Napoleon Bonaparte to Egypt from 1798 until 1801 was a prelude to modernity. It was to change permanently the traditional Arab world [...] The French brought Arabic typography to Egypt, where it was practised under the super- vision [...] of Jean Joseph Marcel [...]. Only a few days after the French troops landed [...] they set up the Imprimerie Orientale et Française there. It was an extraordinarily important turning point. For, leaving aside the Hebrew printing presses in Egypt of the 16th to the 18th centuries, until this date announcements and news adressed to Arabs there, as well as in other parts of the Arab-Islamic world, had been spread only in hand-writing or orally, by criers, preachers or storytellers” (Glass/Roper). Slightly spotty in places, but well preserved. No copy in auction records or in libraries within the Arab world. Geiss, Imprimerie en Égypte, p. 146, no. 1; Glass & Roper, The Printing of Arabic Books in the Arab World, in: Middle Eastern Languages and the Print Revolution (2002), p. 177–225, at 182; Querard V, 506; Schnurrer 140 note.

24 The first known printed reference to the Arabian Gulf region, with the earliest map to call the Gulf “Sinus Arabicus” instead of “Sinus Persicus”

21. MONTALBODDO, Fracanzano da. Itinerarium Portugallensium e Lusitania in Indiam et inde occidentem et demum ad aquilonem. [Milan, J. A. Scinzenzeler], 1508. 2º (25 × 19.5 cm). Title-page with woodcut map (second issue, with “Arabicus” replacing “P[er]sicus”). Early 20th-century red morocco, gilt edges. $ 780 000

First Latin edition of the most important and “earliest printed collection of voyages and discoveries” (PMM). Also the only edition of this collection of travel reports to include the map showing Africa, Arabia and part of Europe, illustrating for the first time the new discoveries in the eastern hemisphere. This map, not included in the original 1507 Italian edition or any subse- quent edition, is the earliest to show Africa completely surrounded by seas and, as one of the first non-Ptolemaic maps to include Arabia, definitely the earliest “modern” printed map to show Mecca. Published in 1508, it raises a controversy still with us more than 500 years later: it labels the Red Sea and the Gulf as a single body of water and calls it the Gulf, but in the first state of the block it was called the “Persian Gulf” (“Sinus Persicus”). For reasons unknown, the editor revised the block with a patch to rename it the “Arabian Gulf” (“Sinus Arabicus”). The map therefore exists in two different states in copies of this edition. Ours is the rarer second one, with “Sinus Arabicus”. From the famous collection of Dr. Samuel X. Radbill. Foot of map creased as folded for binding, head of first 3 leaves with a stain and last 5 leaves with corner stains, binding slightly rubbed. Overall a very bright and clean copy. Borba de Moraes, p. 580; Harrisse 58; Sabin 50058; cf. PMM 42; Romano, Historical atlas of the United Arab Emirates (New York, 2004), 26.

25 Plates of Duke of Osuna’s ornate sculptural coach, used for his entry during the Treaty of Utrecht

22. PICART, Bernard. Premier des magnifiques carosses de Monseigneur de le duc d’Ossuna, ambassadeur extraordinaire et premier plenipotentiaire de Sa Majesté Catholique Philippe: V. pour la paix faits pour l’entreé publique de son Excellence a Utrecht MDCCXIII. Amsterdam, Bernard Picart, 1714. 2º. Series of 7 engraved plates (including title-page and 1 double-page). 19th-century gold-tooled green morocco, richly gold-tooled spine and turn-ins, gilt edges; bound by Durvand Thivet. $ 21 000

