• Title : Le Guepier
• Size: 12in x 9in (305mm x 230mm)
• Condition: (A+) Fine Condition
• Date : 1775
• Ref #:  23511

Description:
This beautifully hand coloured original copper-plate engraved antique print was published in the 1775 Imperial quatro edtion of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)
These prints are rare produced for a limited release of Histoire Naturelle with both the engraving and hand colouring done under the supervision of the French naturalist. Edme-Louis Daubenton and engraved by the famous French engraver Francois Nicolas Martinet.

A deluxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved by Francois Nicolas Martinet
and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

Francois Nicolas Martinet was a French engraver and draughtsman. In 1756, he was working for the court of France as Graveur du Cabinet du Roi, under the auspices of the Menus Plaisirs du Roi, making engravings after drawings by others of such subjects as the May Ball at Versailles during the Carnival of 1763. In the same period, Martinet produced illustrations for plays or comic operas by such contemporaries as Marmontel, Voltaire and Philidor. Some of these he engraved himself, while others were drawn by him but engraved by his sister Thérèse Martinet (born c. 1731). He is best known for his engravings of birds for Comte de Buffon\'s, Histoire Naturelle Des Oiseaux published in Paris from 1770-86. In 1768, a comprehensive group of natural history studies drafted by Martinet, and engraved by Robert Bénard were included in the natural history volume of Diderot and Alembert’s Encyclopédie. Martinet also drew and engraved portraits, landscapes and genre scenes.

Edme-Louis Daubenton 1730 – 1785 was a French naturalist.
Daubenton was the cousin of another French naturalist, Louis Jean-Marie Daubenton. Georges-Louis Leclerc, the Comte de Buffon engaged Edme-Louis Daubenton to supervise the coloured illustrations for the monumental Histoire Naturelle (1749–89). The Planches enluminée started to appear in 1765 and finally counted 1,008 plates, all engraved by François-Nicolas Martinet (1731–1800), and all painted by hand. The Parisian publisher Panckoucke published a version without text between 1765 and 1783. More than 80 artists took part in the realization of the original paintings. 973 plates relate to birds; others illustrate especially butterflies but also other insects, corals, etc. The illustrations were not very successful, but they allow a rather good determination of the species illustrated, some of them now extinct. As Buffon did not follow the system of biological nomenclature developed by Carl von Linné in 1783, Pieter Boddaert (1730–1796) published a table of the correspondence of the names used with their Linnean binomial names.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 12in x 9in (305mm x 230mm)
Plate size: - 10in x 8in (255mm x 205mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Rale, de Cayenne
• Size: 12in x 9in (305mm x 230mm)
• Condition: (A+) Fine Condition
• Date : 1775
• Ref #:  23507

Description:
This beautifully hand coloured original copper-plate engraved antique print was published in the 1775 Imperial quatro edtion of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)
These prints are rare produced for a limited release of Histoire Naturelle with both the engraving and hand colouring done under the supervision of the French naturalist. Edme-Louis Daubenton and engraved by the famous French engraver Francois Nicolas Martinet.

A deluxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved by Francois Nicolas Martinet
and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

Francois Nicolas Martinet was a French engraver and draughtsman. In 1756, he was working for the court of France as Graveur du Cabinet du Roi, under the auspices of the Menus Plaisirs du Roi, making engravings after drawings by others of such subjects as the May Ball at Versailles during the Carnival of 1763. In the same period, Martinet produced illustrations for plays or comic operas by such contemporaries as Marmontel, Voltaire and Philidor. Some of these he engraved himself, while others were drawn by him but engraved by his sister Thérèse Martinet (born c. 1731). He is best known for his engravings of birds for Comte de Buffon\'s, Histoire Naturelle Des Oiseaux published in Paris from 1770-86. In 1768, a comprehensive group of natural history studies drafted by Martinet, and engraved by Robert Bénard were included in the natural history volume of Diderot and Alembert’s Encyclopédie. Martinet also drew and engraved portraits, landscapes and genre scenes.

Edme-Louis Daubenton 1730 – 1785 was a French naturalist.
Daubenton was the cousin of another French naturalist, Louis Jean-Marie Daubenton. Georges-Louis Leclerc, the Comte de Buffon engaged Edme-Louis Daubenton to supervise the coloured illustrations for the monumental Histoire Naturelle (1749–89). The Planches enluminée started to appear in 1765 and finally counted 1,008 plates, all engraved by François-Nicolas Martinet (1731–1800), and all painted by hand. The Parisian publisher Panckoucke published a version without text between 1765 and 1783. More than 80 artists took part in the realization of the original paintings. 973 plates relate to birds; others illustrate especially butterflies but also other insects, corals, etc. The illustrations were not very successful, but they allow a rather good determination of the species illustrated, some of them now extinct. As Buffon did not follow the system of biological nomenclature developed by Carl von Linné in 1783, Pieter Boddaert (1730–1796) published a table of the correspondence of the names used with their Linnean binomial names.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 12in x 9in (305mm x 230mm)
Plate size: - 10in x 8in (255mm x 205mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Pic varie Femelle, de la Jamaique
• Size: 12in x 9in (305mm x 230mm)
• Condition: (A+) Fine Condition
• Date : 1775
• Ref #:  23506

Description:
This beautifully hand coloured original copper-plate engraved antique print was published in the 1775 Imperial quatro edtion of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)
These prints are rare produced for a limited release of Histoire Naturelle with both the engraving and hand colouring done under the supervision of the French naturalist. Edme-Louis Daubenton and engraved by the famous French engraver Francois Nicolas Martinet.

A deluxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved by Francois Nicolas Martinet
and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

Francois Nicolas Martinet was a French engraver and draughtsman. In 1756, he was working for the court of France as Graveur du Cabinet du Roi, under the auspices of the Menus Plaisirs du Roi, making engravings after drawings by others of such subjects as the May Ball at Versailles during the Carnival of 1763. In the same period, Martinet produced illustrations for plays or comic operas by such contemporaries as Marmontel, Voltaire and Philidor. Some of these he engraved himself, while others were drawn by him but engraved by his sister Thérèse Martinet (born c. 1731). He is best known for his engravings of birds for Comte de Buffon\'s, Histoire Naturelle Des Oiseaux published in Paris from 1770-86. In 1768, a comprehensive group of natural history studies drafted by Martinet, and engraved by Robert Bénard were included in the natural history volume of Diderot and Alembert’s Encyclopédie. Martinet also drew and engraved portraits, landscapes and genre scenes.

Edme-Louis Daubenton 1730 – 1785 was a French naturalist.
Daubenton was the cousin of another French naturalist, Louis Jean-Marie Daubenton. Georges-Louis Leclerc, the Comte de Buffon engaged Edme-Louis Daubenton to supervise the coloured illustrations for the monumental Histoire Naturelle (1749–89). The Planches enluminée started to appear in 1765 and finally counted 1,008 plates, all engraved by François-Nicolas Martinet (1731–1800), and all painted by hand. The Parisian publisher Panckoucke published a version without text between 1765 and 1783. More than 80 artists took part in the realization of the original paintings. 973 plates relate to birds; others illustrate especially butterflies but also other insects, corals, etc. The illustrations were not very successful, but they allow a rather good determination of the species illustrated, some of them now extinct. As Buffon did not follow the system of biological nomenclature developed by Carl von Linné in 1783, Pieter Boddaert (1730–1796) published a table of the correspondence of the names used with their Linnean binomial names.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 12in x 9in (305mm x 230mm)
Plate size: - 10in x 8in (255mm x 205mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Courly a Col blanc, de Cayenne
• Size: 12in x 9in (305mm x 230mm)
• Condition: (A+) Fine Condition
• Date : 1775
• Ref #:  23508-1

Description:
This beautifully hand coloured original copper-plate engraved antique print was published in the 1775 Imperial quatro edtion of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)
These prints are rare produced for a limited release of Histoire Naturelle with both the engraving and hand colouring done under the supervision of the French naturalist. Edme-Louis Daubenton and engraved by the famous French engraver Francois Nicolas Martinet.

A deluxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved by Francois Nicolas Martinet
and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

Francois Nicolas Martinet was a French engraver and draughtsman. In 1756, he was working for the court of France as Graveur du Cabinet du Roi, under the auspices of the Menus Plaisirs du Roi, making engravings after drawings by others of such subjects as the May Ball at Versailles during the Carnival of 1763. In the same period, Martinet produced illustrations for plays or comic operas by such contemporaries as Marmontel, Voltaire and Philidor. Some of these he engraved himself, while others were drawn by him but engraved by his sister Thérèse Martinet (born c. 1731). He is best known for his engravings of birds for Comte de Buffon\'s, Histoire Naturelle Des Oiseaux published in Paris from 1770-86. In 1768, a comprehensive group of natural history studies drafted by Martinet, and engraved by Robert Bénard were included in the natural history volume of Diderot and Alembert’s Encyclopédie. Martinet also drew and engraved portraits, landscapes and genre scenes.

Edme-Louis Daubenton 1730 – 1785 was a French naturalist.
Daubenton was the cousin of another French naturalist, Louis Jean-Marie Daubenton. Georges-Louis Leclerc, the Comte de Buffon engaged Edme-Louis Daubenton to supervise the coloured illustrations for the monumental Histoire Naturelle (1749–89). The Planches enluminée started to appear in 1765 and finally counted 1,008 plates, all engraved by François-Nicolas Martinet (1731–1800), and all painted by hand. The Parisian publisher Panckoucke published a version without text between 1765 and 1783. More than 80 artists took part in the realization of the original paintings. 973 plates relate to birds; others illustrate especially butterflies but also other insects, corals, etc. The illustrations were not very successful, but they allow a rather good determination of the species illustrated, some of them now extinct. As Buffon did not follow the system of biological nomenclature developed by Carl von Linné in 1783, Pieter Boddaert (1730–1796) published a table of the correspondence of the names used with their Linnean binomial names.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 12in x 9in (305mm x 230mm)
Plate size: - 10in x 8in (255mm x 205mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Fig. 1. Le Cierge du Perou Fig 2. Le Cierge Rampant Fig 3. L Euphorbe
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1774
• Ref #:  90641

Description:
This original copper-plate engraved antique print was published in the 1774 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Fig. 1. La Civette Fig 2. Le Zibet Fig 3 La Genette
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1753
• Ref #:  91249

Description:
This original copper-plate engraved antique print was published in the 1753 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Polypiers
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  91244

Description:
This original copper-plate engraved antique print was published in the 1798 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Polypiers
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  91251

Description:
This original copper-plate engraved antique print was published in the 1798 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Polypiers
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  91251

Description:
This original copper-plate engraved antique print was published in the 1798 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : Histoire Naturelle, Insectes
• Size: 15in x 10in (380mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1774
• Ref #:  90535

Description:
This original copper-plate engraved antique print was published in the 1774 quatro edition of Comte de Buffons Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the King\'s Cabinet)

