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Audran, Benoît and Jean Audran (publishers). La famille de Darius aux pieds d'Alexandre le Grand (Tent of Darius), after Charles le Brun. Paris, Benoît Audran I and Jean Audran, 1699-1708. Fine oblong etching and engraving showing Alexander the Great, accompanied by Hephaestion, meeting Stateira, Sisygambis and the rest of Darius's family, gathered under a tent, signed in the plate "Car. le Brun pinxit. Audran excudit". With 4 lines of engraved text in French and Latin in the plate's lower margin:"Il est d'un Roy de se vaincre soy mesme. Alexandre, ayant vaincu Darius pres la ville d'Isse entre dans une tente... Sui victoria indicat regem. Alexander, Dario ad Issum...". Two eagles flanking Mansart's arms in centre of the bottom margin. 28,6 x 35,9 cm. (# 5824)

Not in I.F.F. In database Getty Research Library. In database British Museum, state "before rest of inscriptions?". Lettered in lower margin with publication lines: "Se vend a Paris chez B. et I. Audran ruë de Faubourg St. Jâque vis a vis la ruë St. Dominique". After a painting made by Charles le Brun (Paris 1619-Paris 1690) in 1661, now in the Salon de Mars, Musée du Château, Versailles. The painting The Family of Darius before Alexander, was Le Brun's first royal commission and it established his favor with the French King Louis XIV, who demanded Charles le Brun to paint a large series of paintings depicting the history and battles of Alexander the Great. Benoît Audran I (1661-1721), his brother Jean Audran (1667-1756) and others made prints after these paintings, at the request of Louis XIV. Jules Hardouin Mansart, was Surintendant des Bâtiments du Roi, a charge he held from 1699 to his death in 1708. - Good impression, with small margins, the paper slightly discoloured. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Benoît I (Lyon 1661-Louzouer 1721). David and Goliath, after Daniele da Volterra. 1716. Large oblong engraving of David, brandishing a sword, keeps Goliath on the ground while grabbing him by the hair. Lettered below immage: "A monseigneur le Prince de Chelamar...Ministre de son Conseil privé, Grand Ecuier de la Reine, et Ambassadeur en France. etc. Benoît Audran, graveur ordin.re du Roy, dedie cette copie d'une des deux peintûres de Michel Ange Buonarrotta qu'occuppent les surfaces d'une grande pierre, representant le même sujet du combat de David et de Goliath en deux differentes attitudes, laquelle a eté presenté par son Ex.ce a Louis le Grand, à Marly le 25. Juillet de l'année 1715 au Nom de Monseigr. Judice son frere, Grand maître du Palais Apostolique. A Paris chés Le Pere et Vaulée rue St. Jacques à la ville de Rouan". 36,1 x 42,2 cm. (# 5860)

Cf. I.F.F. XVIII, I, 225, No. 24 (other state). Cf. Le Blanc I, 73, No. 26 (other state). In database British Museum. State with later publication address: probably state 2 (of 2), published in Paris and Rouen by Le Père & Avaulez. Wrongly attributed to Michelangelo on plate. The original painting, oil on slate, by the Italian painter Daniele da Volterra (Volterra 1509-Roma 1566), is now in the Musée du Louvre, Paris. Da Volterra, a close friend and follower of Michelangelo, painted a picture of David and Goliath on both sides of the stone. This original painting remained in Italy until 1715, year in which Louis XIV received it as a diplomatic present. The present engraving is one of a pair of two, made after these paintings. Benoît Audran I was admitted to the Académie Royale in 1709. At the request of Louis XIV he made many prints after paintings in his Royal collection. The dedicatee Antonio del Giudice, Prince of Cellamare (1657-1733), a Spanish politician and statesman, was Spanish ambassador in France. He plotted to overthrow the Regent and was sent to the frontier in 1718. - Blank margins slightly discoloured. Sharp impression on thick paper, with ample margins. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Girard (Lyon 1640-Paris 1703). Le Temps aydé par l'Amour de la Vertu, desbrouille des nuages de l'Ignorance, la verité de la Peinture. Pour sevir de frontispice aux tables des preceptes de la peinture. After Louis Testelin. Paris, 1680-1696. Beautiful circular etching: The personifications of Time and Love of Virtue pushing the clouds of Ignorance (donkey's head) away from Painting, personified by a reclining female figure with palette and paint-brushes. Etched title (see above) underneath, at bottom signed in the plate "L. Testelin pinxit. Audran scul. cum privil. Reg." 33,2 x 31,7 cm. (# 5841)

