(Viguerie, Auguste de (?)).
Essais lithographiques sur l’exposition au Musée Royal, de l’année 1819, par A. V. et A. C. Ce recueil contiendra les croquis des principaux tableaux, dessins, statutes, etc. etc. Ire. livraison (- IXme. livraison). 9 instalments in one volume (= all published). Paris, Rey, marchand de couleurs et d’objets d’arts (1819). 45 lithogr. plates (of which 6 double-page) by Villain after Gericault, Vernet, Ingres, Schnelz, Grot, Baron Lejeune, Watelet, Meynier among others. Cont. plain boards. All original blue front wrappers with printed contents on versos bound in. 4to (295 x 220 mm). Boards rubbed and soiled. Not in Johnson, French lithography, the restoration salons 1817-1824. Cf. Twyman, Lithography p. 56. (for Villain, a pupil of Lasteyrie, who started his own lithographic business in 1816). First and only edition. Few leaves with slight browning.
EUR 1400.–

Hätzl, Georg.
Ihro Königl. Mayestett, ... Josepho I. Römischen und Hungarischen König, meinem allergnädigsten König und Herren, Neu erfundene aller unterthänigst dedicirte Gartten Parterres, vor Georgio Hätzl, dero Hoff-Kunst- u. Lust gartner zu Schönbrunn. Augsburg, Wolff (around 1705). 13 numb. engraved plates by J(acob) Müller after G. Hätzl (including title). Cont. half calf, marbled boards. Oblong- folio. Spine with minor traces of worming. Covers slightly rubbed. Berlin catalogue 3321. Wimmer, Dt. Gartenbücher p. 164 (with illustration). Not in UCBA. First and only edition. A magnificent pattern book dedicated to the Emperor Joseph I (1678-1711) by the head gardener at Schönbrunn. The plates illustrate intricate geometrical desgins of strapwork. Topiaried evergreens and orange trees in tubs adorn the plots as well as classical statues and decorative urns. The designs show a vague influence of Islamic design particularly in the ornamental arabesques, crescent moon shapes, latticework and central oval cartouches. A beautiful copy. “Die Entwürfe insgesamt von dem Bemühen geleitet, durch individuelle Lösungen vom französischen Kanon abzuweichen“ (Wimmer p. 164).
EUR 6000.–

Kreis, W(ilhelm) und C(arl) A(ugust) Juengst.
The New City (title on lid). Ingenius-Minimal. Wolkenkratzer-Baukasten. (Vienna ?) around 1924. 53 building blocks, with numerous plans and a small booklet. Publisher’s illustrated box with coloured title on lid after a design by Wilhelm Willrab. (250 x 160 x 45 mm). Extremeties worn, sides restored. Cf. Gebrauchsgraphik V (1925). A very scarce architectural game with building blocks for building skyscrapers. It was based on the tongue-and-groove assembly system. The design was made by the German architect Wilhelm Kreis (1873-1955), who was in charge of one of the first high-rise built in Germany between 1922-1924, the so-called Wilhelm-Marx-Haus in Düsseldorf. “New City may, in fact, be called the toy for the modern child.“ (publisher’s advertising). Printed label inside lid: „Ingenius“ Minimal Nr. 009.297 Serie II. Made in Austria.
EUR 3400.–