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Blue, pink, red, green, yellow
General color appearance: - Authentic
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 14in x 9in (355mm x 230mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi (Natural History, General and Particular, with a Description of the Kings Cabinet) is an encyclopaedic collection of 36 large (quarto) volumes written between 1749–1804 by the Comte de Buffon, and continued in eight more volumes after his death by his colleagues, led by Bernard Germain de Lacépède. The books cover what was known of the natural sciences at the time, including what would now be called material science, physics, chemistry and technology as well as the natural history of animals.
The Histoire Naturelle, générale et particulière, avec la description du Cabinet du Roi is the work that the Comte de Buffon (1707–1788) is remembered for. He worked on it for some 50 years, initially at Montbard in his office in the Tour Saint-Louis, then in his library at Petit Fontenet. 36 volumes came out between 1749 and 1789, followed by 8 more after his death, thanks to Bernard Germain de Lacépède. It includes all the knowledge available in his time on the natural sciences, a broad term that includes disciplines which today would be called material science, physics, chemistry and technology. Buffon notes the morphological similarities between men and apes, although he considered apes completely devoid of the ability to think, differentiating them sharply from human beings. Buffons attention to internal anatomy made him an early comparative anatomist. Lintérieur, dans les êtres vivants, est le fond du dessin de la nature, he wrote in his Quadrupèdes, the interior, in living things, is the foundation of natures design.
The Histoire Naturelle, which was meant to address the whole of natural history, actually covers only minerals, birds, and the quadrupeds among animals. It is accompanied by some discourses and a theory of the earth by way of introduction, and by supplements including an elegantly written account of the epochs of nature.
The Suppléments cover a wide range of topics; for example, in (Suppléments IV), there is a Discours sur le style (Discourse on Style) and an Essai darithmétique morale (essay on Moral Arithmetic).
Louis Jean-Marie Daubenton assisted Buffon on the quadrupeds; Philippe Guéneau de Montbeillard worked on the birds. They were joined, from 1767, by Barthélemy Faujas de Saint-Fond, the abbot Gabriel Bexon and Charles-Nicolas-Sigisbert Sonnini de Manoncourt. The whole descriptive and anatomical part of lHistoire des Quadrupèdes was the work of Daubenton and Jean-Claude Mertrud.
Buffon attached much importance to the illustrations; Jacques de Sève illustrated the quadrupeds and François-Nicolas Martinet illustrated the birds. Nearly 2000 plates adorn the work, representing animals with care given both to aesthetics and anatomical accuracy, with dreamlike and mythological settings.
On minerals, Buffon collaborated with André Thouin. Barthélemy Faujas de Saint-Fond and Louis Bernard Guyton de Morveau provided sources for the mineral volumes.
L Histoire Naturelle met immense success, almost as great as Encyclopédie by Diderot, which came out in the same period. The first three volumes of LHistoire Naturelle, générale et particulière, avec la description du cabinet du Roi were reprinted three times in six weeks.

The encyclopaedia appeared in 36 volumes :
3 volumes in 1749 : De la manière détudier lhistoire naturelle followed by Théorie de la Terre, Histoire Générale des animaux and Histoire Naturelle de lhomme
12 volumes on quadrupeds (1753 to 1767)
9 volumes on birds (1770 to 1783])
5 volumes on minerals (1783 to 1788), the last including Traité de laimant, the last work published by Buffon in his lifetime
7 volumes of supplements (1774 to 1789), including Époques de la nature (from 1778).
LHistoire Naturelle was initially printed at the Imprimerie royale in 36 volumes (1749–1789). In 1764 Buffon bought back the rights to his work. It was continued by Bernard Germain de Lacépède, who described the egg-laying quadrupeds, snakes, fishes and cetaceans in 8 volumes (1788–1804).

Buffon was assisted in the work by Jacques-François Artur (1708–1779), Gabriel Léopold Charles Amé Bexon (1748–1785), Louis Jean-Marie Daubenton (1716–1799), Edme-Louis Daubenton (1732–1786), Jacques de Sève (actif 1742–1788), Barthélemy Faujas de Saint-Fond (1741–1819), Philippe Guéneau de Montbeillard (1720–1785), Louis-Bernard Guyton-Morveau (1737–1816), Bernard Germain de Lacépède (1756–1825), François-Nicolas Martinet (1731–1800), the anatomist Jean-Claude Mertrud (1728–1802), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1751–1812), and André Thouin (1747–1823).
Each group is introduced with a general essay. This is followed by an article, sometimes of many pages, on each animal (or other item). The article on the wolf begins with the claim that it is one of the animals with a specially strong appetite for flesh; it asserts that the animal is naturally coarse and cowardly (grossier et poltron), but becoming crafty at need, and hardy by necessity, driven by hunger.[4] The language, as in this instance, is elegant and elaborate, even flowery and ornate.[5] Buffon was roundly criticised by his fellow academics for writing a purely popularizing work, empty and puffed up, with little real scientific value.
The species is named in Greek, Latin, Italian, Spanish, German, English, Swedish, and Polish. The zoological descriptions of the species by Gessner, Ray, Linnaeus, Klein and Buffon himself (Canis ex griseo flavescens. Lupus vulgaris. Buffon. Reg. animal. pag. 235) are cited.
The text is written as a continuous essay, without the sections on identification, distribution and behaviour that might have been expected from other natural histories. Parts concern human responses rather than the animal itself, as for example that the wolf likes human flesh, and the strongest wolves sometimes eat nothing else.[6] Measurements may be included; in the case of the wolf, 41 separate measurements are tabulated, in pre-revolutionary French feet and inches[a] starting with the Length of the whole body measured in a straight line from the end of the muzzle to the anus........3 feet. 7 inches. (1.2 m); the Length of the largest claws is given as 10 lines (2.2 cm).
The wolf is illustrated standing in farmland, and as a complete skeleton standing on a stone plinth in a landscape. The account of the species occupies 32 pages including illustrations.
The original edition of the Histoire Naturelle by Buffon comprised 36 volumes in quarto, divided into the following series: Histoire de la Terre et de lHomme, Quadrupèdes, Oiseaux, Minéraux, Suppléments. Buffon edited 35 volumes in his lifetime. Soon after his death, the fifth and final volume of lHistoire des minéraux appeared in 1788 at the Imprimerie des Bâtiments du Roi. The seventh and final volume of Suppléments by Buffon was published posthumously in 1789 through Lacépèdes hands. Lacépède continued the part of the Histoire Naturelle which dealt with animals. A few months before Buffons death, en 1788, Lacépède published, as a continuation, the first volume of his Histoire des Reptiles, on egg-laying quadrupeds. The next year, he wrote a second volume on snakes, published during the French Revolution. Between 1798 and 1803, he brought out the volume Histoire des Poissons. Lacépède made use of the notes and collections left by Philibert Commerson (1727–1773). He wrote Histoire des Cétacés which was printed in 1804. At that point, the Histoire Naturelle, by Buffon and Lacépède, thus contained 44 quarto volumes forming the definitive edition.
Another edition in quarto format was printed by the Imprimerie royale in 36 volumes (1774–1804). It consisted of 28 volumes par Buffon, and 8 volumes by Lacépède. The part containing anatomical articles by Louis Jean-Marie Daubenton was dropped. The supplements were merged into the relevant articles in the main volumes.

The Imprimerie royale also published two editions of the Histoire Naturelle in duodecimo format (1752–1805), occupying 90 or 71 volumes, depending on whether or not they included the part on anatomy. In this print format, the original work by Buffon occupied 73 volumes with the part on anatomy, or 54 volumes without the part on anatomy. The continuation by Lacépède took up 17 duodecimo volumes.
A de luxe edition of Histoire Naturelle des Oiseaux (Birds) (1771–1786) was produced by the Imprimerie royale in 10 folio and quarto volumes, with 1008 engraved and hand-coloured plates, executed under Buffons personal supervision by Edme-Louis Daubenton, cousin and brother-in-law of Buffons principal collaborator.

The original edition was arranged as follows:
Natural history, and description of the kings cabinet of curiosities
Volume I : Premier Discours - De la manière détudier et de traiter lhistoire naturelle, Second Discours - Histoire et théorie de la Terre, Preuves de la théorie de la Terre, 1749
Volume II : Histoire générale des Animaux, Histoire Naturelle de lHomme, 1749
Volume III : Description du cabinet du Roi, Histoire Naturelle de lHomme, 1749

Quadrupèdes (Quadrupeds) 
Volume IV (Quadrupèdes I) : Discours sur la nature des Animaux, Les Animaux domestiques, 1753
Volume V (Quadrupèdes II) : 1755
Volume VI (Quadrupèdes III) : Les Animaux sauvages, 1756
Volume VII (Quadrupèdes IV) : Les Animaux carnassiers, 1758
Volume VIII (Quadrupèdes V) : 1760
Volume IX (Quadrupèdes VI) : 1761
Volume X (Quadrupèdes VII) : 1763
Volume XI (Quadrupèdes VIII) : 1764
Volume XII (Quadrupèdes IX) : 1764
Volume XIII (Quadrupèdes X) : 1765
Volume XIV (Quadrupèdes XI) : Nomenclature des Singes, De la dégénération des Animaux, 1766
Volume XV (Quadrupèdes XII) : 1767

Histoire Naturelle des Oiseaux (Birds) (1770–1783) 
Volume XVI (Oiseaux I) : 1770
Volume XVII (Oiseaux II) : 1771
Volume XVIII (Oiseaux III) : 1774
Volume XIX (Oiseaux IV) : 1778
Volume XX (Oiseaux V) : 1778
Volume XXI (Oiseaux VI) : 1779
Volume XXII (Oiseaux VII) : 1780
Volume XXIII (Oiseaux VIII) : 1781
Volume XXIV (Oiseaux IX) : 1783

Histoire Naturelle des Minéraux (Minerals) (1783–1788) 
Volume XXV (Minéraux I) : 1783
Volume XXVI (Minéraux II) : 1783
Volume XXVII (Minéraux III) : 1785
Volume XXVIII (Minéraux IV) : 1786
Volume XXIX (Minéraux V) : Traité de lAimant et de ses usages, 1788

Suppléments à lHistoire Naturelle, générale et particulière (Supplements) (1774–1789) 
Volume XXX (Suppléments I) : Servant de suite à la Théorie de la Terre, et dintroduction à lHistoire des Minéraux, 1774
Volume XXXI (Suppléments II) : Servant de suite à la Théorie de la Terre, et de préliminaire à lHistoire des Végétaux - Parties Expérimentale & Hypothétique, 1775
Volume XXXII (Suppléments III) : Servant de suite à lHistoire des Animaux quadrupèdes, 1776
Volume XXXIII (Suppléments IV) : Servant de suite à lHistoire Naturelle de lHomme, 1777
Volume XXXIV (Suppléments V) : Des Époques de la nature, 1779
Volume XXXV (Suppléments VI) : Servant de suite à lHistoire des Animaux quadrupèdes, 1782
Volume XXXVI (Suppléments VII) : Servant de suite à lHistoire des Animaux quadrupèdes, 1789
Histoire Naturelle des Quadrupèdes ovipares et des Serpents (Egg-laying Quadrupeds and Snakes) (1788–1789)

The Gecko, 1788
Volume XXXVII (Reptiles I) : Histoire générale et particulière des Quadrupèdes ovipares, 1788
Volume XXXVIII (Reptiles II) : Histoire des Serpents, 1789

