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‎De la demonomanie des sorciers. - [THE MOST IMPORTANT BOOK ON WITCHCRAFT OF THE ERA]‎

‎Paris, J. du Puys, 1580. 4to. Contemporary full vellum wih contemporary handwritten title to spine. Binding somewhat warped, but unrestored and tight. A (mostly very faint) damp stain to upper blak margin of some leaves (not affecting text), but otherwise internally very nice clean and fresh. Old owner's name to title-page (Dufault) and old acquisition note to front free end-paper. Woodcut title-vignette, woodcut headpieces, woodcut end-vignette, and a few woodcut initials. A large copy with good margins. (14), 252 (recte: 256) ff.‎

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‎Scarce first edition of Bodin's seminal ""Demon-Mania"", the most important book on witchcraft of the era. The work profoundly influenced the position on witchcraft of the following half century and directly influenced the course of witch trials of this period. The work is furthermore of fundamental importance to the understanding of Bodin's tripartite world picture and constitutes an invaluable supplement to his ""Six livres de la république"".""Jean Bodin's ""On the Demon-Mania of Witches"" (De la démonomanie des sorciers) appeared in 1580 and rapidly became a major publishing success. It underwent at least twenty-three editions and was translated from its original French into German, Italian and Latin. It was surely the most published work of the era on the subject of demons and witches. Because of its wide distribution, it has been considered by generations of historians to have been an extremely influential book, responsible in itself for large-scale prosecutions of witches in the four or five decades following its appearance."" (Pearl, p. 9).The present first edition constitutes not only the original version of the work, but also the model for all French editions that followed (as well as the later translations) - as many as 11 between 1581 and 1616. Bodin edited an edition in 1587, which contained some additions"" that edition is considered very flawed, however, and no subsequent editions were based upon it. Jean Bodin (1529/30 - 1596), ""one of the towering figures in the history of French thought"" (Scott), was a lawyer, economist, natural philosopher, historian, and one of the major political theorists of the sixteenth century. His main work, the ""Six livres de la république"" is one of the most important works of modern political thought. Here Bodin gave the first systematic statement of sovereignty and coined the term ""political science"". With his theory of the State and statement of Sovereignty, he fundamentally changed the history of political thought in the West. The ""Six livres de la république"" is Bodin's most famous and frequently read work. Due to the seemingly ""supernatural"" contents of the ""Démonomanie"", scholars have had difficulties recognizing the Bodin of the ""Six livres"" in this work, which, within its domain, was just as influential. There has been, however, increasing recognition of the political contents of the ""Démonomanie"", and a tendency towards reconciliation of the great works by this towering figure of early modern French thought. First of all, the work is written with the same impressive thoroughness and style as Bodin's other works. Second, although based upon a concrete sorcery case, the ""Démonomanie"" is of the utmost importance to the understanding of Bodin's tripartite world picture and his attempts at maintaining a clear line of separation between the world of nature and the supernatural. His monumental conception of ""Theatrum Naturae"" is just as dominant as a thematical background in his ""Démonomanie"" as it is in his ""Six livres"" and there ought to be no doubt about the fact that the basic features of his system of thought are dominant in the present work, which due to its concrete matter of investigation is all the more interesting. In fact, the ""Démonomanie"" is now considered an invaluable source for the general thought of the great political thinker. With its two-fold turn of focus on social problems and questions of natural-philosophical and theological character, the ""Démonomanie"", in accordance with Bodin's scientific plan of life, marks the transition from ""human sciences"" to ""the science of natural and divine things"". ""Contrary to the judgment of the Enlightenment thinkers, this midway-position does not reduce its value in the Bodin corpus"" on the contrary: Precisely this work is suitable for clarifying and illustrating the unity of his works."" (Own translation from the German. Lange, p. 162). Concerning himself with witchcraft and demonology, it is in this work that we find an emphasized statement of Bodin's thoughts on women, on punishing and sentencing, and on the general threats of state and society. Having experienced severe criticism of his earlier works, Bodin's critics became more serious and dangerous with regard to his ""Démonimanie"". In his letter of dedication (December 20, 1579) to Christophle de Thou, the first president of the Parlement of Paris, Bodin explained his motives for writing the work. ""First, he hoped to denounce the mania, the spiritual errors, and distraction, as well as the ""fury"" that sorcerers possess as they ""chase after the devil."" He wrote this treaty with two purposes in mind: on the one hand, ""to use it as a warning to all who will see him [the devil],"" and on the other hand, ""to alert readers that there is no crime that could be more atrocious or deserve more serious punishment."" Bodin wished to speak out against those who ""try by all means to rescue the sorcerers through printed books."" He reminded all that ""Satan has men in his grasp who write, publish, and speak claiming that nothing that is said about sorcerers is true."" It was essential to provide the tools to magistrates and judges, who were confronted by the accused sorcerers, in order to face this formidable problem. The work was bold and perilous for its author. Many wondered if Bodin, so curious about this topic, such an expert, so convinced of the devil's existence, may not himself have been involved with witchcraft. These suspicions alarmed the authorities, and on June 3, 1587, the general prosecutor to the Parlement of Paris ordered the general lieutenant of the baillage of Laon to proceed with a search of Bodin's home, on suspicion of witchcraft. This inspection brought no results due to the intervention of eight prominent citizens and two priests who registered their support of Bodin."" (SEP).""The conclusions of the proceedings against a witch, to which I was summoned on the last day of April, 1578, gave me occasion to take up my pen in order to throw some light on the subject of witches, which seems marvelously strange to everyone and unbelievable to many... And because there were some who found the case strange and almost unbelievable, I decided to write this treatise which I have entitled ""The Demon-Mania of Witches"", on account of the madness which makes them chase after