Rare first and only edition of a series of prints illustrating the ornate sculptural coach used for the entry of the Duke of Osuna into the Dutch city of Utrecht in 1713, and a title-page decorated in the same style. The sixth 6th Duke of Osuna, Francisco de Paula Téllez-Girón y Benavides (1678–1716), visited Utrecht as the Spanish delegate for the peace negotiations that resulted in the Treaty of Utrecht, which helped end the War of the Spanish Succession. The Duke is known to have given several extravagant feasts during his stay of two years. The carriage has a so-called “Boulle” floor, which was also used for John V of Portugal’s coach used during the parade in Lisbon of about 1715. From the library of the notable theatre decorator and interior designer Polycarpe Charles Séchan (1803–1874), with his small red library stamp on each of the seven plates. The top 5 mm of six plates very subtly strengthened and one on the fore-edge, and some spots throughout, otherwise in very good condition. Binding with some faint traces of wear along the hinges, but otherwise fine. Collection Séchan 152 (this copy); Berlin Kat. 1411; Huth, p. 28; Muller, Historieplaten 3516.

26 Rare tale of heroic exploits by a Dutch pirate of the Caribbean, illustrated by Jan and Caspar Luyken

23. REYNING, Jan Erasmus (as told to David van der STERRE). Zeer aanmerkelijke reysen gedaan door Jan Erasmus Reining, meest in de West-Indien en ook in veel andere deelen des werelds. &c. Amsterdam, Jan ten Hoorn, 1691. 4º. With an engraved frontispiece signed by Caspar Luyken and 6 engraved plates (including 2 folding) one by Jan Luyken (unsigned). 18th-century marbled wrappers. In a modern black cloth clamshell box. $ 32 500

Rare first and only edition of the heroic exploits of the famous Dutch pirate, privateer and naval officer Jan Erasmus Reyning (1640–1697). His close friend, a Curaçao doctor, wrote down his stories and published them. Reyning’s adven- turous career began at age ten when he went to sea with his father, who was killed in battle when they served on a privateering ship a couple years later. Jan Erasmus was taken prisoner during the Second Anglo-Dutch War (1665–1667), and went into the service of a French plantation on the island of Hispaniola. Around 1667 he became a buccaneer in the jungles around Santo Domingo, and between 1669 and 1672 he appears to have fought as a privateer captain with French or English letters of marque. He and his partner Jelle Lecat worked with such notorious pirates as Roche Braziliano and Henry Morgan. In 1672, with the Netherlands at war with England and France, he left Spanish service to protect the Dutch colony of Curaçao, earning him a reputation as a sort of Robin Hood and the gratitude of the Dutch West India Company. After returning to the Netherlands he served as an officer in the Dutch marine, dying in a storm in the Bay of Biscay in 1697. An object apparently once placed between C1 and C2 left some rust-coloured stains in the text near the gutter margin and there are occasional marginal stains or chips, but the book is still in good condition and only slightly trimmed. A vivid picture of the pleasures and violence of life among pirates of the Caribbean: it would make a good movie. Klaversma & Hannema 1381; Sabin 69119; STCN (5 copies); Tiele, Bibl. 1052.

27 First French edition of the most important work on China of the 17th century

24. RICCI, Matteo and Nicolas TRIGAULT. Histoire de l’expedition Chrestienne au royaume de la Chine, entreprinse par les PP. de la compagnie de Iesus. Lyons, for Horace Cardon, 1616. 8º. With engraved title-page and full-page engraved portrait of prince Philippe Guillaume of Orange, and large folding plan (42.5 × 15 cm). Contemporary overlapping vellum. $ 30 000

The first French edition of “the most influential description of China to appear during the first half of the 17th century” (Hanotiau). Ricci, an Italian Jesuit missionary, arrived in China in 1582. Adopting Chinese dress and learning the language, he succeeded where other missionaries had failed. He served in Nanchang, Nanking, and received permission to establish a missionary post in Beijing in 1610. During these years, he kept a journal which presented the history of Jesuit mission in China from its beginning in 1582 to 1610, the year of his death. This manuscript was translated from the Italian into Latin by Ricci’s successor Trigault, who tried to elicit support for the mission in China. Trigault, however, changed many passages of Ricci’s journal and augmented it with information based on several Portuguese reports. “The resulting volume contains not only a history of the Jesuit mission but also includes a wealth of information about China in the chapters describing Chinese geography, people, laws, government, religion, learning, commerce and the like” (Hanotiau). Binding rubbed; folding plan with clean tear and slightly wrinkled; some occasional staining. Good copy. De Backer & Sommervogel VIII, col. 240; Cordier, Sinica, col. 810; Löwendahl 58; Lust 839; cf. Hanotiau 14 (2nd French edition).