I.F.F. I, 133, No. 55. Robert-Dumesnil IX, 274 No. 47 (third state). In database British Museum (third state). Third state, intended as frontispiece for Henry Testelin's "Sentiments des plus habiles peintres sur la pratique de la peinture et sculpture" published in Paris in 1680 (second edition in 1696). The painter and etcher Louis Testelin (Paris 1615-Paris 1655) was the brother of the author Henry Testelin (Paris 1616-Den Haag/The Hague 1695). The original painting by Louis Testelin of c. 1655 is lost. - Reinforced at blank borders. Sharp impression. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Jean (Lyon 1667-Paris 1756). La vraye valeur est toujours invincible. Porus abandonné des siens blessa plusieurs de ceux qui l'environnoient, tua le frère de Taxile, & apres ce dernier éfort de courage il tomba luy même accablé de coups de dessus son elephant. Virtus timoris nescia sordidi... Paris, chez B. Audran et chez I. Audran, 1699-1708. Beautiful large oblong etching and engraving by Jean Audran after Charles le Brun, depicting the Battle of Hydaspes, 326 BC, where Alexander the Great fought against King Porus; with the latter riding an elephant at centre, and trying to repel the Greek soldiers surrounding him; two eagles flanking Mansart's arms in the bottom margin. Signed in the plate: C. le Brun in. I. Audran ex.; with 5 lines of engraved text in French and Latin underneath (see above); and dedication to Jules Hardouin Mansart by J. Audran. 29,1 x 59,6 cm. (# 5830)

Not. in I.F.F. In database of British Museum. Very fine and rare etching/engraving after Charles le Brun (Paris 1619-Paris 1690). Alexander the Great fought 326 BC at the battle of Hydaspes, nowadays in Pakistan, against the Indian Râja Pûru, named Poros by the Greek. Alexander won, but his army refused to go further into India, also because they encountered for the first time war elephants. The French King Louis XIV demanded Charles le Brun to paint a large series of paintings depicting the History of Alexander the Great. Several of those paintings, painted 1665-1673, are now in the Louvre; others were not executed and exist only in drawn preparatory studies. J. Audran, his brother B. Audran and others made prints after these paintings, at the request of Louis XIV. According to Claudia Sommer, Leiterin der Graphischen Sammlung des SPSG, Potsdamer neueste Nachrichten (18.07.09), the painting for our print stayed unfinished and existed only as a preliminary drawing on canvas. The plate is dedicated to Julles Hardouin Mansart, Surintendant des Bâtiments du Roi, a charge he held from 1699 to 1708. - Fine impression, cut to the plate mark, mounted. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Audran, Louis (Lyon 1670-Paris 1712). Moïse et le Serpent d'Airain (Moses and the Brazen Serpent), after Charles le Brun. Paris, chez le Veuve Audran rue St. Jacques aux 2. deux Piliers dor, (no date). Fine engraving showing a landscape with Moses and the Brazen Serpent set on a tree, surrounded by the people of Israel, who are fighting against the poisonous serpents. With three lines of engraved explanatory text underneath (see note); underneath signed in the plate "C. Le Brun pinx. L. Audran sculp." 27 x 36,7 cm. (# 5845)

I.F.F. I, 220, No. 3. Le Blanc I, 105, No. 2. Charles le Brun (Paris 1619-Paris 1690) painted two versions of Le Serpent d'Airain, a small one in 1649 which is now in the City Art Gallery in Bristol. This one also served as model for a gobelin, which is preserved in Paris, Mobilier national. The big painting was made for the "Couvent du tiers-ordre de Saint-François à Pique-Puce." The text underneath: "Le peuple d'Israel s'ennuiant du chemin et du travail, parla contre Dieu et contre Moise. C'est pourquoy le Seigneur envoia contre ce peuple des serpens dont la morsure brûloit comme le feu: ils vinrent donc à Moise et ils lui dirent: Nous avons peché: et Moyse fit par le commandement de Dieu, un Serpent d'Airain, et il le mit pour signe; et ceux qui aiant êté blessez le regardoient, étoient gueris. Numer. cap. 21". - Sharp impression with ample margins; small tear in blank part of upper margin. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Basan, Pierre François (Paris 1723 - Paris 1797). Les muletiers des Alpes. Both pinxit, F. Basan excudit. Paris, chés (sic) Basan graveur, (no date, ca. 1770). Fine large etching by Basan after Jan Dirksz Both, showing a landscape in the Italian Alps, a river meandering through the mountains, ships, a village, large trees and muleteers with their mules in front. Large oblong folio. 26,6 x 39 cm. (# 5800)

I.F.F. II, 121 No. 122. Le Blanc, Manuel de l'amateur d'estampes, 191 No. 441. Fine print from the rich collections of Pierre François Basan (Paris 1723 - Paris 1797), engraver, etcher and especially publisher of prints. Jan Dirksz Both (Utrecht 1615/18 - Utrecht 1652), was a famous Dutch painter and etcher, who stayed several years in Rome and focused on pictures of Italian landscapes after his return ca. 1642 to the Dutch Republic. - Mounted, with margins; collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Bellarmino, (R.) Risposta a due libretti, una de'quali s'intitola: Risposta ... ad una lettera ... sopra il breve di censure dalla Santità di Paolo V, publicate contra li signori Venetiani. Et l'altro: Trattato, et resolutione sopra la validità delle scommuniche di Gio. Gersone ... tradotto dalla lingua Latina nella volgare ... Roma, G. Facciotto, 1606. Papal arms on title. 118 pp. 8vo. 20th century boards. (# 4942)