devils: to serve as a warning to all those who read it, in order to make it clearly known that there are no crimes which are nearly as vile as this one, or which deserve more serious penealties. Also partly to respond to those who in printed books try to save witches by every means, so that it seems Satan has inspired them and drawn them to his line in order to publish these fine books."" (Bodin's Preface).A feature which clearly distinguishes Bodin's theories on witchcraft from late medieval and early Renaissance demonology is his struggle against skepticism, and the gender strategies that he deploys in the present work to thwart Skeptics, constitute a central feature of his modern demonology - a demonology that came to be dominating for more than half a century. The ""Démonomanie"" is a work designed to update a vast corpus concerned with the identification and punishment of witches. It provides us quite clearly with Bodin's thoughts on divinity, punishment, practice of law, and not least on women - women in general and women in society. ""[W]omen generally serve as means to an end in Bodin's thought. The wife's natural inferiority to the husband provides an analogy for a nonreciprocal relation of command and obedience that he establishes between the sovereign and his subjects in ""De la république"". In ""De la démonomanie"", Bodin's portrayal of women as the possessors of unsavory secrets and his characterization of the confessions of witches as fragments of a grandly devilish design create the need for hermeneutical expertise - expertise that he claimed to have. In using women to ""think with"", the author of ""De la démonomanie"" had much in common with his opponent, the Lutharen physician Johann Weyer, who protested against the witch trials in ""De praestigiis daemonum"" (1563)."" (Wilkin p. 53).An important part of Bodin's defence of the existence of witchcraft lies in the latter part of the present work, namely the pages 218-252, which constitute the famous refutation of the opinions of Johann Weyer (""Refutation des opinions de Jean Wier""). In his ""De praestigiis daemonum"" from 1563, Weyer had argued that that which we call witchcraft are actually manifestations caused by mental illness of the women in question. It is interesting to see how much Bodin actually drew on Weyer, while at the same time attacking him on both scholarly and legal grounds. As the thorough and classically bred scholar that he was, he cited both classical, Arab, and Christian authorities on witchcraft against Weyer. He arrays the authority of all philosophers, prophets, theologians, lawgivers, jurists, rulers, etc. Ultimately, Bodin here became the first to challenge Weyer's denial of the right to judge and punish the mentally ill, making the work of foundational importance to the following development of legal theory specifically targeted on the punishment of insane men and women. ""As a major Renaissance scholar, Bodin based his work on an extensive and varied group of sources. He depended heavily on the Old Testament, classical and patristic authorities and a large number of medieval scholastic works. He was immersed in the late medieval legal and canon law traditions. He also cited a large number of recent and contemporary texts like the ""Malleus meleficarum"", as well as accounts told by friends and acquaintances. Interestingly, while Bodin condemned the work of Johann Weyer, he mined this book for anecdotes and accounts when they could be useful."" (Pearl).The refutation of Weyer shows Bodin as a formidable controversialist. The reason why the ""Démonomanie"" is published two years after the trial of Jeanne Harvillier, which is constitutes the concrete basis of the work, is that Bodin needed time to carefully prepare the most effective resonse to Weyer's works and attach it to his own. Bodin seeks total demolishment of his opponent - and, as time will tell, he succeeds. Despite some modern disciples, Weyer's position was largely traditional. His aim is not to deny the existence of Satan, nor of satanic practitioners, but rather to contend that those suspected of witchcraft are delusional and victims of mental illness. ""Weyer's characterization of women replicated the views of the ""Malleus Maleficarum"" (1487), or ""witches hammer"", one of the first and certainly the most influential manual for identifying and prosecuting witches... Weyer draws from the same sources as Kramer to argue that women cannot be held accountable for the crimes for which they stand accused and to which they often confess... Vying with the author of the ""Malleus"", weyer inscribes in etymology the correspondence between the soft female body and her persuasive mind... Weyer's portrayal of women diverges from that of Kramer only in his assessment of the witch's responsibility."" (Wilkin, pp. 13-14).""The essentially melancholic imagination of women, he argues, makes them incapable of the sense perception to which he assigned pride of place in the search for truth. The madness with which Weyer diagnosed witches thus masked the contradiction that vitiated his plea. Identifying the susceptibility to demonic illusion as a feminine trait was to compartmentalize it, to limit implicitly the damage that the Devil could inflict elsewhere - for instance, on the perception of learned physicians. Those who refuted ""De praestigiis daemonum"" rejected the hermeneutical advantage that Weyer claimed for himself. To the gender strategy by which he claimed his advantage, however, they did not object. Weyer's vociferous adversary, Jean Bodin, decried the physician's medical diagnosis of witches"" nevertheless, he called upon woman to embody his opposing hermeneutics. The phenomenon that Clark has felicitously termed ""thinking with demons"" was thus, I argue, inseparable from another thought process: ""Thinking with women""."" (Wilkin, pp. 9-10).The ""Démonomanie"" also constitutes a seminal exercise in jurisprudence, which came to set the standard for following decades. Bodin's aim was not only to make sure that witches were judged and punished, he also aimed at fair trial rules according to principles of law developed over centuries in the secular and ecclesiastical courts. Also in this way, the work differs profoundly from other works on demonology and witchcraft and shows us the author as a profound political and legal thinker, whose aim was to alter society for the better. Because this interesting work places itself amidst the divine and the earthly, between the supernatural and the natural, we find in it a wealth of themes that go beyond the actual witch trial with which Bodin begins his work. It is also for these reasons that the work provides us with an even more thorough knowledge of the foundational thoughts of the great legal and political thinker that is its author. See: Rebecca May Wilkin: Women, Imagination and the Search for Truth in Early Modern France, 2008.Jean Bodin: On the Demon-Mania of Witches. Translated by Randy A. Scott with an Introduction by Jonathan L. Pearl, 1995. Ursula Lange: Untersuchungen zu Bodins Demonomanie, 1970.‎