Histoire Naturelle des Poissons (Fish) (1798–1803) 
Volume XXXIX (Poissons I) : 1798
Volume XXXX (Poissons II) : 1800
Volume XXXXI (Poissons III) : 1802
Volume XXXXII (Poissons IV) : 1802
Volume XXXXIII (Poissons V) : 1803

Histoire Naturelle des Cétacés (Cetaceans) (1804) 
Volume XXXXIV (Cétacés) : 1804

• Title : New Invented Implements used in Husbandry....Royal Encylopedia....C Cooke....1794
• Date : 1794
• Condition: (A+) Fine Condition
• Ref:  91127
• Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : A View with Sections of Princes American Air Pumpwhich is Superior to Smeatons & every other modern construction....Royal Encylopedia....C Cooke....
• Date : 1798
• Condition: (A) Very Good Condition
• Ref:  91136
• Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : Chymical Apparatus....Royal Encylopedia....C Cooke....
• Date : 1798
• Condition: (A+) Fine Condition
• Ref:  91129
• Size: 15in x 9in (380mm x 230mm)

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : Chemistry Tab III Furnace Tower or Athanor....Royal Encylopedia....C Cooke....
• Date : 1798
• Condition: (A+) Fine Condition
• Ref:  26247
• Size: 16 1/2in x 10in (420mm x 255mm)

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10in (420mm x 255mm)
Plate size: - 14 1/2in x 8 1/2in (370mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : Art of War: Fig I. Represents The Method of placing Mines in a Siege; Fig 2. Representation of a fortified Place besieged....Royal Encylopedia....C Cooke....
• Date : 1798
• Condition: (A+) Fine Condition
• Ref:  01-7334
• Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 13 1/2in x 8 1/2in (345mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : Representation of the Nerves as they pass off to the Thorax Abdomen & Pelvis....Royal Encylopedia....C Cooke...1795
• Date : 1795
• Condition: (A) Very Good Condition
• Ref:  01-7324
• Size: 15in x 9in (380mm x 230mm) 

Description:
This large original copper-plate engraved antique print by William Henry Hall was engraved in 1795 - dated - and was published in the 1798 edition of The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan.... Charles Cooke, London.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 9in (380mm x 230mm)
Plate size: - 13 1/2in x 8 1/2in (345mm x 215mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Hall, William Henry
Hall was responsible for a significant publication in the middle of the 18th century The new royal encyclopedia; or, complete modern universal dictionary of arts and sciences on a new and improved plan . containing a digest and display of the whole theory and practice of the liberal and mechanical arts comprising a general repository of ancient and modern literature . including all the material information that is contained in Chamber s Cyclopedia, the Encyclopædia Britannica, and the French Encyclopædie . first published in 1788 going into many re-issues over the next 50 years.
The three volume set contained 153 copper-plate prints and maps, including some folding maps. Contained many brief encyclopedic entries in alphabetical orders plus longer, mainly illustrated, sections (systems or treatises) on a variety of subjects: Aerology; Aerostation (hot air balloons); Agriculture; Algebra; Amphibiology; Anatomy; Annuities; Architecture; Arithmetic; Astronomy (includes plates of telescopes); Book-Keeping; Botany; Brewing; Chronology; Chymistry; Comparative Anatomy; Concology; Dialling; Distillation; Drawing; Earth; Earthquakes; Electricity; Entomology; Farriery; Fencing; Fluxions; Fortification; Gardening; Geography (this section includes six folding maps); Geometry; Globes; Grammar; Heraldry; Hydrostatics and Hydraulics (one plate included a diving bell); Icthyology; Knighthood; Logic; Mammalia (included a plate showing whales); Mechanics; Medicine; Mensuration and Gauging; Miscroscopic Apparatus (microscopes); Midwifery; Military Affairs; Music; Natural History; Naval Affairs; Navigation (includes a folding map showing Cooks voyages); Optics; Oratory; Ornithology; Peerage; Perspective; Pneumatics; Projectiles; Steam Engines; Surgery; Surveying; Trigonometry; Vermeology; Volcanos; and War. Hard to find a complete set, as many have been broken up for their handsome copper plate engravings and maps.

• Title : Tombeaux de la Baie de Castries
• Ref  :  21436
• Size: 17in x 11in (435mm x 280mm)
• Date : 1797
• Condition: (A+) Fine Condition

Description:
This large original copper plate engraved antique print, a view of the very early settlement at De Kastri Bay, in the Ulchsky District of Khabarovsk Kai, Eastern Russia - opposite the Sakhalin Islands - by Jean-François de Galaup, Comte de la Pérouse was published in the 1st edition of the Atlas du voyage de La Perouse, Paris 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 17in x 11in (435mm x 280mm)
Plate size: - 17in x 11in (435mm x 280mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Small repairs to margins, no loss
Plate area: - None
Verso: - None

Background: 
De-Kastri was named for the former name of the bay on which it stands. The bay was discovered by La Pérouse on July 25, 1787 and named after the sponsor of the expedition—the then Secretary of State of the French Navy, the Marquis de Castries. The bay is a convenient natural refuge for vessels, giving it strategic importance from a military viewpoint.
The settlement was officially founded in 1853, although the land where it was situated would not officially be Russian territory until the signing of the Treaty of Aigun five years later.
In 1854, the difficult task of defending Petropavlovsk-Kamchatsky when it came under siege from the British and French forces during the Crimean War brought to attention the difficulties of supply and defense of the Kamchatka Peninsula, where a large section of the Russian Pacific Fleet was based. It was decided to move the port from Kamchatka without waiting for another attack. In the spring of 1855, the Russian navy\'s weapons and sailors under the leadership of Rear Admiral Vasily Zavoyko headed toward the mouth of the Amur River; however, the river mouth was still covered with ice. It was decided to wait for the break-up, hiding in the Bay of de Castries from the superior forces of French and English. Russian ships were discovered there, but managed to escape to the Amur River in the Strait of Tartary before the arrival of enemy reinforcements. The British and French did not know that Sakhalin was an island, and spent the later years of the war waiting in vain for the Russian fleet at its southern coast.

• Title : Echini Marini, or Sea Urchins, of the North West Coast of America. Published as the (act) directs Novr. 1st 1798, by G.G. & J. Robinson
• Size: 16 1/2in x 10 1/2in (420mm x 265mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  31738

Description:
This large original copper plate engraved antique print of various Sea Urchins found off the NW coast of America, collected during the voyages of Jean-François de Galaup, Comte de la Pérouse between 1785 to 1788 was engraved in 1798 - dated - and was published in the 1st English edition of the Atlas du voyage de La Perouse G.G & J. Robinson, London in 1799.
La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were first published in 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10 1/2in (420mm x 265mm)
Plate size: - 16 1/2in x 10 1/2in (420mm x 265mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Background: 
In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook\'s unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L\'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d Entrecasteaux to look for him, but the search was fruitless.

• Title : Terebratulae, or Anomle of Linnaeus; Cornu Ammonis from the Pacific Ocean between the Tropics.....Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
• Size: 18in x 11 1/2in (460mm x 295mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  31729

Description:
This large original copper plate engraved antique print of various shells, molluscus and shell fish in the Pacific, collected during the voyages of Jean-François de Galaup, Comte de la Pérouse between 1785 to 1788 was engraved in 1798 - dated - and was published in the 1st English edition of the Atlas du voyage de La Perouse G.G & J. Robinson, London in 1799.
La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were first published in 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 18in x 11 1/2in (460mm x 295mm)
Plate size: - 17in x 10 1/2in (430mm x 270mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Background: 
In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook\'s unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L\'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d Entrecasteaux to look for him, but the search was fruitless.

• Title : Insects..Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
• Size: 16 1/2in x 10in (420mm x 255mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  31737

Description:
This large original copper plate engraved antique print of various insects, seeds & plants collected during the voyages of Jean-François de Galaup, Comte de la Pérouse between 1785 to 1788 was engraved in 1798 - dated - and was published in the 1st English edition of the Atlas du voyage de La Perouse G.G & J. Robinson, London in 1799.
La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were first published in 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 10in (420mm x 255mm)
Plate size: - 16 1/2in x 10in (420mm x 255mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light age toning in margins
Plate area: - None
Verso: - None

Background: 
In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook\'s unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L\'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d Entrecasteaux to look for him, but the search was fruitless.

• Title : Insects..Published as the act directs Nov 1st 1798 by GG & J Robinson Parnastor Row
• Size: 18in x 11in (460mm x 280mm)
• Condition: (A+) Fine Condition
• Date : 1798
• Ref #:  31730

Description:
This large original copper plate engraved antique print of various insects, seeds & plants collected during the voyages of Jean-François de Galaup, Comte de la Pérouse between 1785 to 1788 was engraved in 1798 - dated - and was published in the 1st English edition of the Atlas du voyage de La Perouse G.G & J. Robinson, London in 1799.
La Perouse set sail from France in 1785 to continue the discoveries of Captain Cook. He was shipwrecked in 1788 but his narrative, maps, and views survived and were first published in 1797.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 18in x 11in (460mm x 280mm)
Plate size: - 17in x 10 1/2in (430mm x 270mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook\'s unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L\'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d Entrecasteaux to look for him, but the search was fruitless.

• Title : Choucari Vert; (Graucalus Viridis)
• Ref #:  31742
• Size: 18in x 12in (460mm x 305mm)
• Date : 1824
• Condition: (A) Very Good Condition

Description:
This magnificent large hand coloured original copper-plate engraved antique print of The Yellow Bellied Wood Shrike of Timor (Plate no. 21) by Florent Prévost (visited by Freycinet in November 1818) was engraved by Jean-Louis-Denis Coutant (1776-1831) and published in the 1824 1st edition of Louis De Freycinets Atlas of Mammals, Birds etc Voyage autour du monde fait par ordre du Roi sur les corvettes de S. M. l\'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820
These magnificent large hand coloured 1st edition engravings are extremely scarce and a must for ny collection.