28 247 stunning large tinted, double-tinted and chromolithographic views of the Middle East

25. ROBERTS, David. The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia. Including: Egypt & Nubia. London, Francis Graham Moon, 1842–1849. 2 complementary works in 6 volumes. Royal 1º (62 × 47.5 cm). The Holy Land with a lithographic frontispiece portrait of David Roberts, 3 tinted illustrated lithographic title-pages, 60 tinted lithographic plates, 60 tinted half-page lithographs on text leaves; 1 plate with a stone-engraved map, and 1 stone-engraved armorial device on a text leaf. Egypt & Nubia with 2 double-tinted and 1 chromolithographic frontispiece views, 3 double-tinted illustrated lithographic title-pages, 56 double-tinted and 2 chromolithographic plates, 60 tinted lithographic half-page views on text leaves. All or nearly all 247 views also have highlights in white, apparently printed from an additional block. Uniform half red morocco (ca. 1875?), richly gold-tooled spine, gold-tooled rolls on sides, gilt edges. $ 120 000

Roberts’s two great monumental works on the Middle East, bound as a matching set in 6 volumes with 247 views, 2 maps and the portrait of the artist. Volumes 1–3 (The Holy Land) show the 123 views Roberts sketched in situ on his 1839 voyage from Cairo through the Sinai, Palestine and Lebanon; and volumes 4–6 (Egypt & Nubia) show the 124 views he sketched in situ mostly on his 1838 voyage down the Nile valley from Cairo to Abu Simbel in Nubia. He was one of the few Europeans allowed to draw interior views of mosques. He worked on his drawings further after returning to England. “One of the most important and elaborate ventures of nineteenth-century publishing, and ... the apotheo- sis of the tinted lithograph” (Abbey, who also found justice in Hardie’s suggestion that these views “raised lithography to perhaps the highest point it ever attained”). The lithographs reproduce Roberts’s drawings at their original size and he super- vised their production. These works, advertised and clearly planned as a matching set, and often bound as a single work as here, together form Roberts’s masterpiece, beautifully lithographed by the Belgian-born Louis Haghe, to whom Roberts paid tribute in glowing terms: “Haghe has not only surpassed himself, but all that has hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured, with a masterly vigour and boldness which none but a painter like him could have transferred to stone.” These views are of the greatest importance not only as works of art and fine craftsmanship, but also as an important historical record of Middle Eastern sites in the 1830s: “absolutely careful and faithful ... the first studies ever made conscientiously by an English painter ... to give true portraiture of scenes of historical or religious interest ... beyond any outlines from nature I had ever seen” (John Ruskin, writing while Roberts was making them). Many of the antiquities were later damaged, reworked or lost through the depredations of the elements, looters, war and sometimes even misguided archaeologists. The present views also gave many Europeans and Americans their most extensive and most compelling view of the Middle East, affecting both Victorian attitudes toward the cultures represented and the latest fashions in Western art and design. With a mostly removed armorial bookplate. With the plates, and the text leaves that include views, somewhat foxed as usual, mostly in the margins, the last preliminary page (facing the first view) slightly browned in vol. 1 of each work, and 1 plate has come loose from its stub at the foot. Otherwise in very good condition, with only an occasional small marginal tear or marginal smudge. The bindings are also very good, with an occasional small crack in a hinge and an occasional small defect in the cloth sides. A stunning set of meticulous views showing the Middle East and the Nile valley as they still survived in the 1830s. Abbey, Travel 385 & 272; Blackmer 1432; Alastair Hamilton, Europe and the Arab world 66; Chr. Thomson, The exotic and the beautiful 160; Tooley, English books with coloured plates 401 & 402; not in Atabey.