De Backer-Sommervogel I, 1208 No. 22. First collected edition of both works (both were published seperately by the same printer in the same year). The first work is a defence by Bellarmino of Pope Paul V in his conflict with Venice, whose government had promulgated two laws (1604 and 1605) which forbade the erection of religious buildings without the consent of the Senate and the donation or sale of secular property to the Church. The Pope excommunicated the Senate and put the city under the interdict. The second work is a refutation of a tract directed against J. Gerson about the validity of excommunication. Bellarmino was an admiror of the mystic teaching of Gerson. St. Robert Bellarmino (1542 - 1621), Jesuit, professor of theology at Louvain and Rome, cardinal and archbishop of Capua, was one of the greatest figures in the Roman Catholic Church in the latter years of the Counter-Reformation. His life was largely devoted to scholarship and controversy. - Stamp on title and ownership entry of the Monastery of Weingarten, dated 1674.

Chasteau, Guillaume (Orléans 1635-Paris 1683). Jesus sortant de Jericho toucha les yeux de deux aveugles, et aussy tost ilz virent. Egrediens Jesus ab Jericho ... Dapres le tableau du Poussin hault de 3. pieds 7 pouces et long de 5 pieds 4 pouces qui est au Cabinet du Roy. Ad tabulam ... N. Poussin pinxit. G. Chasteau sculpsit. Paris, c. 1672-1674. Large oblong etching and engraving showing Christ healing the blind of Jericho engraved by Guillaume Chasteau after the painting "Les aveugles de Jéricho" by Nicolas Poussin. Signed in the plate. With 2 engraved lines of French and Latin text underneath (see above). 41,5 x 52 cm. (# 5829)

I.F.F. II, 288 No. 15.III. Andresen 181.II. Wildenstein 65.III. In database of the British Museum. Third state (of 3). The painting "Les aveugles de Jéricho", made in 1650 by the famous French painter Nicolas Poussin (Les Adelys in Normandy 1594-Rome 1665), is now in the Musée du Louvre in Paris. In 1665 it was acquired by King Louis XIV. This print is one of the main works of the engraver and publisher Guillaume Chasteau, who worked for Louis XIV. "Pl. pour le Cabinet des planches gravées du Roi. Cuivre à la Chalcogr. du Louvre" (Angoulvent, 1202). "An impression of this plate is attested in Mariette's collection in 1674" (British Museum). It depicts Christ placing his hand on the forehead of a blind man kneeling before him; behind the man, another blind man, also kneeling, with young man seizing his forearm; a woman holding a baby standing at left; six Apostles surrounding Christ; classsical buildings of Jericho in the background. The engraved title in French and Latin contains the dimensions and provenance of the original painting. - Good impression on strong laid paper, with ample margins; lightly foxed; collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Coypel, Charles Antoine (Paris 1694-Paris 1752). La France rend grace au ciel de la guérison du Roy... Le tableau est dans le cabinet de la Reine. Presenté a la Reine par son tres humble et tres fidel sujet P.L. Surugue. Carolus Coypel inv. et pinxit. Aug.(us)tus 20.e 1744. Petrus Surugue filius sculpsit. Paris, chez Surugue graveur du Roy rue des Noyers, 1744. Fine large engraving showing an allegory of France, in the figure of a crowned woman with raised arms, dressed in a gown covered with fleurs de lis, a shield at her feet, engraved by Pierre Louis Surugue after a painting of Charles Antoine Coypel. With engraved text underneath. 38,5 x 24,3 cm. (# 5826)

Nagler XX, 135 (Surugue) No. 7. Le Blanc III, 613 No. 41 (Louis Surugue). Painted as an expression of thanks for the recovery of King Louis XV from a severe illness in 1744. The original painting by Charles Antoine Coypel was placed in the appartments of the Queen in Versailles. Pierre Louis Surugue (Paris 1716-Paris 1772) was a French engraver and publisher, who sometimes signed as P. Surugue le fils. - A very good impression on thick paper, with ample margins. Some discoloration of the sheet. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Crasset, J. Méditations pour tous les jours du carême, ou entretiens doux & affectueux sur la passion & la mort de N.S. Jesus-Christ avec des cantiques & litanies de la passion. Brusselle, Fr. Foppens, 1722. Woodcut device on both titles, some nice head- and tail-pieces; with engraved plate showing Christ on the cross with the Holy Virgin. 2 parts in 1 volume. 13 lvs., 294 pp., 1 lf.; 3 lvs., 302 pp., 1 lf., 20 blank lvs. 8vo. Contemporary calf (foot of spine damaged, rubbed). (# 5018)

De Backer-Sommervogel II, 1638 No. 18. The Jesuit Jean Crasset (Dieppe 1618 - Paris 1692) taught at Paris and was the author of several works. - Ownership entry on title: "Ex licea R.P. Pr(o)(vinci)alii in servio usu P. Francisci Ludovici Capucini"; inscription on fly-leaf: "par permission du Rtrii Reverande Pere Provinciale pour le simple usage du Pere Francois Ludovic Capucin". A few leaves slightly browned.