Florent Prévost (1794 – 1870) was a French naturalist and illustrator. He was assistant naturalist at the Muséum National d Histoire Naturelle. He was the author of various zoological works, including Les Pigeons par Madame Knip (1843) and, with C. L. Lemaire, Histoire Naturelle des Oiseaux d\'Europe (1845). He did illustrative work in books by Coenraad Jacob Temminck (1778–1858), Charles Lucien Bonaparte (1803–1857) and Georges-Louis Leclerc de Buffon (1707–1788).
He worked on the birds from the voyage of La Venus with Marc Athanese Parfait Oeillet Des Murs, and on the birds and mammals brought back from the French expedition to Abyssinia between 1839 and 1843.
Prevost\'s ground sparrow (Melozone biarcuatum), Prevost\'s squirrel (Callosciurus prevostii), and Gerard\'s water snake (Gerarda prevostiana) are named after him

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Original
Colors used: - Yellow, green, blue, pink
General color appearance: - Authentic
Paper size: - 18in x 12in (460mm x 305mm)
Plate size: - 13in x 9 ½in (330mm x 240mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Light soiling & spotting
Plate area: - None
Verso: - Light soiling & spotting

Background: 
After the Restoration the French government gave Freycinet, then a captain, command of another expedition to circumnavigate the globe and conduct research into the shape of the earth, meteorology and terrestrial magnetism. He sailed from Toulon on 17 September 1817 in L Uranie with his wife Rose who secreted herself aboard, and who wrote a separate account of the voyage. After refreshing at the Cape of Good Hope and Mauritius he landed at Shark Bay, Western Australia on 12 September 1818 where he set up an observatory, thoroughly surveyed the inlets and the coastal districts and removed the plate left by Willem de Vlamingh, which he had found and re-erected in 1801. He then sailed north to Timor. His accounts and description of the landscape and life and customs of that and other islands in the East Indies captivated the attention of people in Europe much more than his Australian reports, and a widespread interest developed in the expedition. Leaving Timor on 27 November he sailed via the Moluccas, the Carolines, the Marianas, and the Sandwich Islands and reached Port Jackson on 19 November 1819, the scientists on board adding constantly to their store of information on hydrography, botany, cartography and anthropology. After spending Christmas ashore, they sailed on 26 December and, falling in with the westerlies, set a course for Cape Horn.
On 13 February 1820 L Uranie was wrecked on the Falkland Islands; the scientific records and notes were saved before the vessel foundered, but 2500 of the 4175 plant specimens were lost. Freycinet returned to France in November 1820 and died on 18 August 1842.
There is no evidence in the expedition\'s records or French governmental archives to suggest that there were political objectives in this circumnavigation but, though its purpose was to engage in scientific discovery, this first major voyage undertaken by the restored Bourbons did show the French flag in distant seas and foreshadowed a series of other expeditions which were not wholly scientific.

• Title : Naturels D Isabelle (Isle Solomon)
• Size: 21in x 15in (535mm x 380mm)
• Condition: (A+) Fine Good Condition
• Date : 1842
• Ref #:  31745

Description:
This magnificent, large original antique lithograph print of profiles of 4 different men of the island of Santa Isabel of the Solomon Islands, visited in November & December 1838 by Dumont D Urville, drawn by Ernest Goupil, artist/draftsman aboard the Astrolabe during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayoti and was published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Ernest Goupil was a French painter, draftsman and watercolourist He is known for the illustrations made as official painter for Dumont D Urvilles 2nd Voyage to the South Seas. In Voyage to the South Pole and in Oceania on corvettes l\'Astrobale and Zélée, executed by order of the king during the years 1837-1838-1839-1840, his drawings are transposed on stone, most notably by Emile Lassalle , Pharamond Blanchard and Adolphe Jean-Baptiste Bayot . Dumont d\'Urville relates: On the Zélée , Mr. Goupil fills his cartons with precious paintings, and on the Astrolabe , the young surgeon Le Breton, who has a remarkable talent in this genre, also performs at my asks for charming drawings.
Some drawings were sent to the Minister of the Navy and were shown to the King, who wanted to see them transposed into painting by the marine painter Théodore Gudin , but Goupil would not have given his consent.
In August 1839 in Samarang Java , the crew is struck by a violent epidemic, and after two months of suffering, Ernest Goupil succumbs and died on January 1 , 1840 ijn Hobart-town where he was buried with full military honours.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 15in (530mm x 380mm)
Plate size: - 21in x 15in (530mm x 380mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Light age toning
Plate area: - None
Verso: - None

Background: 
Santa Isabel Island (also known as Isabel, Ysabel and Mahaga) is the longest in the Solomon Islands, the third largest in terms of surface area, and the largest in the group of islands in Isabel Province.
The first European contact to the Solomon Islands was made at Santa Isabel Island, by the Spanish explorer Álvaro de Mendaña on 7 February 1568. It was charted as Santa Isabel de la Estrella (St. Elizabeth of the Star of Bethlehem in Spanish). A settlement was established by the Spaniards, and a small boat (known in the accounts as the brigantine) was built to survey and chart the surrounding sea and islands. These local explorations led by Maestre de Campo Pedro Ortega Valencia and Alférez Hernando Enríquez resulted in the discoveries of the islands of Malaita, Guadalcanal, Savo, Vangunu, Choiseul, Makira, Ulawa, Malaupaina, Malaulalo, Ali\'ite, and Ugi Island. The Spanish immediately came into contact with Solomon Islanders and at first the relationship was cordial. However, the Spanish expedition\'s need for fresh food and water quickly led to tension and conflict, the Solomon Islanders’ subsistence economy being unable to provide continuous supplies to the Spanish.
Having found no gold and little food, and beset by attacks and sickness, the Spanish colonists shifted their colony to the site of today\'s Honiara on Guadalcanal, and the settlement on Santa Isabel was abandoned.
Santa Isabel islanders suffered attacks from blackbirding in the nineteenth century (the often brutal recruitment or kidnapping of labourers for the sugar plantations in Queensland and Fiji).
In April 1885 a German Protectorate was declared over the North Solomon Islands, including Santa Isabel Island. In 1900, under the terms of Treaty of Berlin (14 November 1899), Germany transferred the North Solomon Islands (except for Bougainville and its surrounding islands) to the British Solomon Islands Protectorate in exchange for the British giving up all claims to Samoa. Missionaries settled on Santa Isabel Island under both protectorates, converting most of the population to Christianity. In the early 20th century several British and Australian firms began large-scale coconut planting.

• Title : Chef D Apia (Ise Opoulou): Jeune Fille D Apia (Ile Opoulou): Femme De Lefouga (Iles Hapai)
• Size:  22in x 14in (560mm x 370mm)
• Condition: (A+) Fine Good Condition
• Date : 1842
• Ref #:  31754

Description:
This magnificent, large original antique lithograph print of Pea the High Chief of the village of Apia on the Island of Upolu, Samoa along with and his daughter & wife visited in September 1838 by Dumont D Urville, by Ernest Goupil, the senior artist/draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayotiand was published in the 1842 1st edition of Dumont d Urvilles Voyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Ernest Goupil was a French painter, draftsman and watercolourist He is known for the illustrations made as official painter for Dumont D Urvilles 2nd Voyage to the South Seas. In Voyage to the South Pole and in Oceania on corvettes l\'Astrobale and Zélée, executed by order of the king during the years 1837-1838-1839-1840, his drawings are transposed on stone, most notably by Emile Lassalle , Pharamond Blanchard and Adolphe Jean-Baptiste Bayot . Dumont d\'Urville relates: On the Zélée , Mr. Goupil fills his cartons with precious paintings, and on the Astrolabe , the young surgeon Le Breton, who has a remarkable talent in this genre, also performs at my asks for charming drawings.
Some drawings were sent to the Minister of the Navy and were shown to the King, who wanted to see them transposed into painting by the marine painter Théodore Gudin , but Goupil would not have given his consent.
In August 1839 in Samarang Java , the crew is struck by a violent epidemic, and after two months of suffering, Ernest Goupil succumbs and died on January 1 , 1840 ijn Hobart-town where he was buried with full military honours.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 22in x 14in (560mm x 370mm)
Plate size: - 22in x 14in (560mm x 370mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Apia is the capital and the largest city of Samoa. From 1900 to 1919, it was the capital of German Samoa. The city is located on the central north coast of Upolu, Samoa\'s second largest island. Apia is the only city in Samoa and falls within the political district (itūmālō) of Tuamasaga.
Apia was originally a small village from which the country\'s capital took its name. Apia village still exists within the larger modern capital of Apia which has grown into a sprawling urban area with many villages. Like every other settlement in the country, Apia village has its own matai chiefly leaders and fa\'alupega (genealogy and customary greetings) according to fa a Samoa.
The modern capital Apia was founded in the 1850s and has been the official capital of Samoa since 1959.
The harbor was also the site of an infamous 15 March 1889 naval standoff in which seven ships from Germany, the US, and Britain refused to leave harbor while a typhoon was clearly approaching, lest the first moved would lose face. All the ships were sunk, except the British cruiser Calliope, which barely managed to leave port at 1 mile per hour and ride out the storm. Nearly 200 American and German lives were lost, as well as six ships sunk or damaged beyond repair.

• Title : Antonio Mapoua; Koloupo (Isles Manga Reva)
• Size: 21in x 15in (535mm x 380mm)
• Condition: (A+) Fine Good Condition
• Date : 1842
• Ref #:  31747

Description:
This large, magnificent, original antique lithograph print of King Mapou-Teoa and his envoy who boarded D Urvilles ship the Astrolabe in August 1838, by Jacques Marescot-Duthilleul, one of the artists,draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayot and published in the 1842 1st edition of Dumont d UrvillesVoyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Jacques, Marie, Eugene Marescot Duthilleul1809 - 1839 Lieutenant in the French navy and artist who accompanied Dumont D Urville on the Corvette The Astrolabe on D Urvilles 2nd Voyage to the South Seas, Australia and Antarctica between 1837 and 1840. He was responsible for a number of exquisite drawings of peoples and views during the voyage that were later used for lithograph prints for publication
In 1837, a new mission of exploration in the southern Pacific Ocean was entrusted by King Louis-Philippe to Captain Dumont d Urville. This mission included improvement of scientific knowledge on the islands of the South Pacific and Indonesia, and exploration of the Antarctic continent.
The first phase of the expedition was the crossing the Sea of Weddel sea ice, on the coast of the Antarctic Ice Sheet. The second phase between May 1838 &o December 1839 consisting of visits to many South Pacific Islands: Marquesas, Polynesia, Fiji, Solomon Islands, New Guinea, Carolinas, Marianas, Moluccas and finally Sunda Islands.
At the end of this second phase, after eighteen months of difficult navigation in unhealthy climates, the sanitary condition of the crews of the two corvettes reached a critical state. During the last voyage from Sumatra (Lampang Bay) to Hobart Tasmania, eighteen patients died, including Lieutenant Marescot-Duthilleul.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - Repair to top margin, no loss
Plate area: - None
Verso: - None

Background: 
Mangareva is the central and largest island of the Gambier Islands in French Polynesia. It is surrounded by smaller islands: Taravai in the southwest, Aukena and Akamaru in the southeast, and islands in the north.
Mangareva was once heavily forested and supported a large population that traded with other islands via canoes. However, excessive logging by the islanders during the 10th to the 15th centuries resulted in deforestation of the island, with disastrous results for its environment and economy.
The first European to arrive at Mangareva was British Captain James Wilson in 1797 on the ship Duff. Wilson named the island group in honour of Admiral James Gambier, who had helped him to equip his vessel.
Mangareva along with its dependencies in the Gambier Islands were ruled by a line of kings and later regents that ruled until the French formally annexed the islands in 1881. A French protectorate was requested on 16 February 1844 by King Maputeoa but was never ratified by the French government. On 4 February 1870, Prince Regent Arone Teikatoara and the Mangarevan government formally withdrew the protectorate request and asked the French to not intervene in the kingdom\'s affairs. After Father Honoré Laval was removed to Tahiti, the native government changed its stance and an agreement between Prince Regent Arone and the French colonial authority in Tahiti was signed reaffirming the protectorate status on 30 November 1871. The Gambier Islands were finally annexed on 21 February 1881 under Prince Regent Bernardo Putairi and approved by the President of France on 30 January 1882.