29 ”Of the utmost importance for the study of Brazilian life” (Borba de Moraes)

26. RUGENDAS, Johann Moritz. Voyage pittoresque dans le Bresil ... Traduit de l’Allemand par Mr. de Golbery. Paris, Engelmann & Cie., 1835. 4 parts in 1 volume. Imperial 2º (54 × 36 cm). With lithographed half-title and title-page showing a wide variety of decorative lettering, 100 full-page lithographed plates by V. Adam, Villeneuve, Bonnington, A. Joly and others after Rugendas, numbered in 4 parts (30, 20, 30, 20). Contemporary half red sheepskin, gold-tooled spine. $ 52 500

Beautifully and extensively illustrated work on the scenery, native inhabitants, colonial activity and slavery in Brazil, by the German- born painter Johann Moritz Rugendas (1802–1858). “Of the utmost importance for the study of Brazilian life at the beginning of the 19th century” (Borba de Moraes). The young artist Rugendas was invited to join an expedition to the interior of Brazil by the Russian Consul General Baron Langsdorff in 1821. After four years he left the expedition but he remained in Brazil. In 1825 he was recalled by King Maxmillian Joseph of Bavaria. The present work was published by Engelmann in 1835, when Rugendas was once again travelling in Central and South America. The text was written by V.A. Huber and others based on Rugendas’s notes and translated into French by Marie-Philippe-Aimé de Golbéry. The fine plates show views, indigenous peoples in their native dress, and slave plantations. Head and foot of backstrip damaged and corners bumped; some occasional light foxing and spotting (2 text leaves browned). Good copy of this fabulously illustrated work on Brazil. Borba de Moraes, p. 754; Colas 2594; Palau 281204; Sabin 73935.

30 14 Chinese colour drawings on pith paper, showing 72 fish and seashells, some in metallic colours

27. [SUNQUA?]. [Chinese fish and seashells]. [Guangzhen (Canton)?, Sunqua?, ca. 1845/55?]. Oblong 2º album (26.5 × 34.5 cm). 14 drawings depicting 72 fish and seashells in coloured gouaches, the fish with gold and silver speckles to give a metallic effect to the scales, executed on pith paper (18 × 29 cm), framed with 4 strips of blue silk, and with a loose tissue leaf inserted before each drawing. Contemporary boards, covered with yellow-green silk. $ 21 500

Fourteen beautifully executed Chinese drawings showing 25 fish (including 1 eel) and 47 seashells, in coloured gouaches with gold and silver speckles to render the metallic lustre of the scales, drawn on pith paper (sometimes confusingly called “rice paper”). They show a con- sistent style and were clearly produced as a series. The first 8 leaves contain fish, with 2 to 6 specimens in each drawing; the last 6 contain sea shells, with 6 to 10 specimens in each drawing. In at least most cases, each specimen represents a different species. The fish include a catfish and an eel. The seashells include whelks and conchs, cowrie, clams, snails (many with spectacular spiral cones) and bi-valves with a wide variety of exotic-looking protrusions. The drawings are simple renditions of the specimens, without background scenes or plants, but depicted with considerable detail, so that it would not be difficult to identify the species. This simplicity might suggest the fairly early work of Sunqua rather than Tingqua, but the dearth of well-documented examples makes the ascription tentative. Chinese artists seem to have begun making coloured gouache drawings on pith paper in the 1820s, but the genre flourished after China’s defeat in the First Opium War opened the country to foreign trade. Most were produced in the port city Guangzhen (Canton province), where the leading artists Sunqua and Tingqua established their studios. They mixed Chinese and Western styles, the present seashells having Western-style shadows with the light coming from above (and mostly slightly to the left). They catered largely to the new export market. One drawing has a crack running into the largest fish and 2 or 3 others have significant marginal cracks or tears, but the drawings are otherwise in very good condition and the colours remain fresh and bright (they are sensitive to sunlight, so most examples outside of albums have faded). The album binding is also very good. A lovely series of large, coloured Chinese fish drawings, interesting both as art and as examples of Chinese ichthyology soon after China opened its doors to Western scholars. For pith paintings in general: B. Salmen, Chinesische Bilder (2007); I. Williams, “Views from the West”, in: Arts of Asia XXXI (2001), pp. 140–149; I. Williams, “Painters on pith”, in: Arts of Asia XXXIII (2003), pp. 56–66.