‎BALLETS RUSSES. PROGRAMME. PARIS 1917. Les Ballets Russes a Paris. Représentations Exceptionelles avec le gracieux Concours des Artistes de M. Serge de Diaghilew. - Programme des Ballets Russes. Les Ballets Russes à Paris. Saison - Mai 1917. [Guillau... - [HAND-PAINTED BY PICASSO - COINING ""SURREALISM""]‎

‎Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for ""Baba Iaga"" on the back)"" original illustrated wrappers for ""Théatre du Chatelet"" (drawing by André Marty on front, and advertisements on back) in grey and red"" original illustrated coloured wrappers for ""Programme des Ballets Russes"" (front wrapper illustrated by Picasso with the Chinaman-costume from ""Parade""). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations ""Femmes de bonne humeaur"" and ""Parade"" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for ""Parade"" (the Chinaman) has been handpainted by Picasso himself.‎

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‎Scarce original printing of this seminal avantgarde-publication, the May 1917 ""Théatre du Chatelet""- publication that presents Diaghilev's ""Ballets Russes"" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet ""Parade"" - being one of the most important publications in the history of modern art. It is here, in his presentation-article to ""Parade"" that Apollinaire coins the term ""surrealism"" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet ""Parade"" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the ""Parade""-programme, which depicts the ""Costume de Chinois du ballet ""PARADE""/ Aquarelle de Picasso"", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).It is the 1917 ballet ""Parade"" - the first of the modern ballets - originally presented for the first time in the present publication, that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art, theatre, and ballet.Several variants of this spectacular publication exist, but the one we have here is as original and complete as it comes, containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers (front: ""Peinture de Picasso"""" back: Décor de Larionow pour le ballet ""BABA IAGA""""), but also the entire 1917 ""Théatre du Chatelet""-programme (in original illustrated wrappers) with the entire separate ""parade""-issue -also entitled ""Programme des Ballets Russes""- (also in original illustrated wrappers), with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses, also in their spectacular avant-garde-costumes, Bakst's portrait of Leonide Massine, Picasso's portrait of Stavinski, Bakst's portrait of Picasso, Picasso and Massine in the ruins of Pompei, Picasso's drawings of a scene from ""Parade"" and of Massine, as well as several (mostly humorous) advertisements. But more importantly, we have, apart from the above-mentioned famous Chinaman by Picasso, in original pochoir-colouring, the other famous etching by Picasso ""Costume d'acrobate du ballet ""Parade""/ Aquarelle de Picasso"", also in original pochoir-colouring (bright blue), the seminal presentation-article by Apollinaire, which coins the term ""surrealism"" (see bottom of description for full translation of this groundbreaking preface), the two ""Les Femmes de Bonne Humeur""-figures by Bakst, Constanza and Battista, printed and heightened in gold (pochoir), the printed costume by Larionow, ""Les contes russes"", which is with original bright red and blue pochoir-colouring, and the ""Le Mendiant""-costume by Bakst for ""Parade"", and, of course, the texts by Bakst (on choreography and décor), Georges-Michel (Ballets Russes after the War), as well as the texts for the various ballets (listing the actors and their rôles as well as a resume of the plot). "" ""Tact in audacity consists in knowing how far we may go too far."" Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin. Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered ""how far"" to ""go too far"" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and pistol, combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes. Later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or ""the new spirit"" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as ""surrealistic,"" and in doing so created a term which would develop into an important artistic school."" (Tracy A. Doyle, Erik Satie's ballet PARADE, p. 1).When the French poet and army officer Guillaume Apollinaire wrote the program notes For ""Parade"", he created the manifesto of the ""l'esprit nouveau"" - ""the new spirit"". Cocteau had called the ballet ""realistic"", but Apollinaire took it an important step further and described it as ""surrealistic"", thus coining a term that would soon develop into an important artistic movement. With Picasso, Apollinaire had established the aesthetic principals of Cubism and was considered a leader in the European avant-garde. ENGLISH TRANSLATION OF APOLLINAIRE'S PROGRAMME NOTES TO ""PARADE"": ""Definitions of Parade are blossoming everywhere, like the lilac bushes of this tardy spring...It is a scenic poem transposed by the innovative musician Erik Satie into astonishingly expressive music, so clear and simple that it seems to reflect the marvelously lucid spirit of France. The cubist painter Picasso and the most daring of today's choreographers, Léonide Massine, have here consummately achieved, for the first time, that alliance between painting and dance, between the plastic and mimetic arts, that is a herald of the more comprehensive art to come. There is nothing paradoxical about this. The Ancients, in whose lives music played such an important role, were totally unaware of harmony, which constitutes the very basis of modern music. This new alliance - I say new, because until now scenery and costumes were linked only by factitious bonds - has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of Manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. Having broken with the choreographic tradition cherished by those who used to be known, in Russia, under the strange name 'balletomanes', Massine has been careful not to yield to the temptation of pantomime. He has produced something totally new-a marvelously appealing kind of dance, so true, so lyrical, so human, and so joyful that it would even be capable (if it were worth the trouble) of illuminating the terrible black sun of Dürer's Melancholy. Jean Cocteau has called this a realistic ballet. Picasso's cubist costumes and scenery bear witness to the realism of his art. This realism - or this cubism, if you will - is the influence that has most stirred the arts over the past ten years. The costumes and scenery in Parade show clearly that its chief aim has been to draw the greatest possible amount of aesthetic emotion from objects. Attempts have often been made to return painting to its barest elements. In most of the Dutch painters, in Chardin, in the impressionists, one finds hardly anything but painting. Picasso goes further than any of them. This is clearly evident in Parade, a work in which one's initial astonishment is soon replaced by admiration. Here the aim is, above all, to express reality. However, the motif is not reproduced but represented-more precisely, it is not represented but rather suggested by means of an analytic synthesis that embraces all the visible elements of an object and, if possible, something else as well: an integral schematization that aims to reconcile contradictions by deliberately renouncing any attempt to render the immediate appearance of an object. Massine has Adapted himself astonishingly well to the discipline of Picasso's art. He has identified himself with it, and his art has become enriched with delightful inventions, such as the realistic steps of the horse in Parade, Formed by two dancers, one of whom does the steps of the forelegs and the other those of the hind legs. The fantastic constructions representing the gigantic and surprising features of The Managers, far from presenting an obstacle to Massine's imagination, have, one might say, served to give it a liberating impetus. All in all, Parade will change the ideas of a great many spectators. They will be surprised, that is certain" but in a most agreeable way, and charmed as well Parade will reveal to them all the gracefulness of the Modern movements, a gracefulness they never suspected. A magnificent vaudeville Chinaman will make their imaginations soar" the American Girl cranking up her imaginary car will express the magic of their daily lives, whose wordless rites are celebrated with exquisite and astonishing agility by the acrobatin blue and white tights.""‎

‎XXXIII Sonnets. Composés au Secret. Accompagnée de XXXIII Lithographies de Jean Piaubert. No Place, Editions de Minuit, 1950.‎

‎Folio. Uncut, loose as issued in publisher's clothbox. No 94 of 200. With 33 original lithographs by Piaubert.‎

‎Souvenir de jean Giraudoux. Paris, Jacques Haumont, 1946.‎

‎Orig. wrappers. No 706 of 1000 ""sur vélin blanc du Marais"". With 1 plate.‎

‎First edition.‎

‎Jean-Qui-Pleure et Jean-Qui-Rit. Illustrè par Dignimont. Paris, Bordas, (1949).‎

‎Royal8vo. All orig. wrappers, uncut. With dedic: ""á Karin et John Drumm, entout amitié. J.V. Pellerin"". No 157 of 300 ""exemplaires sur papier fil Lama"", total of 330. With 7 original lithographs in colour.‎