• Title : Mama-Houi; Tima-Temouo (Isles Maga Reva)
• Size: 21in x 15in (535mm x 380mm)
• Condition: (A+) Fine Good Condition
• Date : 1842
• Ref #:  31746

Description:
This large, magnificent, original antique lithograph print of Envoys of Mangreva Island, Gambier Island visited by Dumont D Urvilles & his ship the Astrolabe in August 1838, by Jacques Marescot-Duthilleul, one of the artists,draftsman aboard the Astrolabe, during D Urvilles second voyage to the South Seas between 1837 - 1840, was engraved by Adolphe Jean-Baptiste Bayot and published in the 1842 1st edition of Dumont d UrvillesVoyage au Pole Sud et dans l Océanie sur les corvettes l Astrolabe et la Zélée : Exécuté par ordre du roi pendant les années 1837-1838-1839-1840.
These large magnificent lithographs from the 1st edition are extremely hard to find, most only found in museums or in private hands, and due to the artistry are a must for any collection.

Jacques, Marie, Eugene Marescot Duthilleul1809 - 1839 Lieutenant in the French navy and artist who accompanied Dumont D Urville on the Corvette The Astrolabe on D Urvilles 2nd Voyage to the South Seas, Australia and Antarctica between 1837 and 1840. He was responsible for a number of exquisite drawings of peoples and views during the voyage that were later used for lithograph prints for publication
In 1837, a new mission of exploration in the southern Pacific Ocean was entrusted by King Louis-Philippe to Captain Dumont d Urville. This mission included improvement of scientific knowledge on the islands of the South Pacific and Indonesia, and exploration of the Antarctic continent.
The first phase of the expedition was the crossing the Sea of Weddel sea ice, on the coast of the Antarctic Ice Sheet. The second phase between May 1838 &o December 1839 consisting of visits to many South Pacific Islands: Marquesas, Polynesia, Fiji, Solomon Islands, New Guinea, Carolinas, Marianas, Moluccas and finally Sunda Islands.
At the end of this second phase, after eighteen months of difficult navigation in unhealthy climates, the sanitary condition of the crews of the two corvettes reached a critical state. During the last voyage from Sumatra (Lampang Bay) to Hobart Tasmania, eighteen patients died, including Lieutenant Marescot-Duthilleul.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 21in x 15in (535mm x 380mm)
Plate size: - 21in x 15in (535mm x 380mm)
Margins: - Min 2in (50mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Mangareva is the central and largest island of the Gambier Islands in French Polynesia. It is surrounded by smaller islands: Taravai in the southwest, Aukena and Akamaru in the southeast, and islands in the north.
Mangareva was once heavily forested and supported a large population that traded with other islands via canoes. However, excessive logging by the islanders during the 10th to the 15th centuries resulted in deforestation of the island, with disastrous results for its environment and economy.
The first European to arrive at Mangareva was British Captain James Wilson in 1797 on the ship Duff. Wilson named the island group in honour of Admiral James Gambier, who had helped him to equip his vessel.
Mangareva along with its dependencies in the Gambier Islands were ruled by a line of kings and later regents that ruled until the French formally annexed the islands in 1881. A French protectorate was requested on 16 February 1844 by King Maputeoa but was never ratified by the French government. On 4 February 1870, Prince Regent Arone Teikatoara and the Mangarevan government formally withdrew the protectorate request and asked the French to not intervene in the kingdom\'s affairs. After Father Honoré Laval was removed to Tahiti, the native government changed its stance and an agreement between Prince Regent Arone and the French colonial authority in Tahiti was signed reaffirming the protectorate status on 30 November 1871. The Gambier Islands were finally annexed on 21 February 1881 under Prince Regent Bernardo Putairi and approved by the President of France on 30 January 1882.

• Title : Wellingtons Funeral Car...J Gilbert....November 27 1852 - Supplement
• Size: 33in x 22in (840mm x 560mm)
• Condition: (A+) Fine Condition
• Date : 1852
• Ref #:  26373

Description:
This very large original wood-block engraved antique print of the Funeral Car of The Duke of Wellington by Sir John Gilbert, was published as a supplement to The Illustrated London News on the 27th of November 1852.

Sir John Gilbert RA 1817 – 1897 was an English artist, illustrator and engraver.
Gilbert was born in Blackheath, Surrey, and taught himself to paint. His only formal instruction was from George Lance. Skilled in several media, Gilbert gained the nickname, the Scott of painting. He was best known for the illustrations and woodcuts he produced for the Illustrated London News.
Gilbert was initially apprenticed to a firm of estate agents, but taught himself art by copying prints. He was unable to enter the Royal Academy Schools, but mastered watercolour, oils, and other media. From 1836 he exhibited at the Society of British Artists, and at the RA from 1838. The art patron Thomas Sheepshanks and the artist William Mulready suggested that he learn wood engraving. Starting with Punch, he moved on to the Illustrated London News. He produced an impressive number of wood-engravings for that publication and for The London Journal. He also produced very many illustrations for books, including nearly all the important English poets (including his illustrated Shakespeare with almost 750 drawings). He became president of the Royal Watercolour Society in 1871. He exhibited some 400 pictures in watercolour and oil exhibited at the various societies. In 1872 he was knighted. He became an RA in 1876, in the same year as Edward Poynter.
The Gilbert-Garret Competition for Sketching Clubs was started in 1870 at St. Martins School of Art, and named after its first president, John Gilbert.
Gilbert is buried at Brockley and Ladywell Cemeteries.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 33in x 22in (840mm x 560mm)
Plate size: - 33in x 22in (840mm x 560mm)
Margins: - Min 1/4in (5mm)

Imperfections:
Margins: - Re-joined along horizontal & vertical folds, no loss
Plate area: - Re-joined along horizontal & vertical folds, no loss
Verso: - Re-joined along horizontal & vertical folds, no loss

Background: 
Arthur Wellesley, 1st Duke of Wellington, KG, GCB, GCH, PC, FRS 1769 – 1852) was an Anglo-Irish soldier and statesman who was one of the leading military and political figures of 19th-century Britain, serving twice as Prime Minister. His victory against Napoleon at the Battle of Waterloo in 1815 puts him in the first rank of Britain\'s military heroes.
Wellesley was born in Dublin, into the Protestant Ascendancy in Ireland. He was commissioned as an ensign in the British Army in 1787, serving in Ireland as aide-de-camp to two successive Lords Lieutenant of Ireland. He was also elected as a Member of Parliament in the Irish House of Commons. He was a colonel by 1796, and saw action in the Netherlands and in India, where he fought in the Fourth Anglo-Mysore War at the Battle of Seringapatam. He was appointed governor of Seringapatam and Mysore in 1799 and, as a newly appointed major-general (since 1802), won a decisive victory over the Maratha Confederacy at the Battle of Assaye in 1803.
Wellesley rose to prominence as a general during the Peninsular campaign of the Napoleonic Wars, and was promoted to the rank of field marshal after leading the allied forces to victory against the French Empire at the Battle of Vitoria in 1813. Following Napoleon\'s exile in 1814, he served as the ambassador to France and was granted a dukedom. During the Hundred Days in 1815, he commanded the allied army which, together with a Prussian army under Blücher, defeated Napoleon at Waterloo. Wellington\'s battle record is exemplary; he ultimately participated in some 60 battles during the course of his military career.
Wellington is famous for his adaptive defensive style of warfare, resulting in several victories against numerically superior forces while minimising his own losses. He is regarded as one of the greatest defensive commanders of all time, and many of his tactics and battle plans are still studied in military academies around the world.
After the end of his active military career, Wellington returned to politics. He was twice British prime minister as part of the Tory party: from 1828 to 1830, and for a little less than a month in 1834. He oversaw the passage of the Catholic Relief Act 1829, but opposed the Reform Act 1832. He continued as one of the leading figures in the House of Lords until his retirement and remained Commander-in-Chief of the British Army until his death.
Wellington died at Walmer Castle in Deal on 14 September 1852. This was his residence as Lord Warden of the Cinque Ports. Walmer Castle was said to have been his favourite residence. He was found to be unwell on that morning and was aided from his military campaign bed (the same one he used throughout his historic military career) and seated in his chair where he died. His death was recorded as being due to the after-effects of a stroke culminating in a series of seizures. He was aged 83.
Although in life he hated travelling by rail (after witnessing the death of William Huskisson, one of the first railway accident casualties), his body was then taken by train to London, where he was given a state funeral – one of only a handful of British subjects to be honoured in that way (other examples are Lord Nelson and Sir Winston Churchill) – and the last heraldic state funeral to be held in Britain. The funeral took place on 18 November 1852. At his funeral there was hardly any space to stand because of the number of people attending, and the effusive praise given him in Tennyson\'s Ode on the Death of the Duke of Wellington attests to his stature at the time of his death. He was buried in a sarcophagus of luxulyanite in St Pauls Cathedral next to Lord Nelson. A bronze memorial was sculpted by Alfred Stevens, and features two intricate supports: Truth tearing the tongue out of the mouth of False-hood, and Valour trampling Cowardice underfoot. Stevens did not live to see it placed in its home under one of the great arches of the Cathedral.
Wellington\'s casket was decorated with banners which were made for his funeral procession. Originally, there was one from Prussia, which was removed during World War I and never reinstated. In the procession, the Great Banner was carried by General Sir James Charles Chatterton of the 4th Dragoon Guards on the orders of Queen Victoria.
Most of the book A Biographical Sketch of the Military and Political Career of the Late Duke of Wellington by Weymouth newspaper proprietor Joseph Drew is a detailed contemporary account of his death, lying in state and funeral.
After his death, Irish and English newspapers disputed whether Wellington had been born an Irishman or an Englishman. In 2002, he was number 15 in the BBC\'s poll of the 100 Greatest Britons.
Owing to its links with Wellington, as the former commanding officer and colonel of the regiment, the title 33rd (The Duke of Wellington\'s) Regiment was granted to the 33rd Regiment of Foot, on 18 June 1853 (the 38th anniversary of the Battle of Waterloo) by Queen Victoria. Wellington\'s battle record is exemplary; he participated in some 60 battles during the course of his military career.

• Title : Bridge Street, Chester....Printed by C Hullmandel....F. N. 1821
• Size: 16 1/2in x 12 1/2in (420mm x 315mm)
• Condition: (A) Good Condition
• Date : 1821
• Ref #:  26350

Description:
This scarce, fine early lithograph of Bridge St in the city of Chester, England by the British artist Francis Nicholson was print by the Charles Joseph Hullmandel in 1821 - dated at the foot of the print.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 16 1/2in x 12 1/2in (420mm x 315mm)
Plate size: - 16 1/2in x 12 1/2in (420mm x 315mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Soiling, repair to top & bottom margin, no loss
Plate area: - None
Verso: - Soiling

Background: 
Francis Nicholson 1753 – 1844 was a British artist, born in Pickering, North Yorkshire. He worked in watercolour and oil, and is mainly known as a landscape artist.
Nicholson studied with a local artist in Scarborough, before beginning his career in his native Pickering, producing sporting pictures and portraits for a variety of Yorkshire patrons. By the mid-1780s he was also making paintings of country houses, leading him to concentrate on landscapes in watercolour.
From 1789, he contributed views of both Yorkshire and Scotland to exhibitions at the Royal Academy. He also supplied topographical views for the Copper Plate Magazine.
He contributed Views of England in collaboration with the engraver Francis Jukes to The Beauties of England and Wales, Author: Britton, John & Edward Wedlake Brayley - A book published in 18 volumes from 1801 to 1815.
Although his market increasingly became London-based, Nicholson continued to live in Yorkshire - at Whitby, Knaresborough and Ripon. He did not move to London until about 1803. In 1804, he became a founder-member of the Society of Painters in Watercolours, and was a regular and prolific contributor to its exhibitions.
He wrote a handbook, The practice of drawing and painting landscape from nature, in water colours, which was published in 1820. It sold out and a second edition followed in 1823.
His c. 1837 self-portrait is in the National Portrait Gallery. & is known as the Father of water colour painting and also as an early pioneer of lithography, and was much admired by Turner.
Nicholson died in London and is buried there in Brompton Cemetery.