Darcis, Louis (?-1801). Le gouvernement protège le commerce; after Simon Louis Boizot. Paris, Depeuille, 1796. Beautiful stipple etching and engraving on dark ground, showing the French government personified by the full-length figure of Pallas Athena/Minerva, a rowing oar in her right hand, holding with the other hand a shield above the head of commerce, personified by a merchant, who is sitting on a bale of merchandise. Signed underneath "Boizot delineavit. Darcis sculpsit" and lettered with title (see above) and publication address "A Paris, chez Depeuille, Rue Denis près celle aux Ours". c. 46,7 x 37,5 cm. (# 5836)

I.F.F. VI, 25 No. 24. Not in Le Blanc. In Paris, Louvre, Chalcographie. Only state. This political and economical print was inspired by the French Revolution (1789-1799), which Simon Louis Boizot (Paris 1743-Paris 1809) supported; he was a French sculptor and gifted designer. The date of birth of the stipple engraver Louis Darcis is unknown, he flourished in Paris towards the end of the 18th century. "Allégories révolutionnaires, d'après Boizot... pour l'ornement des salons ..." (I.F.F.). - Blank margins lightly discoloured. Good impression. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

(Du Rosoi, B. Farmian dit). Les sens, poëme en six chants. Londres (i.e. Paris), (no printer), 1766. With charming engraved frontispiece, 6 pretty plates, 8 vignette head- and tail-pieces engraved by De Longueil after Eisen and Wille, and 2 engraved pp. of musical notation. 2 lvs., 184 pp. 8vo. Contemporary blind-stamped boards (lower part of back gone, top of spine and corners damaged, faded). (# 4762)

Sander No. 594. Gay-Lemonnier III, 1095. Salomons, Eisen, 94. Cohen 339-340. First edition of these erotic poems on the senses and a delightful example of French rococo book illustration. The French author Barn. Farmian du Rosoi (Paris 1745 - 1792) was decapitated for high treason and conspiracy in favour of Louis XVI. This book marks the maiden attempt of the son of the famous engraver Wille. - Foxed; outer top corner, especially of the plates, stained; upper blank part of title restored. Ownership entry on title of L. la Verlette. Contemporary advertisement pasted inside front-cover: "Häussler in Ulm, Sattler ... empfehlt sich in allen Sattler-Riemer-Tapezir- und Taschner-Arbeiten, sowohl zum Verkauf als auch Einkauf... Auch giebt er lehnungsweise her ... und verspricht in allem schnelle und gute Bedienung und die billigsten Preise".

Dubosc, Claude (Paris 1682-London c. 1746). Susanna and the Elders. From the original picture, in the collection of his Grace the Duke of Devonshire. Annibal Carracci pinxit. Cl. Du Bosc sculpsit. London, John Boydell, March 25th 1778. Fine large engraving, showing Susanna sitting half naked next to a large fountain, seized by one of the elders, the other elder climbing over a ballustrade behind her; in the background a landscape with large building; 3 lines of engraved text underneath (see above), engraved by Claude Dubosc (Du Bosc) after Annibale Carracci (Bologna 1560-Rome 1609). 34,7 x 40,3 cm. (# 5828)

Cf. I.F.F. VII, 360 No.1, for the original state. Later state, published after Dubosc's death. Claude Dubosc or Du Bosc was a Paris engraver, who went to England in 1712. John Boydell (1719-1804) was the leading London print publisher of his time. - Good impression. Lightly browned, small stain in blank lower left corner. Trimmed to the plate-mark at lower margin, small margins at three other sides. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Fisher, Edward (Dublin 1730 - London ca. 1785). St. Matthew. Done from an original picture in the collection of Mr. Hone. Spagneletto pinx. E. Fisher fecit. London, Laurie & Whittle, 12. May 1794. Beautiful mezzotint engraving by Edward Fisher after Giuseppe Ribera, nicknamed il Spagnoletto, with plate-number 36; showing the bust of St.Matthew with white hair and beard, reading a book. ca. 33 x 23 cm. (# 5798)

Le Blanc II, 234 No. 1. Nagler V, 22 and XIV, 394. Thieme-Becker XII, 54 and XXVIII, 233. Edward Fisher (Dublin 1730 - London ca. 1785) was a brilliant Irish engraver of mezzotints. Giuseppe (Jusepe, José) de Ribera (Játiba ca. 1588-1590 - Naples ca. 1652-1656), with nick name "Lo Spagnoletto", little Spaniard, was a famous Spanish baroque painter, who worked in Naples. - Very lightly foxed, with ample margins; with collector's stamp on verso of the "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Franco, N. Dialoghi piacevolissimi. Espurgati da Girolamo Gioannini da Capugnano Bolognese. Venetia, L. Spineda, 1606. With woodcut printer's mark on title and some nice historiated initials. Printed in italics. 8, 147, 1 (blank) lvs. 8vo. Contemporary overlapping limp vellum. (# 4229)

Cf. Gamba No. 1403. Cf. Brunet II, 1377. Expurgated edition by Girolamo Gioannini. The first edition of 1539 was put on the Index. And the author was hung at the stake at Rome in 1569. Niccolo Franco (born 1505 in Benevento) was an Italian poet, whose works are written in a very critical and satirical way. The present book contains 10 dialogues on the gods from antiquity, rhetorica, philosophy, poets from antiquity, navigation, bacchanals, circus, etc. - Purchase entry dated 1635 by Gottfried Eichorn on title; slight waterstain to some leaves.