‎Bazaine. Estève. Lapique.‎

‎Paris, Louis Carré, (1945). Small 4to. Orig. wrappers. Uncut. 84 pp., 30 fine full-page illustrations and 3 beautiful lithographed colourplates. Printed by Mourlot Freres et Geoges Duval. Exemplaire H.C. sur Velin du Marais (750 copies).‎

‎(Exposition 18 Mars 1945).‎

‎Études critiques sur les Mollusques fossiles (contenant les Trigonies et les Myes du Jura et de la Craie Suisses). (4 Parts).‎

‎Neuchatel, (Aux frais de L'Auteur Imprimerie de Petitpierre, 1840 - (1845). Folio. Bound uncut in one later full blue cloth w. gilt back. A faint stamp to title-page. (6), II, 58 pp. XXII, 141, (3) pp. 143-230, (1) pp." 231-287 pp., 105 lithographed plates with numerous figures. Internally fine, with only a few scattered brownspots and a bit of foxing to a few quires.‎

‎The scarce first edition of Agassiz' important work on the fossil mollusks, which helped change the study of fossils and the understanding of natural history.The famous Swiss-American paleontologist and geologist, Jean Louis Rodolphe Agassiz (1807-1873), counts as one of the most important contributors to the understanding of the natural history of the earth and the creatures on it. ""By 1873, despite Darwin, Agassiz' name was synonymous with the study of natural history."" (D.S.B. I:74).Agassiz was born in Fribourg in Switzerland in 1807. He originally studied medicine but went on to also study philosophy and biology at the universities of Zürich, Heidelberg and Munich. In Erlangen he received the doctorate of both philosophy (1829) and medicine (1830). After that, he moved to Paris, where he got personally acquainted with Humboldt and Cuvier, who put him on the track of geology and zoology, the two disciplines that later came to be so closely connected to his name. Initially, the study of ichthyology was that brought him worldwide fame. In 1846 Agassiz travelled to America in order to give a lecture at the Lowell Institute in Boston and in order to study the natural history and geology of North America. Agassiz ended up staying in America, where he was became professor at the University of Harvard. ""Jean Louis Rodolphe Agassiz, a Swiss naturalist, was appointed in 1848 professor of zoology at Harvard University where he founded the museum of comparative Zoology and became one of the greatest teachers of biology and natural sciences of the nineteenth century."" (Printing and the Mind of Man 309 (main reference: Agassiz' ""Études sur les Glaciers, 1840).Agassiz was a hugely influential but later also controversial scientist. His discoveries in many branches of natural history, from that of mollusks and fish to that of glaciers were of groundbreaking character and they greatly influenced the biologists, zoologists and geologists of his time"" however, he did not himself subscribe to the ideas that his discoveries prompted and he was later viewed quite critically as a supporter of radical racial theories, causing his work to be termed ""scientific racism"". ""Ironically his many important discoveries provided much material for men such as Darwin and Lyell, while his conservative philosophical assumptions led him to resist dogmatically the great changes in the interpretation of nature that they were bringing about."" (PMM 309). The present work constitutes an excellent example of Agassiz' amazing desire to record data and present it accurately and precisely described, which led him to become one of the most important naturalists of classical biology at a time when it faced the transition to evolutionary biology. ""Agassiz (1807-1873) was born in Switzerland, and rose to distinction by his scientific work in Europe, but he went to the United States when he was still only forty-two years of age, and spent the last twenty-seven years of his life as an energetic and successful leader of science in his adopted home. His fame is thus both European and American, and the geologists of New England, not less than those of Switzerland, may claim him as one of their most distinguished worthies."" (Archibald Geike in The Founders of Geology). Nissen ZBI:39 - BMC (NH) I:p.17.‎

‎L'anneau d'homologie d'une représentation. (+) Structure de l'anneau d'homologie d'une représentation. (2 papers).‎

‎(Paris, Gauthier-Villars), 1946). 4to. No wrappers. In: ""Comptes Rendus Hebdomadaires des Séances de L'Academie des Sciences"", Tome 222, No 24 a. 25. Pp. (1361-) 1416 a. pp. (1417-) 1464. (2 entire issues offered). Leray's papers: pp. 1366-1368 a. pp. 1419-1422.‎

‎First printing of these two landmark papers in topology. Dieudonné later wrote ""undoubtly rank (the papers) at the same level in the history of mathematics as the methods invented by Poincaré and Brouwer"".""These two Comptes Rendus notes of Leray from 1946 introduced the novel concepts of sheafs, sheaf cohomology, and spectral sequences, which he had developed during his years of captivity as a prisoner of war. Leray's announcements and applications (published in other Comptes Rendus notes from 1946) drew immediate attention from other mathematicians. Subsequent clarification, development, and generalization by Henri Cartan, Jean-Louis Koszul, Armand Borel, Jean-Pierre Serre, and Leray himself allowed these concepts to be understood and applied to many other areas of mathematics....."" (List of importent publications in mathematics).‎

‎Galgenfrist. Frihedens Veje. [i.e. ""Le Sursis"" - in Danish]. - [PRESENTATION-COPY FOR HIS LOVER]‎

‎København [Copenhagen], 1964. 8vo. Original printed yellow wrappers with green and black lettering. Minor soiling and minor creasing to wrappers. Internally near mint condition. Uncut and unopened. 371 pp.‎

‎Signed presentation-copy for Michelle Léglise (A Michell/ 11 Janvier 66/ Jean Pauls S"") of the first edition of the first Danish translation of ""Le Sursis"". This is a higly interesting presentation-copy, since Michelle Léglise (or Michelle Vian as she was named at the time), was both the wife of a close friend of Sartre, herself a close friend, and eventually - around the time of this presentation - his lover.In 1940 Michelle Léglise had met the French multi-artist and author Boris Vian, whom she married already in 1941. Boris Vian (1920-1959) is best known today for his novels (many of which were published under the pseudonym Vernon Sullivan). He was also of great importance to the French jazz-scene and served as liason for Duke Ellington and Miles Davis in Paris. He was also a popular musician in his own time. When he met Michelle, she taught him English and introduced him to American literature. They had a son together in 1942. In the middle of the 40'ies, Vian was struggling to have his novels acknowledged, but those that he published in 1945 were not very successful. He did, however, in 1946 have the luck of meeting, and later befriending Jean-Paul Sartre and Simone de Beauvoir, as well as Albert Camus, and he began publishing in ""Les Temps Modernes"". Thus, also Michelle got acquainted with the most famous couple in France at the time - and very well acquainted with Sartre! In fact the two became lovers and began an affair that lasted throughout Sartre's life, in 1980. Michelle and Boris Vian thus divorced in 1951 under messy circumstances. Both Beauvoir and Sartre were very fond of Boris Vian and had promoted him often, but the messy divorce seems to have created spite between the different parties involved - Sartre sided with Michelle, and Simone de Beauvoir with Boris Vian. ""Le Sursis"" originally appeared in 1945 as part II of ""Chemins de la liberté"". When the first Danish edition appeared in 1965, Sartre and Michelle were still lovers.‎