Hullmandel, Charles Joseph 1789 – 1850 
Hullmandel was born in London, where he maintained a lithographic establishment on Great Marlborough Street from about 1819 until his death.
He was born in Queen Street, Mayfair. His father was a German-speaking musician and composer, Nicolaus Joseph Hüllmandel (1751–1823), a native of Strasbourg who became a pupil of C. P. E. Bach and from 1780 spent ten years as a fashionable music teacher in Paris. In 1787 he married a Mademoiselle du Cazan, who was of a noble French family, and in 1789 sent his wife to England, following her in 1790, as the French Revolution unfolded.
As a young man, Charles Hullmandel studied art and spent several years living and working in continental Europe. He learned printmaking and printed many of his own works. In 1818, he set up a printing press in London after a visit to Munich with Rudolph Ackermann and went on to study chemistry under Michael Faraday for the purpose of improving his printing.
During the first half of the 19th century Hullmandel became one of the most important figures in the development of British lithography, and his name appears on the imprints of thousands of lithographic prints. He developed a method for reproducing gradations in tones and for creating the effect of soft colour washes which enabled the printed reproduction of Romantic landscape paintings of the type made popular in England by J. M. W. Turner. Hullmandel\\\'s essay The Art of Drawing on Stone (1824) was an important handbook of lithography. In 1843 he went into partnership with Joseph Fowell Walton (born 1812, living 1863), a cousin of the landscape artist and lithographer W. L. Walton, the firm then becoming known as Hullmandel & Walton.

• Title : Sydney in New South Wales
• Ref #:  50668
• Size: 10in x 7 1/2in (255mm x 190mm)
• Date : 1835
• Condition: (A+) Fine Condition

Description:
This fine steel-plate engraved original antique print an early view of The Rocks in Sydney Australia by Joseph Meyer was published in the 1835 edition of Meyers Universum
These are beautiful steel-plate engraved prints, with a high level of detail along with beautifully executed artistry.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 10in x 7 1/2in (255mm x 190mm)
Plate size: - 10in x 7 1/2in (255mm x 190mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance. The city has played host to many international events, including the 2000 Summer Olympics.

Meyer, Joseph 1796 - 1856
Meyer was a German industrialist and publisher, most noted for his encyclopedia, Meyers Konversations-Lexikon.
Meyer was born at Gotha, Germany, and was educated as a merchant in Frankfurt am Main. He went to London in 1816, but returned to Germany in 1820 after business adventures and stock speculations fell through. Here he invested in enterprises like textile-trade (1820–24). Soon after the first steam-hauled railway had started in December 1835, Meyer started to make business plans how to start the first railways. He also bought some concessions for iron mining. In 1845, he founded the Deutsche Eisenbahnschienen-Compagnie auf Actien (German Railway Rail joint stock company).
Meyer operated very successfully as a publisher, employing a system of serial subscription to publications, which was new at that time. To this end he founded a company, Bibliographisches Institut, in Gotha in 1826. It published several editions of the Bible, works of classical literature (Miniatur-Bibliothek der deutschen Classiker, Groschen-Bibliothek), atlases, the world in pictures on steel engravings Meyers Universum, 1833–61, 17 volumes in 12 languages with 80,000 subscribers all over Europe), and an encyclopaedia, (das Grosse Conversations-Lexikon für die gebildeten Stände;). His company grew substantially, and in 1828 he moved it from Gotha to Hildburghausen, where he died thirty years later.

• Title : Sydney (Australie)
• Size: 10in x 7in (255mm x 180mm)
• Condition: (A+) Fine Condition
• Date : 1859
• Ref #:  82027

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

• Title : Sydney (Australie)
• Size: 10in x 7in (255mm x 180mm)
• Condition: (A+) Fine Condition
• Date : 1859
• Ref #:  82030

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

• Title : Sydney (Australie)
• Size: 10in x 7in (255mm x 180mm)
• Condition: (A+) Fine Condition
• Date : 1859
• Ref #:  82026

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

• Title : Sydney (Australie)
• Size: 10in x 7in (255mm x 180mm)
• Condition: (A+) Fine Condition
• Date : 1859
• Ref #:  82028

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across Circular Quay & The Rocks with a view to St James Church on Kings St - across where the Harbour Bridge is now situated - by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

• Title : Sydney (Australie)
• Size: 10in x 7in (255mm x 180mm)
• Condition: (A+) Fine Condition
• Date : 1859
• Ref #:  82029

Description:
This original steel-plate engraved antique print an view of Sydney NSW from the north across the Rocks with a view to St James Church on Kings St, across the harbour where the Harbour Bridge now sits, by Pierre Eugene Aubert was published by Dufour, Mulat and Boulanger, Paris in 1859.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: - Early
Colors used: - Yellow, green, blue
General color appearance: - Authentic
Paper size: - 10in x 7in (255mm x 180mm)
Plate size: - 10in x 7in (255mm x 180mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - Crease in right margin
Plate area: - None
Verso: - None

Background: 
The History of Sydney begins in prehistoric times with the occupation of the district by Australian Aborigines, whose ancestors came to Sydney in the Upper Paleolithic period. The modern history of the city began with the arrival of a First Fleet of British ships in 1788 and the foundation of a penal colony by Great Britain.
From 1788 to 1900 Sydney was the capital of the British colony of New South Wales. An elected city council was established in 1840. In 1900, Sydney became a state capital, when New South Wales voted to join the Australian Federation. Sydney today is Australia\'s largest city and a major international capital of culture and finance.

Aubert, Pierre Eugene, 1789-1847
A French artist and engraver of the early 19th century, working with the Paris publishers Dufour, Mulat and Boulanger.

• Title : A Young Gentleman
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22407
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print of a young gentleman - possibly William III -  by the master etcher Leon Richeton - signature engraved at the base of the print - was published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence and Gainsborough. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.
Thomas Gainsborough FRSA (1727 – 1788) was an English portrait and landscape painter, draughtsman, and printmaker. He surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. He painted quickly, and the works of his maturity are characterised by a light palette and easy strokes. He preferred landscapes to portraits, and is credited (with Richard Wilson) as the originator of the 18th-century British landscape school. Gainsborough was a founding member of the Royal Academy.

• Title : Mary II depicted as Diana
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22399
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print of A Young Princess Mary II by the master etcher Augustin Mongin - signature engraved at the base of the print - after Sir Peter Lely was engraved and published in the 1878 edition of The Portfolio.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Background:
Augustin Mongin:
A nineteenth century French painter and etcher, Augustin Mongin studied art in Paris under Gaucherel. He first exhibited at the Paris Salon in 1874 and during the following years received medals in 1876, 1885, 1887 and 1889. Augustin Mongin was elected to the Societe des Artistes Francais in 1887 and, in 1900, was awarded both the Chevalier de la Legion d'honneur and the medaille d'honneur. In his etchings, Augustin Mongin was best known for his for works after the art of old masters such as Karel du Jardin, Reynolds and Peter Lely. He was also commissioned by publishers in both France and England for etchings after contemporary artists, such as H. G. Glindoni.

Princess Mary is depicted as Diana, the goddess of hunting; in this guise she carries a bow, wears a crescent moon and is followed by a greyhound. Her rich silk gown recalls the dresses worn by the Windsor Beauties series in the Royal Collection painted by Lely. The landscape background reminds us of the work of Titian, whom the artist admired.

• Title : Bart Murillo seipsum depin gens. pro filorum votis acprecibus explendis
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22446
• Size: 13 1/2in x 9 1/2in (350mm x 240mm)

Description: 
This fine, original antique Heliograph self portrait of the Spanish artist Bartolome Esteban Murillo by the German engraver Heinrich Aldegrever or Aldegraf in the early 16th century was re-engraved and published by Charles Oliver Murray in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued in the mid to late 19th century. Such is the quality of his re-strikes that many of these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

The Latin inscription on the cartouche at the centre of the ledge explains that the self-portrait was made at the request of Murillo's children: 'Bart (olo) mé Murillo portraying himself to fulfil the wishes and prayers of his children - or sons'. Despite the unlined appearance of the face the painting is probably relatively late in date, of the early 1670s, when Murillo's children would have been of an age to take pride in their father's achievements. The composition is based on a formula that had been developed for portrait engravings used on the frontispiece of books. The sitter is shown in an oval frame and on the ledge below are the instruments of his profession, a palette and brushes on the right and a drawing and pencil on the left. 

General Description:
Paper thickness and quality: - Heavy & stable
Paper color: - White
Age of map color: - 
Colors used: -  General color appearance: - 
Paper size: - 13 1/2in x 9 1/2in (350mm x 240mm)
Margins: - Min 1/2in (12mm)

 Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background:
Bartolomé Esteban Murillo (born late December 1617, died April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.