Hallé, Noël (Paris 1711-Paris 1781). Monseigneur le Duc de Chartres passe a N. Dame de Gournay ou il est reçeu a la porte de l'Eglise par M.re Jean Baptiste Thomas du Taillis curé qui l'attendoit a la tete du Clergé et celebra la messe en presence de Son Altesse pour demander a Dieu la conservation de ce prince dans la campagne quil va faire contre les ennemis de l'etat. Le 27 avril 1744. Paris, chez Tardieu, 1744. Fine engraving and etching, by Nicolas Henri Tardieu after a design by Noël Hallé; signed Hallé inv., N. Tardieu sculp.; with 4 lines of engraved text underneath (see above). 30,7 x 21,7 cm. (# 5827)

Willk-Brocard, Les Hallé, 478-479 No. 295, with illustration. Estournet, Hallé, 157 No. 156. Portalis et Béraldi III, 583 No. 9. Only state. Beautiful full-length portraits of Louis Philippe I d'Orléans (1725-1785) "le Gros" (the Fat) and a group of his companions receiving a blessing with holy water from the parish priest Jean Baptiste Thomas du Taillis, who is standing with a group of clergymen in front of the church N. Dame in Gournay at the Marne. Louis Philippe I d'Orléans was serving with the French armies and distinguished himself in the War of the Austrian Succession, the war between France and England. The French painter Noël Hallé made the design especially for this political French broadsheet. The French engraver/etcher Nicolas Henri Tardieu (1674-1749), was also print publisher. "Louis XV déclare la guerre à l'Angleterre et à l'Autriche le 15 mars 1744 et fait envahir les Pays-Bas. Le 27 avril, le duc de Chartres passe par Gournay, sur les bords de la Marne ... Ce dessin (par Hallé) destiné à la gravure est la première oeuvre à son retour en France en 1744" (Willk-Brocard). - Ample margins, very well preserved on strong paper. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Hutin, Pierre (Paris 1723/4-Muskau 1763). Saint Ierome, after José/Giusepe de Ribera. Dresden, c. 1755. Fine large etching of Saint Jerome/Hieronymus in the desert, seated in profile to right on a rock and writing in a book; behind a crucifix; coat of arms of Count Heinrich von Brühl in centre of bottom margin; French lettering in lower margin "Pierre Hutin del: et sculps. Saint Ierome. Tableau de Joseph Ribera dit l'Espagnolet de la Galerie de S.E. Monsgr. le Premier Ministre Comte de Bruhl, haut de 5. pieds. 10. pouces sur 3. pieds 10. pouces de largeur." 41,5 x 27,2 cm. (# 5863)

I.F.F. XI, 554, No. 3. Le Blanc II, 407, No. 2. Nagler VII, 203, No. 3. Thieme-Becker XVIII, 192. The French printmaker and sculptor Pierre Hutin, went 1748 to Dresden where he made some etchings after the paintings in the Collection of the German chancellor of Sachsen Count Heinrich von Brühl (1700-1763); finely he went to Muskau in Oberlausitz in Schlesien, where he died. This etching was intended to be published in Part II of "Recueil d'estampes gravées d'après les tableaux de la galerie de S.E.M. le comte de Brühl", but this volume was never published (See: Krieg, Mehr nicht erschienen II, 148). The famous Spanish/Italian painter José de Ribera (1591-1652) was born in Játiva in Spain, went to Naples by 1616 where he worked and died. In 1769 Brühl's art collection was acquired by Catherine the Great and entered the Hermitage, St. Petersburg. - Good impression on heavy paper, with margins; small tear in blank margin repaired; collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Lepautre, Jean. Portails d'Eglise à Italienne inventés par J. le Pautre. (No place, no publisher, no date). Complete series of very fine engraved title and 5 plates, showing church façades in the Italian manner, with scales of measurements. ca. 23,3 x 14,7 cm on leaves of ca. 30,5 x 19,4 cm. (# 4470)

Not in Fuhring, I.F.F., or any of the other usual bibliographies (kind information of Dr Peter Fuhring). Unrecorded edition. An unknown engraver copied the plates in reverse from the original series, which was invented and etched by Jean Lepautre (first edition Paris, ca. 1670). In the original series five of the plates are divided into a left-hand and right-hand side, showing variants of the proposed façades. In the present series the façades are symmetric, so left-hand and right-hand side are the same. Also different from the original series is the fact that in our series all the façades are placed against a sky. For the original series compare I.F.F. XVII, 12, Nos. 2120, 2122 - 2125. Beautiful designs for baroque church façades in two stories, adorned with statues, balustrades, 3 plates with domes above the crossing. Invented by the famous French architect and ornament designer Jean Lepautre (Paris 1618 - 1682). - Ownership entry on title "Joannij Veit Soc. Jesu". Thieme-Becker XXXIV, 181 mentions the Jesuit Johann Veit (Ellwangen 1663 - München 1732), who worked in Eichstätt, as the designer and maker of the pulpit and confessional chairs in the Jesuit Church in Eichstätt, and the prie-chairs in Neuburg. Mainly marginal waterstain to 4 plates, slightly browned and thumbed.