‎Apologia Philosophica et Christiana, pro Animi libertate.‎

‎Paris, Apud Michaëlum de Roigny, 1569. Small 8vo. Very nice recent half calf with five raised bands and gilt title to spine. Old owner's name to title-page (discreet). A nice and clean copy with only minor, very light soiling. Nice woodcut initials. 51 ff.‎

‎Very rare first edition of this work on the freedom and immortality of the soul, by the father of the famous physicist and anatomist, Jean Riolan the Younger. Jean Riolan the Elder (1539-1605) was also himself a noted French anatomist and a leading member of the medical faculty of Paris. He fought against the novelties that entered the faculty due to Paracelsus and authored a number of works attacking the most famous of the scientists who were in favour of chemical means. Works by him are of great scarcity.The work, which is divided into three parts attacks the theories on the soul of Pomponazzi, Portius, Sepulveda, and Cardano, and as such it is an important document in the seminal controversy about the immortality odf the soul which dominated most philosohical thought of the Renaissance.We have been unable to find the work in any bibliographies.‎

‎Universae Naturae Theatrum, In quo rerum omnium effectrices causae, & fines contemplantur, & continuae series quinque libris discutiuntur. - [THE FINAL EXPRESSION OF BODIN'S PHILOSOPHY]‎

‎Lyon, Jacob Roussin, 1596. 8vo. Contemporary limp vellum. Title-page printed in red and black. A fine copy. (16), 633 pp.‎

‎The rare first edition of Bodin's great final work, his main contribution to the field of natural philosophy, ""The Theatre of Nature"", which was written in 1590, but published for the first time in the year of his death, 1596. In spite of the fact that the ""Theatrum"" has been somewhat neglected by modern scholars and has for instance never translated into English in 1997, it is in fact one of his most important works. It constitutes the most systematic exposition of Bodin's vision of the world and is the culmination point of his systematic examination of things, revealing to us the full extent of his entire philosophy.In this Bodin's magnum opus of natural history, a completely new type of natural philosophy is constructed, one which attempts to combine religion with philosophy. By combining philosophical research concerning causes with a pious recognition of divine providence and the greatness of God, Bodin constantly reminds us of the importance of reason and reasoning at the same time that he refers to the Holy Scripture. Jean Bodin (1529/30 - 1596), ""one of the towering figures in the history of French thought"" (Scott), was a lawyer, economist, natural philosopher, historian, and one of the major political theorists of the sixteenth century. His main work, the ""Six livres de la république"" is one of the most important works of modern political thought. Here Bodin gave the first systematic statement of sovereignty and coined the term ""political science"". With his theory of the State and statement of Sovereignty, he fundamentally changed the history of political thought in the West. The ""Six livres de la république"" is Bodin's most famous and frequently read work, and ever since the 18th century, it has completely overshadowed everything else that he wrote. In the 17th century, however, Bodin's ""Theatrum"" was considered very important to the understanding of Bodin's entire philosophical system, including the political. It is the only one of his works that attempts to actually do that which he ever since the beginning of his career set out to do: to methodologically study all things, human and divine.Bodin does this in a manner that made it universally understandable. ""While its erudition and philosophical originality suited it well to professors and scholars, Bodin's ""Theatrum"" was also designed to be pedagogical, with its question-and-answer format and its broad coverage of natural philosophy from first principles to metals and minerals, plants and animals, souls, angels, and the heavenly bodies."" (Ann Blair, The Theater of Nature: Jean Bodin and Renaissance Science, p. 17). Tchemerzine: II:250.‎

‎Oorlogskundige Beschryving van de Veldslagen, en Belegeringen. der drie doorluchtige en wydvermaarde Krygsoversten, hunne vorstelyke hoogheden, den Prins Eugenius van Savoye, den Prins en Hertog van Marlborough, en den Prins van Oranje- en Nassau-Vrie... - [THE WARS OF PRINCE EUGENE DE SAVOYE, THE DUKE OF MARLBOROUGH AND THE PRINCE OF NASSAU]‎

‎'s Gravenhaage, Isac van der Kloot, 1729. Large folio. (57 x 34 cm.). Bound uncut (!) in 2 contemp. hcalf. 6 raised bands. Titlelabels with gilt lettering. Wear to spine-ends. A small stamp on foot of title-pages. Title-pages printed in red/black. Engraved titlevignettes. Some engraved vignettes. (6 - incl. half-title),LX,147"(4),358 pp. With in all 90 engraved plates, mostly folded and double-page (or more), including 10 maps, 1 portrait (Eugene), 79 plates (including the 12 famous plates of battlescenes). 5 folded tables. As it is bound uncut the copy is wide-margined, clean and printed on good paper.‎

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‎First Dutch edition, published the same year as the French ""Histoire Militaire du Prince Eugene de Savoye... etc."", and with the same engravings. This fine and monumental work describes and depicts the wars of Prince Eugene de Savoye, the Duke of Marlborough and the Prince of Nassau, in Italy, Hungary, Germany, The Netherlands and against the Turcs. The 10 engraved maps are engraved by Hubert Iallot, Covens & Mortier, Guillaume de L'Isle etc. The very detailled panoramas of war scenes, include the fine and famous series made by Jan Huchtenberg (Huchtenberg, Pinxit et excudit). Prince Eugene's almost invariable success on the battle-field raised the reputation of the Austrian army to a point which it never reached either before or since his day. War was with him a passion. Always on march, in camps, or on the field of battle during more than fifty years, and under the reigns of three emperors, he had scarcely passed 2 years together without fighting.‎

‎Opera philosophica in quatuor volumina digesta. Editio Quinta. (1. Logica. De argumento theologico ab invidia ducto. Ontologia. 2. Pneumatologia. Thomae Stanleii Historia philosophiae orientalis. 3 & 4. Physica). 4 vols.‎