Motte, Charles Etienne Pierre (editor).
Les tournois du roi René d’après les manuscrits et les dessins originaux de la Bibliothèque Royale. Publié par MM. (Jean-Jacques) Champollion-Figeac, pour le texte et les notes explicatives, L. J. J. Dubois, pour les dessins et les planches coloriées, Charles Motte, lithograph, editeur de l’ouvrage. Paris, chez Ch. Motte, Firmin-Didot, L. J. J. Dubois 1826 - (1827). Illustr. lithogr. and handcolour. title, lithogr. half-title, 12, 27,(3) pages with a few text-illustrations, 20 execptionally handcolour. lithogr. plates. Cont. marbled boards with with brown calf spine gilt, cont. style. Folio (695 x 540 mm). Extremeties rubbed. Quérard, France littéraire II, p. 123 “belle ouvrage“. Lipperheide TB 2. One of a very limited number of copies (ca 65 according to the a subscriber’s list, not bound-in in our copy). Text pages foxed, plates on heavy paper clean and fresh. A beautifully illustrated and handcoloured book on medieval tournaments after a manuscript commissioned by René d’Anjou and kept in the Bibliothèque Nationale de France. Formerly, the manuscript was regarded as directly inspired by a series of tournaments held at the Anjou court at Nancy, Saumur and Tarascon between 1445 and 1450, but it is now considered somewhat younger, dating to the 1460s, not least because the text makes several critical allusions to the Traité des anciens et nouveaux tournois written by Antoine de la Sale in 1459. It was most likely completed before 1471, as an inventory of Angers castle in 1471/2 mentions a Cayez de papier en grant volume, ouquel est le commencement d'un tournoy, which has been identified with this manuscript. The manuscript later came into possession of Marie of Luxembourg (d. 1546) and later again of Louis Nicolas Fouquet (d. 1705), then passing to Louis François de Bourbon-Conti and finally to Louis-César de La Baume Le Blanc de La Vallière who in 1766 sold it to the Royal Library of Louis XV. The description given in the book is different from that of the pas d’armes held at Razilly and Saumur; conspicuously absent are the allegorical and chivalresque ornamentations that were in vogue at the time. René instead emphasizes he is reporting on ancient tournament customs of France, Germany and the Low Countries, combining them in a new suggestion on how to hold a tournament. The tournament described is a melee fought by two sides. It was commissioned in the 1460s, and the manuscript kept in the Bibliotheque Nationale is no doubt the original, with illustrations attributed to Barthelemy d’Eyck (Eyck's are line drawings, possibly intended as preparatory only, which were later coloured either by him or by another artist). There are twenty-six full and double page illustrations. COPAC: BL London; National Art Library; OCLC: Getty Research, Houghton, Morgan Library.
EUR 4800.–

(F. B. H.; monogram)
Illustrated manuscript catalogue of a numismatic collection of coins dated in the text Easter 1813. „Summa summarum nummophilacii aurei: Sunt numeroter centumquinquaginta monetae. Pretium mettalli 6516 fl. 29cr. Pretium raritatis 8116 fl. 36 cr. Alpha et omega - Principium et finis - Finis coronat opus. Anno Domini MDCCCXIII“  (pp. 357). Pages 7 - 358, 9 unn. leaves with „Münzregister“ (register of coins), 24 unn. leaves (register of places in alphabetical order; „Ortsregister mit alphabetischem Griffregister“). With 350 ink illustrations of coins (avers & revers) with text on 178 pages each within variant ornamental frame. The illustrations are captioned and titled, most of them with more detailed and longer descriptions. Contemporary calf, gilt spine in compartments, green morocco label: Sammlung von Clavier Stüken“, gilt rule borders to covers, gilt edges. Oblong-folio (310 x 228 mm). Covers rubbed and soiled, else very fine. A fantastic manuscript of a large numismatic collection with coins from various epochs and various European countries written in a legible German hand, on strong handmade paper. This excellent and expert numismatic manuscript with engraved book-plate of the Swiss noble family Grand d'Hauteville on front paste-down might have been made by Daniel Grand de la Chaise (1761–1818) or one of his children, a banker in his uncle Georges Grand’s firm at Amsterdam who succeeded him in 1787 as treasurer of the French court at Amsterdam and banker to the court of Sweden. He was called “La Chaise” after a property outside Paris belonging to his parents. Following his marriage in 1790 with Victoire Cannac, he took on the name of the Seigneurie d’Hauteville, left to his wife by her father. He corresponded with Benjamin Franklin and other important contemporaries. Apparently the volume was initially intended for a manuscript collection of music, but the intention of the former owner changed and the first threre leaves being taken out (formerly music notations ?) and used for our manuscript coin catalog. The text closes with the above cited title; the manuscript and both indexes are complete. Page 185 verso with an indication of the author / artist, the line reads: Delin: F. B. H. die S. Paschatis A. 1813 die 18. Aprilis. One of the most striking features of this catalog is the immense variety of ornamental designs of the borders that impress in its modernity. The explanations of the individual coins are in a legible handwriting, they usually contain a more detailed description of the coin, as well as their historical context, literary sources and the value of them. According to the index ten coins date from the 15th and 16th centuries, 70 coins from the 17th century, 160 coins are from the 18th century and about 25 are from the early 19th century, with a certain number of Graeco-Roman coins. Whether the present manuscript was the catalog of a private or public collection is not for us to tell but the luxurious binding, the heavy paper stock as well as the careful and meticulous execution of borders and the rich informations about the coins and their exact valuation makes it more likely a private collection catalog of Swiss or German provenance.
EUR 8500.–