Lucien, Jean Baptiste (1748-Paris-1806). Tête de St. Jerôme, dans le Tableau de la Communion de St. Jerôme, peint par le Dominiquain (Domenichino). Dessinée à Rome par Ed. Bouchardon. Paris, Chéreau, (c. 1770). Large print in crayon-manner in reddish brown, intermediary draughtsman Edmé Bouchardon (Chaumont-en Bassigny 1698-Paris 1762) after Domenichino (Bologna 1581-Naples 1641); representing the head of St. Jerome, in profile to left. Numbered on plate: "No. 199", top left, and "8e de la Collection", bottom right; lettered at bottom with title (see above) and "Ed. Bouchardon Del. J.B. Lucien Sculp." and "De la Collection des Dessins de Mr. Bouchardon appartenant à Mr. Chereau. A Paris chez Chereau rue des Mathurins St. Jacques No. 24". 40,7 x 35 cm. (# 5876)

In database British Museum. Domenichino/Domenico Zampieri painted the altarpiece of the "Last Communion of St.Jerome" in the San Girolamo della Carità in Rome, 1611-1614. Crayon-manner, a variant of etching, was invented in the 1750's; its aim was the imitation of red or brown chalk drawings. They were mostly intended as drawing examples. - With margins, at bottom trimmed to plate-mark; small crease and small inkstain at bottom below image. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Marot, Daniel. Novae cheminae, quales plurimum in usu sunt apud Hollandos. (No place, the Netherlands, no date, after 1703). Complete series of magnificent etched title and 5 plates, showing richly decorated chimney-pieces. ca. 25 cm x 18,4 cm on leaves of ca. 29,4 x 18,7 cm. Sewn. (# 4455)

Destailleur (1863), 153. Ritter (1889), 245. Not in Fuhring and Bérard. First edition. Cf. for a later reissue with series number N. 14: Fuhring Nos. 9166 - 9171. The plates are copied by an unknown artist from the series "Nouvelles Cheminées faites en plusieurs endroits de la Hollande et autres Provinces", which was etched and published by Daniel Marot (first edition: The Hague, 1687 - 1702). Very beautiful designs in Louis XIV style for chimney-pieces and surrounding walls, constructed in Dutch castles and mansions. The title with scales of measurements in French and Dutch feet. Each plate depicts at the left, half of a richly decorated door with overdoor; the rich ornamentation contains mirrors, vases, a crowned clock, paintings, the crowned monogram WR (William Rex = King Willem III), the English royal coat of arms. The second plate shows a wall of lacquer panels and numerous Chinese porcelain vases on the cornice of the door and overmantel. The third plate has been executed, somewhat altered, in the 'Red Hall' in Voorst Castle in Eefde. The fifth plate shows an English chimney-piece, placed at an angle. The coat of arms of the Duke of Albemarle, Keppel, on the sixth plate suggests that this design was also intended for De Voorst. Invented by Daniel Marot (Paris 1663 - Amsterdam 1752), French architect, ornament designer and engraver, who left France after the revocation of the Edict of Nantes in 1685. In Holland he became the architect of King-Stadtholder Willem III of Oranje, whom he followed to London. - Stamp of J.A.F. Koempel in blank margin of last plate (not in Lugt). Left margin cut off by the binder, touching the plates, foxed.

Monogrammist HSD, copy after Hans Sebald Beham. S. Thomas. Holland or Antwerp, ca. 1570 - 1580. Engraving. 53 x 34 mm. (# 5450)

Bartsch IX, 545 and cf. VIII No. 49. Pauli, Beham, No. 45a and No. 51a. Nagler, Monogrammisten III No. 1519 (No. 7): "Sehr gut gestochen sind die Apostel ... Diese sehr schönen Blätter". Hollstein, Dutch, XIII 61. Very good impression on thick laid paper of this beautiful engraving showing S. Thomas holding a lance in his right hand, with subscription "S. Thomas, HSB (Hans Sebald Beham)"; in the left lower corner the minuscule monogram HSD; in the left upper corner the number 7. The original suite of the 12 Apostles was made by Hans Sebald Beham (Nürnberg 1500 - Frankfurt a.M. 1550) in 1545 - 1546. According to Nagler the Monogrammist HSD lived in Holland or Antwerp ca. 1570 - 1580, where he made also engravings after Peter van der Borcht, which were published in Amsterdam, and after Pieter Breughel the elder. According to Hollstein he lived ca. 1546 - 1580 in Antwerp. Nagler praises the high quality of this engraving and disagrees with Bartsch, who ascribes this print to a German master. S. Thomas is the patron Saint of architects. - Lightly browned; left and right side with thread margins, upper and lower margins cut to the plate-mark. From the famous Viennese collection of Franz Gawet (1762 or 1765 - 1847) with his signature on verso (Lugt No. 1069). His collection is well-known for its very high quality.