‎Amstelodami, Wetstenios, 1722. 8vo. Uniformly bound in four nice Cambridge-style mirror bindings with five raised bands and richly gilt spines. Small paper-labels pasted on to top of spine. Lower part of front hinge split. A nice set. (24), 400 pp. + frontispiece and 1 portrait (16), 375, (47) pp. (24), 267, (3) pp. + 8 plates and 1 map 358, (2) pp. + 2 plates. ‎

‎Fifth edition of Leclerc’s ‘Opera’ which includes most of his most popular and influential works. “Jean Leclerc (born March 19, 1657, Geneva—died Jan. 8, 1736, Amsterdam) was an encyclopaedist and biblical scholar who espoused advanced principles of exegesis (interpretation) and theological method.Educated at Geneva and also in France at Grenoble and Saumur (all noted for a radical approach to biblical and patristic documents), Leclerc broke with scholastic Calvinism. In 1684 he was appointed to the Remonstrant Seminary faculty at Amsterdam. He made a lasting contribution to biblical studies as editor of three encyclopaedias: Bibliothèque universelle et historique (26 vol., 1686–93), Bibliothèque choisie (28 vol., 1703–13), and Bibliothèque ancienne et moderne (29 vol., 1714–30). His views on the Scriptures included the denial of Mosaic authorship of the Pentateuch as well as of the divine inspiration of Ecclesiastes, Job, Proverbs, and the Song of Solomon.” (Encyclopedia Britannica).‎

‎Histoire de la ligue faite à Cambray entre Jules II Pape, Maximilien I Empereur, Louis XII Roi de France, Ferdinand V Roi d'Arragon, & tous les princes d'Italie. Contre la République de Venise. 2 vols. ‎

‎Paris, Florentin Delaulne, 1709. 8vo. Bound in one contemporary full calf binding with four raised bands and richly gilt spine. Small paper-label pasted on to top of spine. Previous owner's name to front free end-paper in contemporary hand. Light wear to extremities, but overall a nice and clean copy. XXI, (3), 454, (2), 563 pp. ‎

‎Rare first edition of Dubos’ history on The War of the League of Cambrai also known as the War of the Holy League, fought from February 1508 to December 1516 as part of the Italian Wars of 1494–1559. The main participants of the war were France, the Papal States, and the Republic of Venice, they were joined at various times by nearly every significant power in Western Europe. “(The present work) was a clear and engaging history of the alliance, including France, assembled by Pope Julius II to wage war against the Venetian Republic between 1508 and 1516. The book was praised by, among others, Voltaire.” (Stanford Encyclopedia of Philosophy). Jean-Baptiste Du Bos (b. 1670, d. 1742) was a French antiquarian, historian, diplomat, polymath, and aesthetician. He participated in the Quarrel of the Ancients and Moderns, wrote on numismatics, delved into a variety of historical questions, and had an enduring love of the fine arts. Barbier II, 700.‎

‎Relation des differents arrivez en Espagne entre D. Jean d'Austriche et le cardinal Nitard. 2 vols.‎

‎Paris, Barbin & Aubouin, 1677. 8vo. Uniformly bound in two contemporary full calf bindings with five raised bands and gilt lettering and ornamentation to spine. Edges of boards gilt. Small paper-label pasted on to top of spines. Wear to extremities. Spine-ends chipped and some of gilting worn off. Internally nice and clean. (2), 407 pp. (2), 335, (5) pp. ‎

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‎Uncommon first edition of this compilation of letters and major polemical texts that marked the feud between don Juan José of Austria (1629-1679), illegitimate son of Philip IV of Spain, governor of the Spanish Netherlands (1656-1659) and the Austrian Jesuit Johann Eberhard Nithard (1607-1681). Not in Barbier.‎

‎Original handwritten manuscript-leaf in Rousseau's hand constituting in a series of notes on marriage from the ""Rituel de Chartres"" (printed in Paris in 1531). - [HANDWRITTEN NOTES BY ROUSSEAU ON MARRIAGE RITUALS]‎

‎(Unsigned, and no date, but penned between 1746 and 1751). 1 leaf 4to (25,5 x 19 cm), off-white paper in fine condition. Fully penned on both recto (24 lines) and verso (5 lines). ‎

‎This magnificent manuscript leaf in Rousseau's hand constitutes notes on marriage rituals taken from ""Rituel des Chartres"", which was printed in Paris in 1531. This manuscript leaf is part of a grandiose project that Rousseau was working on with his employer Madame Dupin during his years as her secretary. The project was that of writing the history of womankind. With its focus on gender equality, the work is nothing less than pioneering and would no doubt have been a work of seminal importance in the history of feminism and women's rights, had it ever been published. The manuscript ended up comprising more than 2.000 pages, but was never printed. Louise Marie Madeline Fontaine Dupin (1706-1799) was one of the most famous salonnieres of the 18th century, renowned for the beauty as well as her intelligence. Rousseu met her in 1743 and took an instant liking to her. In 1745, she offered him the position as her private secretary and tutor to her son. During his six years in her employment, he spent most of the time working on the grandiose project of the history of women, until it was abandoned in 1751. ""In the years between 1745 and 1749 Jean Jacques Rousseau was employed by Louise Marie Madeline Dupin as a research assistant on her ambitious project to delineate in print the history of women. After years of labor by Rousseau and Madame Dupin her ""Ouvrage sur les Femmes"" was shelved, unfinished. The research notes, drafts, and fair copies written by Rousseau and his employer were stored at the chateau of Chenonceaux, essentially forgotten, until their sale at a series of auctions held between 1951 and 1958."" (Harry Ranson Center, University of Texas)‎

‎La parfaite connoissance des chevaux, leur anatomie, leurs bonnes & mauvaises qualitez, leurs maladies & les remedes qui y conviennent. - [ONE OF THE MOST IMPORTANT 18TH CENTURY WORKS ON HORSEMANSHIP]‎

‎Glogau, Frederic Günther, 1765. Folio (376 x 265 mm). In contemporary (original?) marbled paper covered boards. Wear to extrmities, spine-ends chipped. Outer margin of back board brushed with dark paint, also affecting outer edge of book block. Outer margin of plate 46 chipped. Internally nice and clean, plates uncut. (8), 256, (8) pp. + frontispiece and 61 copper-engraved plates by and after François Morellon La Cave, François van Bleyswyck, and Ernst Ludwig.‎