31 The greatest fencing manual of all time, with 45 enormous double-page illustration plates, beautifully coloured in 1629 by the painter David Bailly, associated with the author and the Elzeviers for King Louis XIII’s second cousin Henri II de Bourbon, Prince of Condé

28. THIBAULT, Gerard. Academie de l’espée ... ou se demonstrent par reigles mathematiques sur le fondement d’un cercle mysterieux la theorie et pratique des vrais et jusqu’a present incognus secrets du maniement des armes a pied et a cheval. [Amsterdam?, Thibault heirs?, printed in Leiden by Bonaventura and Abraham Elzevier, sold in Frankfurt by Lucas Jennis], “1628” [= 1629]. 2 parts in 1 volume. Royal 1º (53.5 × 41 cm). With an elaborate engraved title-page with; engraved portrait of the author (drawn by David Bailly after his own painting); 9 full-page engraved armorial plates, 1 full-page and 45 double-page numbered illustration plates, and hundreds of large woodcut arabesque initial letters, headpieces, tailpieces and factotums, at least most of them specially made for this book. With 2 text leaves in a meticulously pen-drawn, 18th-century(?) facsimile. With all plates beautifully coloured by the painter David Bailly with highlights in gold and silver. Contemporary(?) vellum over boards (modified in the 18th century), with the velvet covering and metal bosses and fastenings removed, dark blue edges. With tissues guards loosely inserted before the coloured plates. With a dedicatory inscription on the front free endleaf to Henri de Bourbon, Prince of Condé, by the colourist David Bailly, signed from Antwerp, 17 March 1629. Also with a carefully hand-lettered contemporary note to the reader at the foot of the dedication page. $ 850 000

Beautifully coloured copy, by a Dutch painter closely associated with the author and the Elzeviers, of the first issue of the most sumptuous book on fencing ever produced, the Elzeviers’ most ambitious undertaking, and one of the greatest show- pieces of the art of the book and the engraver’s art ever. The importance of the plates and text lies not only in their beauty and craftsmanship, but also in their historical importance, for Thibault was an innovative and internationally acclaimed fencing master, and his book meticulously describes and illustrates the art of fencing just as the épée reached its zenith in Europe. Though fencing remained essential to any army officer, and was sometimes mortal for the loser, the growing use of firearms transformed it in