Bulla Frères (éditeurs).
Paris-Théâtre. Paris, Imp. Lemercier & Cie (ca 1860). Chromolithogr. title with a proscenium with view of a theatre building, 23 interior views of theatres, opera houses, muscial halls, of one arena and one circus all in chromolithography and with seatnumbering. Front and rear paste-downs with printed tables with price lists. Publisher’s blue cloth, richly gilt front cover. Oblong-folio (355 x 275 mm). Covers slightly soiled, exremeties rubbed. Not in SMPK, Ornamentale Vorlagenwerke des 19. Jahrhunderts. A rare and highly interesting work regarding interior designs and various entrance fees of Paris theatres, opera houses and muscial halls, which of course is a mark for their prestige.  The following theatres are shown on the plates: 1. Opéra. 2. Italiens. 3. Opéra-comique. 4. Lyrique. 5. Francais. 6. Odéon. 7. Gymnase. 8. Ambigue-Comiques. 9. Porte-Saint-Martin. 10. Variétés. 11. Vaudeville. 12. Châtelet. 13. Gaîté. 14. Palais-Royal. 15. Folies-Dramatiques. 16. Cluny. 17. Bouffes-Parisiens. 18. Menus-Plaisirs. 19. Athénée. 20. Folies-Marigny. 21. Cleverman. 2. Cirque Napoléon. 23. Manége Lalanne. Plates with a few brown spots in margins.
EUR 4000.–

Albus, Karl Georg.
Versuch der Arithmeticae Literalis Logarithmicae/ oder/ der Buchstaben Rechen-Kunst/ da/ statt der Zifern Buchstaben gebrauchet werden,/ in deutlichen und richtigen Exempeln/ durch/ die extractionem radicis quadratae et cubicae/ nebst andern nützlichen Rechnungen, etc./nach der kürzesten Art der Rechen-Kunst/ angestellet und solviret/ von Carl Georg Albus/ Schreib- und Rechen-Meister hieselbst/ (Saltzwedel, den 20. Junii 1747). 
German manuscript on paper. 12 pages in brown ink adorned with calligraphic ornaments in upper and lower margins of a few pages. Cont. German calico wrappers with flowers in various green and red hues. Folio (344 x 208 mm). Interesting manuscript by a professional calligrapher and practical mathematician dedicated to the Prussian senator and senator of the town of Saltzwedel Wilhelm Erdmann gewidmet. The principle idea enclosed in this small treatise could well be used to encode text. A fine copy.
EUR 1850.–

Palmer, Aaron.
Palmer’s computing scale. Hartford, Thomas Spencer Sprague before 1844. Engraved volvelle (by George G. Smith, Boston) mounted on heavy cardboard. Copyright 1843 by Aaron Palmer, Clerk’s Office of the District Court of the State of Massachusetts; stereotyped by T(homas) S(pencer) Sprague, Hartford, Conn. Edges framed by gilt leather strips. Quarto (280 x 280 mm). The leather edges are a little rubbed, the scale is soiled and the directions on verso are slightly flecked. An early version, certainly issued before John E. Fuller’s acquisition of the copyright in late 1844. In early 1841 Aaron Palmer and George C. Smith, the engraver began their work to perfect and market an ‘endless self computing scale’. Printed on paper mounted to heavy cardboard and framed by strips of red morocco gilt. They are 280 mm square with the circle being 216 mm in diameter recessed flush with the body and pinned at the center with a brass pin. There are two circular logarithmic scales, one on the body and one on the movable circle. Corners with scallop designs. This is one of at least 7 issues to 1871, with only a few of the earliest by Palmer. Our example is one of the earliest and is seemingly unrecorded. “This item represents a very early use of the word computer for a machine rather than a person. Until the invention of electronic computers in 1945 the term computer usually referred to a person who compiled mathematical tables with or without mechanical assistance. ... During the first decade of electronic computing, the term was apparently used interchangeably for people and machines. By about 1960 the word was generally applied only to machines” (Hook and Norman p. 248). Cf. Feazel, Palmer’s computing scale. In: The Journal of the Oughtred Society, vol. III, 1 / 1994 (pp. 9-17) and vol. IV, 1 / 1995 (pp. 5-8). Our copy does not confirm with any editions listed. Not in Karpinsky. Cf. Hook and Norman, Origin of cyberspace 302. A later Fuller edition.
EUR 2400.–