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‎Interesting variant, possibly a title-issue of the first edition not recorded in any of the major bibliographies, of Saunier’s famous and richy illustrated work on equine anatomy. The present copy corresponds to the first edition (La Haye, 1734) but has “Glogau, Frederic Günther, 1765” listed as printer and year. The first German translation was published in Glogau in 1765, but this present copy predates it by two years and is in French. The present work quickly became one of the most important 18th century works on horses, not only because of the beautiful and detailed depictions of the anatomy of horses, but also because of the actual usefulness for equestrians. Gaspard de Saunier (1663 - 1748) gained recognition after establishing his equestrian academy in Leiden in 1707. Prior to this, he served as equerry to notable nobles in France and trained at the French royal stables alongside his father, Jean de Saunier, 'inspecteur de la grande écurie du roi', who Gaspard credits as the original author of the text. Graesse, Brunet and Nissen list the first edition from 1734.Agassiz, p. 245 (First German edition). No copies of the particular edition on OCLC.‎

‎Etat des Royaumes de Barbarie, Tripoly, Tunis et Alger. - [ON TUNIS, ALGIERS & TRIPOLI]‎

‎A La Haye, Gillaume de Voys, 1704. 12mo (165 x 110 mm). In contemporary full calf with five raised bands with richly gilt spine. Edges of boards gilt. Traces from small paper-label pasted on to top of spine. Wear to extremities, boards with scratches and some of the gilt ornamentation to spine worn off. Ex-libris pasted on to pasted down front end-paper. (8), 363 pp. Internally very nice and clean. ‎

‎Second edition, first published the year before in 1703, of this collection of letters from Tripoli, Tunis and Algiers, containing detailed description of the geography and natural and political history of each city. “The first edition of the ‘Etat des royaumes de Barbarie’ appeared anonymously in 1703, and most biographers of the period attributed it incorrectly to the Mathurin Father and editor Jean-Baptiste de La Faye. Addressed to the superior general of the Order of the Most Holy Trinity, the four letters that make up the État were in fact written by Philemon de La Motte, who had been sent on a mission to redeem Christian slaves in the Barbary states of North Africa. Consists of three letters written in the year 1700 during a Mathurin mission to ransom French Christian captives in North Africa, and a fourth letter composed of a series of five dialogues between the author and a mysterious Christian living in Tripoli on the teachings and history of the Church regarding the redemption and consolation of Christian lives.” According to Barbier an earlier edition was published in Rouen in 1703, another issue with the same collation was published in 1704 under the imprint of Meyndert Uytwerf. Barbier II, 297.‎

‎Regii quondam in Academia Parisiensi literarum Hebraicarum Professoris commentarij in Salomonis Prouerbia, Ecclesiasten & Canticum canticorum [Mercier] (+) Iesaias In Iesaiam Prophetam Commentarius pius & eruditus clarissimi viri D.D. Henrici Molleri ...‎

‎Geneva, Excudebat Eustathius Vignon, 1573 [Mercier] (+) Tiguri (Zürich), Cambieri, 1602 [Moller]. Folio (320 x 220). In contemporary limp vellum with yapp edges. Title in contemporary hand to spine and small paper-label pasted on to spine. Wear and soiling to extremities, two small holes to back board. Internally very fine and clean. (2), 168, (6)" (20), 236 ff.‎

‎An interesting sammelband consisting of two works respectively on commentaries on the biblical books of Proverbs, Ecclesiastes, and the Song of Solomon (Mercier) and a commentary on the Prophet Isaiah (Moller). Heinrich Moller (also spelled Möller) was a German Lutheran theologian and historian who lived from 1530 to 1589. He is primarily known for his works in church history and theology, particularly his comprehensive chronicle of the Reformation era titled ""Historia Sacra ex Novo Testamento"" (Sacred History from the New Testament), published in 1580. This work provided a detailed account of the history of Christianity from the time of Christ to the end of the 16th century, focusing on the Protestant Reformation and its key figures. Moller's writings were influential in shaping the historical narrative of the Protestant movement during his time and beyond. Jean Le Mercier (also known as Johannes Mercerus) was a French Calvinist theologian and Hebraist who lived during the 16th century. Le Mercier was known for his expertise in Hebrew language and biblical studies. He served as a professor of Hebrew at the University of Heidelberg in Germany and later at the University of Geneva in Switzerland. Le Mercier is best known for his scholarly works on the Old Testament, particularly his commentaries on various books of the Bible, which were highly regarded for their depth of analysis and linguistic insights – the present work being a fine example of this. ‎

‎Recueil de voiages au nord, contenant divers memoires tres utiles au commerce & a la navigation. vol. 1 & 2. (Included: ""Relation de L'Islande & ""Journal d'un Voyage au Spitzbergen et au Groenlandt""). - [RARE WORK ON VARIOUS TRAVELS IN THE NORTH]‎

‎Amsterdam, Bernard, 1715. 8vo. Uniformly bound in two contemporary full calf binding with five raised bands with richly gilt spines. Traces from white paper-label to upper compartment of spines. Light wear to extremities, corners bumped and some of gilting worn off. Plates chipped at edges and maps with a few tears, but generally a nice and clean set. (8), XLIV, (6), 116, 200 pp. + frontispiece, 4 folded maps and 6 plates"" (4), 298 pp. + 16 plates. ‎

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‎Uncommon first edition (the two first volumes) of this compilation of Northern voyages. A total of 10 volumes was published in the period 1715 – 1738. These first two volumes concentrate on Greenland and Iceland. “Bernard claimed that the ‘science de voyager’ required such a broad range of knowledge that no one individual could hope to encompass all relevant disciplines. Among these, he included natural history, astronomy, geography, hydrography, philosophy, and commerce. He criticized most published travel accounts for their contradictions and lack of precision. His collection of voyages was intended to correct these faults and the list of instructions was supplied to guide the ‘voyageur curieux & philosophe’ in making reliable observations.” (Harris, Rethinking the Mediterranean, p. 239) “Recueil de voyages au Nord was published in ten volumes between 1715 and 1738 and was met with great success. It focused on a variety of territories of the “North”, from Iceland to Japan. Already very familiar with existing travel literature of the time, the editor, in addition to compiling previously published travel literature, produced translations and wrote accounts in which, while seeking to satisfy the reader’s curiosity, he insisted on ways to make each journey useful.” (Muceni, L’apport d’un éditeur des Lumières à la littérature viatique de son temps : Jean-Frédéric Bernard et le Recueil de voyages au Nord). Sabin 4935Leclerc I, 1264: ""Collection tres estimee"" (Referring to the first 4 volumes).‎