32 the course of the sixteenth century from a military technique into a courtly art for noblemen and for honourable duelling, and these noblemen were of course Thibault’s clientele. The last plate shows swordsmen facing opponents with firearms. David Bailly (1584–1657), who coloured the present copy, is not only a well- known painter of the Dutch golden age, but also the son of Pieter Bailly (1554– ca. 1608), who was one of the leading Dutch fencing masters before Thibault. Pieter Bailly was also a writing master, and a copperplate printer associated with Leiden University. In 1577 Pieter had come from Antwerp to Leiden, where David was born. David probably worked in his father’s copperplate printing office as a boy, was apprenticed to the engraver Jacques II de Gheyn and studied in Amsterdam with the portrait painter Cornelis van der Voort. The Baillys’ associations with the Elzeviers go back at least to the 1590s: when the University senate suspended Pieter Bailly as University beadle for 3 months for taking students to “dishonest houses” Louis Elzevier, who established the family publishing house, substituted for him. This apparently caused no animosity, for a daughter of the late Jacomina Bailly (documented as a close relative: perhaps Pieter’s younger sister) married the painter Aernout Elsevier (Louis’s son) in 1607 and another daughter married Isaac Elzevier in 1616, the year before he first set up the Elzevier printing office. Aernout, brother and uncle of the present printers Bonaventura and Abraham, also sold some of David Bailly’s paintings for him. Bailly painted a portrait of Thibault and made the drawing for the engraved portrait in the present book, perhaps even engraving it and some of the heraldic plates himself (they do not name their engravers). One can see the influence of De Gheyn’s chairoscuro in Bailly’s colouring of the present book, which turns some of the plates into magnificent works of art in their own right. The title-page, author’s portrait and the first two numbered plates in each of the two parts are especially noteworthy in that regard. With 2 text leaves in 18th-century(?) pen-drawn facsimiles, as noted. These pen-drawn facsimiles are fascinating items in their own right, rendering not only the text but also the woodcut initials and ornaments meticulously. They were probably added when the binding was modified. The title-page, last plate and last 2 text leaves are rather worn, with tears repaired in the last plate and second to last text leaf, a stain in the gutter margin of the last 3 text leaves, and foxing. About a dozen leaves scattered throughout the book are somewhat browned. The book is further in very good condition, with occasional minor foxing, spots or small rust holes. The binding shows traces of black velvet that must have once covered it and each board has nail holes where a central boss, 4 cornerpieces and 2 fastenings were once mounted. It remains structurally sound. An extraordinary copy of Thibault’s great fencing manual, splendidly coloured for presentation to King Louis XIII’s second cousin. Berghman, Cat. Raisonné 687; Copinger 4705; Fontaine Verwey, “Gerard Thibault and his Academie de l’Espee”, in: Quaerendo, 8 (1978), pp. 283–319; Lane, “Gerard Thibault, Académie de l’espée”, in: Lommen (ed.), The book of books (2012), pp. 158–161; Rahir 273; STCN (5 copies); Sloos, Warfare, 5009 (lacking 2 armorial plates); Willems 302; for Bailly and his father, see also: Hollstein I, p. 77; Thieme- Becker II, pp. 372–373.

33 12 stunning and detailed drawings of Chinese deities, in many bright colours plus gold and silver

29. TINGQUA. [Twelve Chinese gods]. [Guangzhen (Canton)], Tingqua, [ca. 1870?]. Imperial 4º album (33 × 24.5 cm). 12 drawings in numerous brightly coloured gouaches plus gold and silver, on pith paper (30 × 21.5 cm), each drawing mounted by its corners in an album of mulberry-bark(?) paper and framed with 4 strips of blue silk, and with a loose tissue leaf inserted before each drawing and an extra blank album leaf before the first drawing. Contemporary rice-straw(?) pasteboards, with the contemporary “Tingqua” label. $ 45 000

Twelve spectacular and extremely detailed Chinese drawings of Chinese deities, executed in dozens of brightly coloured gouaches plus gold and silver by the Tingqua studio, established in Guangzhen (Canton province) in the 1830s. Tingqua, also known as Guam Lianchang (ca. 1809–1870 or soon after) was the leading artist in the export business that flourished after China’s defeat in the First Opium War (1839–1842) opened the country to foreign trade. He and his slightly older contemporary Sunqua (active 1830–1870) pioneered the genre of pith paintings for the export market. The drawings show considerable originality in the rendition of the deities and their attributes, which sometimes makes it difficult to identify the deity intended. As usual with pith-paper drawings made for export, they show a mix of Chinese and Western influences, the faces here clearly following Western art (Tingqua was a protégé of George Chinnery), but the present drawings may also show some Tibetan influences. Since pith-paper drawings were rarely signed, few can be attributed to an artist or studio on documentary evidence. The present set is a rare example of a group of drawings (clearly made as a set) preserved in its contemporary album with the Tingqua studio’s label. The figures are much more detailed than those in most pith-paper drawings. Several drawings show one or more broken corners or other small marginal defects, and sometimes an end of one of the blue ribbons has come loose, but the drawings themselves are in fine condition. The paper reinforcing the spine has torn at the hinges and the lower right corner of the front board is abraded, but the album binding is still in very good condition. A remarkable series of large, brightly coloured and unusually detailed pith-paper drawings of Chinese gods: rare documented drawings of the famous Tingqua studio, with their letterpress label. Cf. B. Salmen, Chinesische Bilder (2007); Tingqua: paintings from his studio (1976); I. Williams, “Views from the West”, in: Arts of Asia XXXI (2001), pp. 140–149; I. Williams, “Painters on pith”, in: Arts of Asia XXXIII (2003), pp. 56–66.