Broadsheet - Stieglitz, J. G.
Zur Kenntniss des nackten Pferdes, einer grossen zoologischen Seltenheit, welches sich im Besitze des Herrn J. G. Stieglitz befindet. Dresden, Buchdruckerei Julius Ernst 1857. 4 pages, title framed by typographical border. Folded. (210 x 130 mm). – Together with: Broadsheet. Größte naturhistorische Seltenheit! Das nackte arabische Vollblut-Pferd, neue Race aus l’Arabie pétrée ist heute von Wien hier eingetroffen und wird in der dazu erbauten Bude an de Main, nächst dem Fahrthore dem geehrten Publikum durch den Neger Jeuearo zur Schau vorgeführt werden. ... (Frankfurt), Druck von J. Müller (1858).

A poster with typogaphical text and woodcut vignette showing the naked horse and his coloured groom Jeuearo in a dress uniform framed by a typographical border. – together with: Broadsheet with text printed in large poster type on pink paper. (Frankfurt), Druck von J. G. Müller, Friedbergerstrasse Nr. 37 (1858). “Größte Naturseltenheit. Das nackte Vollblut-Pferd / Neue Race aus l’Arabie pétrée ... ist hier zur Schau angekommen. – Dasselbe unterscheidet sich von allen bis jetzt bekannten Pferderacen durch gänzlichen Mangel an Haaren, selbst Schweif, Mähnen und Augenwimpern sind haarlos. ...“. Oblong folio (570 x 870 mm). A few mild brown  spots. A nice little collection of scarce ephemera showing an Arabian ‘naked horse’, of a breed called Akhal-Teke coming from Turkmenistan. They have a reputation for speed and endurance, intelligence, and a distinctive metallic sheen. The shiny coat of palominos and buckskins led to their nickname "Golden Horses“ and they are thought to be one of the oldest existing horse breeds. It is a disputed "chicken or egg" question whether the influential Arabian horse was either the ancestor of the breed or was developed out of this breed. There are several genetic diseases of concern to Akhal-Teke breeders: One is the Hairless Foal Syndrome. The defect causes foals to be born without any hair coat, mane or tail which seems to lead to quite a strange appearance. NFS is always fatal, most foals die within weeks of birth, although some horses have survived up to the age of two years. This might explain the ‘rarity’ of such specimen as announced on the posters.
EUR 3400.–

Broadsheet - Serres, (John Thomas).
Panoramic picture of Boulogne, Great Room, Spring Gardens. Open from nine o’clock in the morning till dusk. Admittance one shilling. – Descriptions gratis. Printed by J. Adlard, Duke-street, Smithfield (ca 1800). Handcoloured engraving after Serres, marine painter to His Majesty. Sheetsize: 330 x 420 mm. All edges uncut, with only a few brown spots and traces of folding. Key-plan for the walk-in circular panorama by John Thomas Serres (1759-1825) showing a view of Boulogne, with its surroundings, its naval port with the French navy riding at anchor and a few amusing details, like Napoleon Bonaparte leading a detachment of Mameluck cavalry into town.  – “In 1804 Serres tried his hand at a panorama painting, with a 150-foot nearly circular view of Boulogne showing Napoleon’s preparations for the invasion of England ... The panorama was exhibited to the public at the Great Rooms, Spring Gardens. Serres published a circular key, evidently intended to be seen from above, which shows that spectators viewed the panorama from one side of the circle standing on a reproduction of the stern gallery of Rear Admiral Louis’ flagship” (Nicholas Tracy, Britannia’s palette, the arts of naval victory p. 239). A fine copy, especially rare in contemporary colouring. – Not in the exhibition catalogue: Sehsucht. Das Panorama als Massenunterhaltung des 19. Jahrhunderts. (Frankfurt 1993). Copac with 4 copies.
EUR 2400.–