Moyreau, Jean (Orléans 1691-Paris 1762). Les adieux d'Hector et d'Andromaque, after Bon Boullogne. Paris, 1726. Nice oblong etching, showing at centre Hector, the commander of the Trojan armies, bidding farewell to his wife Andromache and their son Astyanax, who being frightened by Hector's helmet flings himself into the arms of his nurse; Hector in battle dress steps on a chariot drawn by two horses; soldiers, Andromeda's maids and inhabitants of Troy are surrounding the family. In the background the walls and a monumental gateway of Troy; signed in the plate "De Boulogne lainé inv. J. Moyreau sculp. Pont S. Michel au chat d'Espagne, 1726". With 2 columns of 4 lines of etched French text below (see note). 29 x 38,2 cm. (# 5832)

Le Blanc III, 60 No. 6. Nagler XI, 47 No. 10. Etched after the painting Les Adieu d'Hector et d'Andromaque, painted c. 1699 by Bon Boullogne, also named Boullogne l'Ainé (Paris 1649-Paris 1717), which is now in the Musée des Beaux-Arts in Troyes. Jean Moyreau was a pupil of Bon Boullogne. Inscription underneath: "Hector, dont le destin devoit bientost arrêter le Cour de sa vie: sort de Troye pour combâtre et repousser les Grecs. Il dit adieu à sa chere Andromaque, qui, pour le retenir luy presente son fils Astianax; afin de l'empêcher d'aller chercher la mort, prédite par Cassandre: Mais ce heros voulant secourir sa patrie et toûché de voir sa famille affligée il precipite son départ; apres avoir embrassé son fils; qui effrayé de voir le casque sur la teste de son pere, se jette entre les bras de sa nourice. Illiade I.6". - Good impression, with margins, paper very lightly discoloured. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Picart, Bernard (Paris 1673-Amsterdam 1733). L'accord de la Religion avec la Philosophie, ou de la Raison avec la Foy. Paris, 1708. Fine oblong allegorical etching: the agreement between Religion and Philosophy, or between Reason and Faith; Philosophy, personified by a woman crowned with stars, shakes hand with Religion, who stands at the top of some steps, next to the Bible; on the right stand Faith, covered by a veil, and Hope, carrying an anchor and praying; on the left the daughters of Philosophy (Poetry, Geometry, Grammar, Chemistry, Painting, Rhetoric and Music). At bottom signed in the plate "Inventé et gravé par B. Picart en 1708". 9,7 x 15,3 cm. (# 5872)

Dimier I, 391, No. 492. Picart did this engraving to accompany a Sorbonne thesis in philosophy that exists now, however, only in manuscript in the Bibliothèque Nationale, Paris. In database British Museum, another, probably later, state surmounts an engraved explanatory text by Prosper Marchand: there the scene and the text are printed from two separate plates on a single sheet. The printmaker Bernard Picart, trained in Paris but worked in the Netherlands 1696-1698, returned to Paris and after the death of his wife and children turned Huguenot, and left definitively for Holland in 1710, settled initially in The Hague, then in 1711 in Amsterdam. - Trimmed inside plate mark. Bright impression on strong paper. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Picart, Étienne (Paris 1631-Amsterdam 1721). Separation de St. Pierre et de St. Paul. D'apres le tableau de Jean Lanfranc (Giovanni Lanfranco) qui est dans le Cabinet du Roy, de quatre pieds de haut, sur 4 pieds et demy de large. Sanctorum Petri et Pauli acerba a se invicem discessio... Roma, 1679. Large oblong engraving, showing Saint Peter and Saint Paul being separated by soldiers and other people, in front of a landscape with a river and a fortified city; at bottom 2 columns each with 3 lines of engraved French and Latin text (see above); underneath signed in the plate "Steph. Picart Rom. sculps. 1679." 43,5 x 47,7 cm. (# 5844)

Nagler XII, 409 No. 25. Le Blanc III, 196, No. 20. The original painting by Giovanni Lanfranco (Parma 1582-Roma 1647), which belonged to Louis XIV, is preserved in the Musée national des Châteaux de Versailles. The engraving is in reverse. Étienne (also named Stephanus) Picart, is often called "Le Romain" from the years he worked in Rome. He became member of the Académie Royale in Paris in 1664, and worked for the Cabinet du Roy Louis XIV. He spent the last years of his life from 1710 in the Netherlands where he emigrated with his son, the famous engraver Bernard Picart. - Sharp impression on heavy paper, with small margins. In lower blank margin written in black ink "Goy Ton". Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Pineau, Nicolas. Trumeaux. Aug. Vind. (Augsburg), J.G. Merz, (n.d.). 3 fine plates from a series of (probably) 6, with series number C. Nos. 2, 4-5, with French and German text. ca. 32 x 21 cm on leaves of ca. 35,5 x 23,7 cm. (# 5534)

Not mentioned in any of the usual bibliographies. Extremely rare German ornament prints. Copies by Johann Georg Merz (1694 - 1762) of plates from the "Architecture Françoise" (Paris, Jean Mariette, 1727-1738). The plates show elaborate wall decorations with large mirrors, tables. The beautiful designs of the sculptor, decorator, interior designer and engraver Nicolas Pineau (Paris 1684 - Paris 1754) range from the Louis XIV until the Louis XV style. - Small tear in one blank margin, mainly marginal waterstain to one plate; margin of one plate very slightly thumbed; printed on thick paper. With collector's stamp on verso of 2 plates of Fritz Hasselmann (second half of the 19th century), architect in München (Lugt No. 1012).