34 First and only edition (fine paper copy) of one of the greatest 18th-century flower books, with 119 large plates coloured by hand

30. TREW, Christoph Jacob, [C.G. von MURR and others]. Hortus nitidissimis omnem per annum superbiens floribus sive Amoenissimorum florum imagines ... Volumen [I–]II. | Der das ganze Jahr hindurch im schönsten Flor stehende Blumengarten, oder Abbildungen der lieblichsten Blumen, ... [Erster–]Zweyter Band. Nürnberg, [Johann Michael Seligman], Adam Ludwig Wirsing, [1750–1768–]1772[–1774]. 2 volumes bound as 1. Imperial 2º (52.5 × 37 cm) in 1s(!). With 119 engraved plates (numbered as 120) showing 128 flower varieties, painted by Georg Dionysius Ehret and others and engraved by Seligmann and Wirsing. With the plates printed on the better quality Dutch paper and coloured by hand for the publisher. Lacking 1 title-page and 1 text leaf. Contemporary mottled calf, each board with a gold-tooled roll border; the richly gold-tooled spine with a large thistle. $ 128 000

The first two of three volumes (completed in 1774; volume 3 appeared in 1786 with additions to 1792) of the first and only edition of one of the greatest 18th-century flower books, with all 119 magnificent coloured plates produced for these two volumes. The present set was no doubt issued before volume three appeared (title-page 1786). One rarely finds two copies with the same make-up. The present set is a fine paper copy, with the plates on the better quality Dutch paper at a higher price. Although Trew is named as the author, most of the text appears to have been written by the classical scholar C.G. von Murr (1733–1811). The 128 beautifully illustrated flowers range from 24 to 50 cm in height and sometimes include details of the roots or a butterfly or other insects. “One of the finest records of the cultivated flowers of the period” (Dunthorne). “Exceedingly rare” and “magnificent flower book” (Hunt, where the book is not described because it was acquired just before the catalogue went to press). “One of the most decorative florilegia of the mid-eighteenth century” (Blunt). “One of the great florilegias ... probably the best work born of the collaboration of the artist ... Ehret and ...Trew ... [Murr’s text is] among the most learned of horticultural writings” (apps.kew. org). It includes a wide variety of cultivated flowers, including many tulips, and is especially interesting for its detailed views of the repro- ductive parts (stamens and pistils). With a contemporary armorial bookplate and a 20th-century owner’s inscription. Since the two volumes were bound together, the volume 2 title-page naming Wirsing was bound in as a general title-page. Volume 2 also lacks pp. 47–48. Plate 60/61 is shaved at the foot with the loss of the plate numbers and part of the imprint, but not approaching the image. The foot of plate 97 has been folded in to avoid such shaving. With some of the paper for the text of volume 2 slightly browned, and (mostly marginal) minor water stains in a few text, but the book is otherwise in very good condition. The binding shows a few scuffs and scratches, a few professional restorations to the spine, but the binding is otherwise very good. A beautiful, magnificent and histor- ically important flower book, with 119 large hand-coloured plates. apps.kew.org/hortus/about.do; Blunt, p. 149; Dunthorne 310; Great Flower Books p. 144; Hunt, p. 236 (acquired too late to describe); Johnston, Cleveland herbal coll. 493; Nissen, BBI 1995; Pritzel 9500; Stafleu & Cowan 15130; not in Plesch; Stiftung Botanik; for Ehret: Gerta Calmann, Georg Ehret, Flower painter extraordinary (1977); for Le Couvreur: Warnkoenig & Gheldolf, Histoire de la Flandre (1864), vol. 5, p. 23.

35 TEFAF Fall 2017 Stand 95 New York 36