Charles Oliver Murray (1842–1923) was a Scottish engraver. Born in Roxburghshire in 1842, Murray trained at the Trustees Academy in Edinburgh and moved to London by 1872. He was elected a Fellow of the Society of Painter-Etchers on 7 May 1881. He published widely in The Art Journal from the 1880s onwards and frequently exhibited at the Royal Academy. Murray died in London in 1923.(Ref: M&B; Tooley)

• Title : Holy Family with St. Anne, St. Paul and Lute-Playing Angel
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22408

Description:
This fine, original antique wood-cut print of Holy Family with St Paul by Jacapo de Barbari in the early 16th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Jacopo de Barbari sometimes known or referred to as de Barbari, de Barberi, de Barbari, Barbaro, Barberino, Barbarigo or Barberigo (1460/70 – 1516), was an Italian painter and print-maker with a highly individual style. He moved from Venice to Germany in 1500, thus becoming the first Italian Renaissance artist of stature to work in Northern Europe. His few surviving paintings (about twelve) include the first known example of trompe l oeil since antiquity. His twenty-nine engravings and three very large woodcuts were also highly influential.
His earliest documented work is his huge (1.345 x 2.818 metres, from six blocks) and impressive woodcut aerial view Map of Venice, for which a privilege was granted to its publisher in 1500, recording that the work had taken three years. This clearly drew on the work of many surveyors, but was a spectacular feat nonetheless, and caused a considerable stir from the first. It was later updated by others to reflect major new building projects in a second state of the print.
Apart from the Map of Venice, he produced two other woodcuts, both of men and satyrs, which were the largest and most impressive figurative woodcuts yet produced, and which established the Italian tradition of fine, large, woodcuts for the following decades. These may have also been produced before 1500; they are clearly strongly influenced by Mantegna.
By the time the Map of Venice was published de\' Barbari had already left for Germany, where he met Dürer, who he may have already known from Dürer\'s first Italian trip (a passage in a letter of Dürer\'s is ambiguous). They discussed human proportion, not obviously one of de\' Barbari\'s strengths, but Dürer was evidently fascinated by what he had to say, though he recorded that de\' Barberi had not told him everything he knew:
...I find no one who has written anything about how to make canon of human proportions except for a man named Jacob, born in Venice and a charming painter. He showed me a man and a woman which he had made according to measure, so that I would now rather see what he meant than behold a new kingdom... Jacobus did not want to show his principles to me clearly, that I saw well. (From an unpublished draft of the Introduction to Dürer\'s own book on human proportions)
Twenty years later Dürer tried unsuccessfully to get the Archduchess Margaret, Habsburg Regent of the Netherlands, to give him a manuscript book she had on the subject by de Barbari, by then dead; the book has not survived.
His style is related to his possible master, Alvise Vivarini and to Giovanni Bellini, but has a languorous quality all its own. Apart from Dürer, the influence of Mantegna\'s technique also appears in what are probably the earlier engravings, done around the turn of the century, with parallel hatching. His engravings are mostly small, showing just a few figures. Truculent satyrs feature in several prints; there are a number of mythological subjects, including two Sacrifices to Priapus.
The earlier prints show figures with small heads and somewhat shapeless bodies, with sloping shoulders and thick torsos supported by slender legs — also seen in his paintings. Probably from a middle period come several nudes, the most famous being Apollo and Diana, St Sebastian and the Three Bound Captives. In these his ability to organise the whole composition has greatly improved.
In a final group, the style becomes more Italianate, and the compositions more complex. These have an enigmatic, haunting atmosphere, and a very refined technique. Levenson has proposed that they date from his period in the Netherlands and were influenced by the young Lucas van Leyden.

• Title : The Flight into Egypt
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22406

Description:
This fine, original antique wood-cut print an illustrating of the Flight out of Israel into Egypt by The Holy Family by Martin Schongauer - signed M†S - in 15th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Martin Schongauer 1445 - 1491 was one of the most prolific early engravers from the Rhine Valley. He signed all his prints with his initials, making him the first printmaker whose authorship was absolutely clear. While a handful of the artist’s paintings survive, Schongauer’s engravings inspired generations of artists, including Albrecht Dürer. This iconic image shows the Holy Family resting while fleeing the Massacre of the Innocents and their home in Israel for Egypt. The work reflects some traditional accounts of the story, in which angels lowered date palms for easy harvesting, so Mary, Joseph, and the Christ Child would not starve.
Schongauer was the most important printmaker north of the Alps before Albrecht Dürer.
The main work of Schongauer\'s life was the production of a large number of beautiful engravings, which were largely sold, not only in Germany, but also in Italy and even in England and Spain. Vasari says that Michelangelo copied one of his engravings, in the Trial of Saint Anthony. His style shows no trace of Italian influence, but a very clear and organised Gothic.
His subjects are mainly religious, but include comic scenes of ordinary life such as the Peasant family going to market or the Two apprentices fighting. One hundred and sixteen engravings are generally recognised as by his hand, and since several are only known from a single impression, there were probably others that are now lost. Many of his pupils\' plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him.
Among the most renowned of Schongauer\'s engravings are the series of the Passion and the Death and Coronation of the Virgin, and the series of the Wise and Foolish Virgins. All are remarkable for their miniature-like treatment, their brilliant touch, and their chromatic force. Some, such as the Death of the Virgin and the Adoration of the Magi are richly-filled compositions of many figures, treated with much largeness of style in spite of their minute scale.
He established the system of depicting volume by means of cross-hatching (lines in two directions) which was further developed by Dürer, and was the first engraver to curve parallel lines, probably by rotating the plate against a steady burin. He also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn.
According to Arthur Mayger Hind, Schongauer was one of the first German engravers to rise above the Gothic limitations both of setting and type and that he actualises an idea of beauty which in its nearer approach to more absolute ideals appeals to a far more universal appreciation than earlier engravers such as Master E. S.
The British Museum and other major print rooms possess fine collections of Schongauer\'s prints.

• Title : Petrus Arretinus Acerrimus Virtutum Ac Vitiorum Demostrator
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22442

Description:
This fine, original antique wood-cut print of the Italian playwright and poet Pietro Aretino by Marcantonio Raimondi in the early 16th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Marcantonio Raimondi, often called simply Marcantonio 1470-1482 was an Italian engraver, known for being the first important print-maker whose body of work consists largely of prints copying paintings. He is therefore a key figure in the rise of the reproductive print. He also systematized a technique of engraving that became dominant in Italy and elsewhere. His collaboration with Raphael greatly helped his career, and he continued to exploit Raphael\'s works after the painter\'s death in 1520, playing a large part in spreading High Renaissance styles across Europe. Much of the biographical information we have comes from his life, the only one of a printmaker, in Vasaris Lives of the Artists.
About this time he began to make copies of Dürers woodcut series, the Life of the Virgin. This was extremely common practice, although normally engravers copied other expensive engravings rather than the cheaper woodcuts. However Dürers woodcuts had raised the standard of the medium considerably, and since Marcantonio continued to copy a large number of both Dürers engravings and woodcuts, he must have found it profitable.
His early copies included Dürers famous AD monogram, and Dürer made a complaint to the Venetian Government, which won him some legal protection for his monogram, but not his compositions, in Venetian territory - an important case in the slowly evolving history of intellectual property law.
Marcantonio appears to have spent some of the last half of the decade in Venice, but no dates are known.
The Massacre of the Innocents, designed by Raphael to be engraved.
He is attributed with around 300 engravings. After years of great success, his career ran into trouble in the mid-1520s; he was imprisoned for a time in Rome over his role in the series of erotic prints I Modi, and then, according to Vasari, lost all his money in the Sack of Rome in 1527, after which none of his work can be securely dated.

Pietro Aretino 1492 – 1556 was an Italian author, playwright, poet, satirist and blackmailer, who wielded influence on contemporary art and politics and developed modern literary pornography.

• Title : The Organ player and his Wife
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22404

Description:
This fine, original antique wood-cut print of The Organ player and wife by Israhel van Meckenem in late 15th century was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
This husband-and-wife duo performs an intimate domestic concert, jointly playing a diminutive pipe organ with four stops. The wife operates the two bellows in time to the music, giving voice to the notes, while her husband creates the melody on the keyboard. He is clad in a housecoat and comfortable slippers and she wears a cozy fur-trimmed dress. Shown at the same scale and working in tandem, they symbolize a harmonious marriage. The little dog listening attentively is both an emblem of loyalty and a realistic detail of their well-to-do home.

Israhel van Meckenem (c.1445 – 10 November 1503), also known as Israhel van Meckenem the Younger, was a German printmaker and goldsmith, perhaps of a Dutch family origin.
He was the most prolific engraver of the fifteenth century and an important figure in the early history of old master prints. He was active from 1465 until his death.
He probably trained with Master E. S. in South Germany, and may well have been with him at his death c. 1467, since he acquired and reworked forty-one of the master\'s plates. Another two hundred of van Meckenem\'s own prints also were copies of ones by Master E. S. In total, he produced over six hundred plates, most of which were copies of other prints; they represent about 20% of print production by all Northern European artists in the period of his working life. His career lasted long enough for him to copy Dürer prints.
He copied prints by the Housebook Master, including some now otherwise lost, Martin Schongauer, and many other German engravers. His famous and very fine late series on the Life of the Virgin appears to have been based on drawings by Hans Holbein the Elder or his workshop, and he may have entered into a regular commercial relationship with Holbein.
His early works were fairly crude, but in the 1480s he developed an effective personal style and made increasingly large and finished works. His own compositions are often very lively, and take a great interest in the secular life of his day. One famous print, supposed to illustrate the story of St John the Baptist and Salome, pushes the specific incidents of the story far in the background to allow space for a scene of court dancers, dressed in the height of contemporary fashion, which takes up most of the plate.
He was sophisticated in self-presentation, signing later prints with his name and town, and producing the first self-portrait print of himself and his wife, which was also the first portrait print of an identifiable person. Some plates seem to have been reworked more than once by his workshop, or produced in more than one version, and many impressions have survived, so his ability to distribute and sell his prints was evidently equally well developed. He was apparently the first to issue engraved (as opposed to woodcut) indulgences, apparently bootlegged version[s] ... never subject to papal review; one print promises 20,000 years reduction of time in Purgatory per set of prayers, increased in a second state to 45,000 years.
In the Heures de Charles d\'Angoulême, an important manuscript showing the links between printmaking and illumination in the late 15th century, Robinet Testard incorporated sixteen of van Meckenem\'s prints, gluing them directly on to the vellum then overpainting.

• Title : Christo Sacrum.....Fridr Dvci Saxon....Albertus Durer....MDXXIIII
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22401

Description:
This fine, original antique wood-cut print of the protector of Martin Luther, Frederick the Wise of Saxony, by the famous German engraver Albrecht Dürer in 1496 was faithfully re-engraved and published by Charles Amand-Durand in 1870.
These beautiful re-engravings of classic and historical wood-cuts were painstakingly re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Albrecht Dürer 1471 – 1528 was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches.
Dürer\'s vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolours and books. The woodcuts, such as the Apocalypse series (1498), are more Gothic than the rest of his work. His well-known engravings include the Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.
Dürer\'s introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.

The Portrait of Frederick III of Saxony is a tempera on canvas painting by German Renaissance artist Albrecht Dürer, executed in 1496. It is housed in the Gemäldegalerie of Berlin, Germany.
The painting was one of the first commissions received from Frederick III, Elector of Saxony, together with the Seven Sorrows Polyptych and the central panel of the Dresden Altarpiece. Dürer knew the elector during the latter\'s short stay in Nuremberg in April 1496.
The German artist portrayed the Elector again in a burin etching in 1524.
Dürer portrayed Fredericks bust from three-quarters, looking right, above a dark green background. Elements such as the parapet on which his arms lie, or the hands holding a roll, were typical of Flemish art of the period.
Frederick\'s impervious personality, as well as his status, are emphasized by the large beret and by his determined glance.

Frederick III 1463 – 1525, also known as Frederick the Wise (German Friedrich der Weise) was Elector of Saxony from 1486 to 1525, who is mostly remembered for the worldly protection of his subject Martin Luther.

• Title : Portrait of a Boy
• Date : 1878
• Condition: (A+) Fine Condition
• Ref:  22405
• Size: 14in x 9 1/2in (350mm x 240mm) 

Description: 
This fine, original antique print the Portrait of a Boy by Rembrandt Harmenszoon Van Rijn in the mid 17th century was re-engraved by Leon Richeton and published in the 1878 edition of The Portfolio. 
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by in the mid to late 19th century. Such is the quality of his re-strikes these prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background.