‎Histoire de Dannemarc, avant et depuis l'établissement de la monarchie. Nouvelle Edition. 9 vols. - [BEAUTIFULLY BOUND COPY OF THE FIRST FRENCH WORK ON THE HISTORY OF DENMARK]‎

‎Paris, Rollin, 1732. 8vo. Nine parts uniformly bound in nine nice contemporary Cambridge-style mirror bindings with four raised bands and richly gilt spines. All edges coloured in red. Light wear to extremities. All boards with scratches and with a bit of loss of leather. A few leaves with marginal worm-tracts, not affecting text. An overall nice and clean set. (4), 353, (1), CXX pp. + frontispiece and 1 folded map (8), 570 pp. (4), 462 pp. (4), 416 pp. (4), 416 pp. (4), 430 pp. (8), 464 pp. (4), 444 pp. (4), 371 pp. (4), 468 pp. ‎

‎Second enlarged edition of the first history of Denmark in French, here extended with a ninth volume. Des Roches de Parthenay, also known as Jean Baptiste (Blaise) Desroches de Parthenay was a project manager, translator, and journalist. Born in La Rochelle, France, he passed away at Frederiksberg’s Hospital in Copenhagen,Denmark. He worked as a lawyer in his hometown before emigrating as a Huguenot to the Netherlands. He settled in The Hague, where he, along with Bruzen de la Martiniére and La Barre de Beaumarchais, engaged in literary activities. One of the outcomes was this present work which to a large extent is a compilation of older Latin narratives. What it perhaps lacks in originality it gains in historiographical importance being the first substantial work in French on Danish history.‎

‎Memoires sur le Rang et la Preseance entre les Souverains de l'Europe et entre leurs ministres representans suivant leurs differens Caracteres.pour servir de supplement a l'Ambassadeur et ses fonctions de Mr. de Wicquefort. - [ON RANKS AND PRECEDENCE IN EUROPEAN COURTS]‎

‎Amsterdam, Francois l'Honore et Fils, 1746. 4to. In contemporary full calf with five raised bands and richly gilt spine. Small paper-label pasted on to top of spine. Light wear to extremities, boards with a few stains. Ex-libris pasted on to pasted down front end-paper. Internally very fine and clean, a nice copy. (8), 237, (3) pp.‎

‎Uncommon first edition of this work on rank and precedence in the courts of Europe. De Missy wrote several works on international law, several of them becoming reference works for diplomats.Jean Rousset de Missy (1686 – 1762) was a French Huguenot writer, a renowned historian and author on international law and a prolific journalist.‎

‎Traité succint de la trigonometrie géometrique aux triangles rectilignes sans les sinus. Par une manière générale, laquelle donne la vraye proportion, & grandeur des costés d'un triangle, soit en longitude, ou en puissance.‎

‎A Orleans, par Claude & Jacques Borde, 1647. 8vo. In contemporary gilt-ornamented wrapper with small leather leather backstrip. Wrappers with wear and soiling. Internally fine, printed on good paper. (6), 48 pp.‎

‎Rare first edition of Jean Morris' treatise on geometric trigonometry with rectilinear triangles without sines.OCLC list three copies: Two in France and one in New York. ‎

‎Voyages de Mr. Du Mont En France, En Italie, En Allemagne, À Malthe, Et En Turquie. 4 parts.‎

‎Haye, Foulque & Honoré, 1699. Large12mo. 4 part uniformly bound in 2 full calf bindings with four raised bands and richly gilt spines. Extremities with wear, boards with several worm holes, upper capitals with wear, corners bumped and missing small parts. Internally with light occassional brownspots and a few worm tract and marginal dampstaining.Title-page to vol 4 closely trimmed with lower of text to lower margin. (10), 336, (24) (2), 337, (21) (2), 281, (23) (2), 356, (45) pp. + 7 folded plates and 1 frontispiece.‎

‎Second enlarged edition of Dumont's account of his voyages which became highly popular - party because of this work he was named official historiographer to king Charles VI. “Born in Rouen in 1667, Jean Dumont, a French Protestant, was enrolled in the army of which he became captain after taking part in campaigns in the Palatinate and Schwabia. He left the army after he was arrested, falsely suspected of espionage. After his release, he left for Italy and then for Turkey on 26 May 1690. In August 1692, after travelling across Germany on his was back he went to the Hague, where he published his ‘Nouveau voyage du Levant’ in 1694. He dedicated it to William of Schuylenburg, Lord of Dukenburg, “counsellor and clerk to the council to his Britannic Majesty”, who was “ the support of so many illustrious exiles, whom the tempest of the age has cast upon the shores of Holland…”. An enlarged edition was published in 1699 (The present work). He later studied and taught law. He also became historiographer to the Holy Roman Emperor Charles VI and was made Baron of Carlscroon. He died in Vienna on 13th May 1727. (Christians under the Ottoman Turks) Cox I, 217Brunet VI, 20058‎

‎Voyage de l'Arabie heureuse, par l'Ocean Oriental, & le Détroit de la Mer Rouge: fait par les François pour la premiere fois, dans les années 1708, 1709 & 1710. Avec la relation particuliere d'un voyage fait du Port de Moka à la cour du Roy d'Yeme... - [COFFE TRADE IN YEMEN]‎

‎Amsterdam, Steenhouwer and Uytwerf, 1716. 8vo. In contemporary full calf with four raised bands and gilt lettering and ornamentation to spine. Small paper-label pasted on to top of spine. Small worm tract to upper inner margin occassionally affecting text, otherwise fine. (14), 343, (10) pp. + frontispiece, folded map and 3 plates. ‎

‎First Amsterdam edition published the same year as the second Paris edition (the first being from 1715) of this travel account compiled from various sources. In 1708-10 and 1711-13 La Roque participated on two expeditions to the Arabian peninsula, and afterwards published his Arabian experiences in the present work. In this treatise he gives a highly descriptive and detailed account of coffee plantations and the coffee trade in Yemen. Jean de la Roque (1661 –1745) was a French traveller and journalist born in Marseille. He was the son of Pierre de la Roque, a merchant who famously introduced coffee to Marseille in 1644, and the brother of Antoine de la Roque (1672-1744), a noted journalist with whom he collaborated with on the magazine Mercure de France. Chadenat 6335 Cox I, 222.‎