Saint-Non, Richard abbé de (Paris 1727 - 1791). Rural scene with many people eating, drinking, playing a kind of jeu de boules, cows, dogs, after Jean Baptiste Bénard. 1755. Charming etching, signed in the plate on a wine barrel "S. Non Sc." and lettered underneath "Benard Pinxit. St. Non Sculp. 1755", in the centre underneath "Tiré du Cabinet de Mr de La Live de Julie". 23,7 x 29 cm. (# 2233)

Not in Le Blanc. For the etcher and aquatinter Abbé Jean Claude Richard de Saint-Non see: Thieme-Becker XXIX, 326. The original painting by the French painter Jean Baptiste Bénard (died 1789 or before) belonged to the collection of the wealthy French art collector Ange Laurent de Lalive de Jully (1725-1779), who favoured works by contemporary French artists; his collection was sold in 1770. - Good impression, with margins. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).

Senault, L. Heures nouvelles tirées de la Sainte Ecriture. Écrites et gravées par L. Senault. Paris, chez l'autheur et chez Cl. de Hansy, (after 1690). Engraved title and 260 beautifully engraved pages. 8vo. Very fine contemporary 'citron' morocco, elaborate blind-tooled border on both sides, back richly blind-tooled, blind-tooled inside dentelles, gilt edges, red silk linings. (# 4385)

Bonacini No. 1689. Jammes, Belles Écritures No. 40. Beautiful specimen of an entirely engraved book, one of the masterpieces of French calligraphy, by the calligrapher and engraver Louis Senault. The text of this devotional work, is engraved in cursive writing, each page surrounded by a double frame-line. Many pages are adorned with magnificent floriated and historiated initials, vignettes, and borders. Senault endeavoured to preserve in his engraved books the full flavour of a contemporary manuscript. "The elegant roman script of this book is ornamented with capitals framed by vignette landscapes or designs of birds and flowers. Calligraphic flourishes or floral designs frequently fill empty spaces at the bottom of a page. Prints by artists such as Israel Silvestre surely inspired the landscape vignettes which ornament the book" (Catalogue of the Exhibition 2000 Years of Calligraphy, Baltimore, 1965, No. 101). Second issue of the first edition, with the bosoms of the mermaids on p. 210 covered and without dedication. The book being originally dedicated to Madame la Dauphine of Bavaria, the mermaids with the uncovered bosoms were deemed indecent. The dedication was forbidden in the following issue. - With bookplate of Ambrosius Firmin Didot dated 1850, inside front-cover. An exceptionally beautiful copy in a very fine contemporary binding.

Tableau analytique des travaux et publications de Mgr C. Chevalier camérier secret de sa Sainteté clerc national du Sacré Collège et secrétaire consistorial pour la France etc. etc. Tours, P. Bousrez, 1882. 96 pp. Large 8vo. Original wrappers (small defects, little stained). (# 5116)

Besterman 591. Bibliography of 231 publications of Casimir Chevalier (born 1825 in Saché) dealing with hagiography, ecclesiastical and profane history, archeology and military archeology, art and architecture, etc. First edition. One of 500 copies printed. - Occcasionally slightly foxed. With authograph dedication by Chevalier to l'Abbé Archembault on front cover.

Tardieu, Nicolas Henri (Paris 1674-Paris 1749). Le Couronnement d'épines (Christ crowned with thorns) after Antoine Dieu. Paris, Ve. de François Chereau, 1707. Fine engraving showing Christ sitting in a prison, his hands bound together, behind him an armoured soldier, to the right a kneeling man; signed underneath "A. Dieu inv. et pinxit. N. Tardieu scul." With five lines of French dedication in the plate's lower margin "A monseigneur Messire Marc René de Voyer de Paulmy, Chevalier Marquis d'Argenson, Conseiller du Roy... Lieutenant général de Police da la ville, Prevôte et Vicomte de Paris; Protecteur de l'Académie de St. Luc. Dédié par... Dieu Directeur et Professeur de la dite Académie en 1707." Two angels flanking Marc René de Voyer de Paulmy's arms in centre of bottom margin. 35,5 x 23, 3 cm. (# 5846)

Nagler XX, 257 No. 25. Le Blanc IV, 5, No. 27. Antoine Dieu (Paris 1662-Paris 1727), was director and professor of the Paris Académie de St. Luc, a painter's guild. The dedicatee Marc-René de Voyer de Paulmy d'Argenson (1652-1721) was minister and lieutenant-general of Police in Paris. He played a significant role in the attacks on Jansenism. He was also protector of the Académie de St. Luc. - Sharp impression with ample margins. Collector's stamp on verso of "Grossh. Museum zu Schwerin" (Lugt No. 2273).