General Description: 
Paper thickness and quality: - Heavy & stable
Paper color: - Off white
Age of map color: - 
Colors used: - 
General color appearance: - 
Paper size: - 14in x 9 1/2in (350mm x 240mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None 

Rembrandt Harmenszoon Van Rijn (1606-1669)  was a Dutch draughtsman, painter, and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and hCharles Amand Durandistorical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer.

Leon Richeton (1854 - 1934) was an etcher, etched landscapes, and copied works by other artists, such as Sir Thomas Lawrence, Gainsborough & Rembrandt and others. He published etchings in The Portfolio, and etched illustrations for Alfred Egmont Hake's Paris Originals..., London, 1878.

• Title : The Embrace
• Date : 1870
• Condition: (A+) Fine Condition
• Ref:  22403-1
• Size: 13 1/2in x 9 1/2in (345mm x 240mm) 

Description:
This fine, original antique Heliograph of The Embrace by Master M Z or Mattaus Zaisinger in 1503 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Matthaus Zaisinger (aka Master M.Z.), German (1498 - 1555) was a German Goldsmith & Engraver who published twenty-two engravings with the signature initials MZ. Six are dated (1500, 1501, 1503). There are no later dated prints and it is believed that most of his work is concentrated around c1500. The prints are equally divided between religious and secular subjects, often a state of disquiet inhabits his figures, accompanied by eccentric use of perspective and abrupt changes in scale, as seen for example in The Embrace and Solomons Idolatry. Most of his works have landscape backgrounds executed with a delicate, atmospheric touch that suggests a precursor of Albrecht Altdorfer and other painters of the Danube school.

<b>The Embrace</b> contains all of the elements of an adulterous tryst with the stag horns on the chandelier being a common symbol of cuckoldry, but the woman seems an unenthusiastic participant.

• Title : Heliogravure et imp. A. Durand_Paris
• Size: 13 1/2in x 9 1/2in (345mm x 240mm)
• Condition: (A+) Fine Condition
• Date : 1870
• Ref #:  22443

Description:
This fine, original antique Heliograph of St. George Liberating the Princess by Lucas Van Leyden (1494 - 1533) in 1508 was re-engraved and published by Charles Amand-Durand in 1870.
These faithful re-engravings of classic and historical wood-cuts were faithfully re-issued by Amand-Durand in Paris in the mid to late 19th century. Such is the quality of his re-strikes that Durands prints are now in major institutional collections such a the Louvre, National Gallery, The Met and many other famous Galleries. Please see below for further background on Amand-Durand.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 13 1/2in x 9 1/2in (345mm x 240mm)
Plate size: - 8in x 6in (205mm x 1530mm)
Margins: - Min 1in (25mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Lucas van Leyden (1494 – 1533), also named either Lucas Hugensz or Lucas Jacobsz, was a Dutch engraver and painter. He was among the first Dutch exponents of genre painting and is generally regarded as a very accomplished engraver.
Lucas was the son of Huygh Jacobsz. and was mainly active in Leiden.
Carel van Mander characterizes Lucas as a tireless artist, who as a child annoyed his mother by working long hours after nightfall, which she forbid not only for the cost of candlelight, but also because she felt that too much study was bad for his sensibilities. According to Van Mander, as a boy he only consorted with other young artists, such as painters, glass-etchers and goldsmiths, and was paid by the Heer van Lochorst (Johan van Lockhorst of Leiden, who died in 1510) a golden florin for each of his years at age 12 for a watercolor of St. Hubert.
From 1513 to 1517, Lucas created a series of woodcuts called The Power of Women which consisted of two large and small sets of prints. The series is one of a number of representations of the Power of Women theme, which was extremely popular in Renaissance art and literature. Artworks in the genre depict the traditional roles of men and women in inverse, with women dominating over men in various situations. The subjects illustrated often consist of legendary historical women who were considered to be virtuous heroines as well as women who were considered cunning, seductive, and manipulative of men. The purpose of the Power of Women theme was to demonstrate that even the strongest and wisest of men were not resistant to the sexuality of women.

The legend of Saint George and the Dragon describes the saint taming and slaying a dragon that demanded human sacrifices; the saint thereby rescues the princess chosen as the next offering.

• Title : Otoo, Roi de Tahiti
• Ref  :  31771
• Size: 10in x 8in (255mm x 205mm)
• Date : 1774
• Condition: (A+) Fine Condition

Description:
This fine original copper-plate engraved antique print a portrait of Chief Tynah (Otoo) of Tahiti Island, met by Captain James Cook during his 1st Voyage of Discovery in 1769, was engraved by Robert Benard - after Sydney Parkinson - and was published in the 1774 French edition of Capt. James Cooks 1st Voyage of Discovery to the South Seas by John Hawkesworth in An Account of the Voyages Undertaken by the Order of His Present Majesty for Making Discoveries in the Southern Hemisphere and Successively Performed by Commodore Byron, Captain Wallis, Captain Carteret, and Captain Cook, in the Dolphin, the Swallow, and the Endeavor, Drawn Up from the Journals Which Were Kept by the Several Commanders, and from the Papers of Joseph Banks. Paris, 1774.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 10in x 8in (255mm x 205mm)
Plate size: - 9 1/2in x 7 1/4in (240mm x 185mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - Light soiling in bottom margin
Plate area: - None
Verso: - None

Background: 
Tahiti previously also known as Otaheite is the largest island in the Windward group of French Polynesia. The island is located in the archipelago of the Society Islands in the central Southern Pacific Ocean.
The first European to have visited Tahiti according to existing records was lieutenant Samuel Wallis, who was circumnavigating the globe in HMS Dolphin, sighting the island on 18 June 1767, and eventually harboring in Matavai Bay. This bay was situated on the territory of the chiefdom of Pare-Arue, governed by Tu (Tu-nui-e-a a-i-te-Atua) and his regent Tutaha, and the chiefdom of Ha apape, governed by Amo and his wife Oberea (Purea). Wallis named the island King Georges Island. The first contacts were difficult, since on the 24 and 26 June 1767, Tahitian warriors in canoes showed aggression towards the British, hurling stones from their slings. In retaliation, the British sailors opened fire on the warriors in the canoes and on the hills. In reaction to this powerful counter-attack, the Tahitians laid down peace offerings for the British. Following this episode, Samuel Wallis was able to establish cordial relations with the female chieftain “Oberea “ (Purea) and remained on the island until 27 July 1767.
In July 1768, Captain James Cook was commissioned by the Royal Society and on orders from the Lords Commissioners of the Admiralty to observe the transit of Venus across the sun, a phenomenon that would be visible from Tahiti on 3 June 1769. He arrived in Tahitis Matavai Bay, commanding the HMS Endeavour on 12 April 1769. On 14 April, Cook met with Tutaha and Tepau. On 15 April, Cook picked the site for a fortified camp at Point Venus along with Banks, Parkinson, Daniel Solander, to protect Charles Greens observatory. The length of stay enabled them to undertake for the first time real ethnographic and scientific observations of the island. Assisted by the botanist Joseph Banks, and by the artist Sydney Parkinson, Cook gathered valuable information on the fauna and flora, as well as the native society, language and customs, including the proper name of the island, Otaheite. On 28 April, Cook met Purea and Tupaia, and Tupaia befriended Banks following the transit. On 21 June, Amo visited Cook, and then on 25 June, Pohuetea visited, signifying another chief seeking to ally himself with the British.
Cook and Banks circumnavigated the island from 26 June to 1 July. On the exploration, they met Ahio, chief of Ha apaiano o or Papenoo, Rita, chief of Hitia a, Pahairro, chief of Pueu, Vehiatua, chief of Tautra, Matahiapo, chief of Teahupo o, Tutea, chief of Vaira o, and Moe, chief of Afa Ahiti. In Papara, guided by Tupaia, they investigated the ruins of Mahaiatea marae, an impressive structure containing a stone pyramid or ahu, measuring 44 feet high, 267 feet long and 87 feet wide. Cook and the Endeavour departed Tahiti on 13 July 1769, taking Raiatean navigator Tupaia along for his geographic knowledge of the islands.
Cook returned to Tahiti between 15 August and 1 September 1773, greeted by the chiefs Tai and Puhi, besides the youg ari i Vehiatua II and his stepfather Ti itorea. Cook anchored in Vaitepiha Bay before returning to Point Venus where he met Tu, the paramount chief. Cook picked up two passengers from Tahiti during this trip, Porea and Mai, with Hitihiti later replacing Porea when Cook stopped at Raiatea. Cook took Hitihiti to Tahiti on 22 April, during his return leg. Then, Cook departed Tahiti on 14 May 1774.
During his final visit, Cook returned Mai to Tahiti on 12 Aug. 1777, after Mais long visit in England. Cook also brought two Maori from Queen Charlotte Sound, Te Weherua and Koa. Cook first harbored in Vaitepiha Bay, where he visited Vehiatua II s funeral bier and the prefabricated Spanish mission house. Cook also met Vehiatua III, and inscribed on the back of the Spanish cross, Georgius tertius Rex Annis 1767, 69, 73, 74 & 77, as a counterpoint to Christus Vincit Carolus III imperat 1774 on the front. On 23 Aug., Cook sailed for Matavai Bay, where he met Tu, his father Teu, his mother Tetupaia, his brothers Ari ipaea and Vaetua, and his sisters Ari ipaea-vahine, Tetua-te-ahamai, and Auo. Cook also observed a human sacrifice, taata tapu, at the Utu-ai-mahurau marae, and 49 skulls from previous victims.
On 29 Sept. 1777, Cook sailed for Papetoai Bay on Moorea. Cook met Mahine in an act of friendship on 3 Oct., though he was an enemy of Tu. When a goat kid was stolen on 6 Oct., Cook in a rampage, ordered the burning of houses and canoes until it was returned. Cook sailed for Huahine on 11 Oct., Raiatea on 2 Nov., and Borabora on 7 Dec.
On 26 October 1788, HMS Bounty, under the command of Captain William Bligh, landed in Tahiti with the mission of carrying Tahitian breadfruit trees (Tahitian: uru) to the Caribbean. Sir Joseph Banks, the botanist from James Cooks first expedition, had concluded that this plant would be ideal to feed the African slaves working in the Caribbean plantations at very little cost. The crew remained in Tahiti for about five months, the time needed to transplant the seedlings of the trees. Three weeks after leaving Tahiti, on 28 April 1789, the crew mutinied on the initiative of Fletcher Christian. The mutineers seized the ship and set the captain and most of those members of the crew who remained loyal to him adrift in a ships boat. A group of mutineers then went back to settle in Tahiti.
Although various explorers had refused to get involved in tribal conflicts, the mutineers from the Bounty offered their services as mercenaries and furnished arms to the family which became the Pōmare Dynasty. The chief Tū knew how to use their presence in the harbours favoured by sailors to his advantage. As a result of his alliance with the mutineers, he succeeded in considerably increasing his supremacy over the island of Tahiti.

Sydney Parkinson 1745 – 71 was draughtsman to the botanist Sir Joseph Banks on James Cook’s first voyage to the Pacific in 1768. He died of dysentery in 1771, on the homeward voyage.
Parkinson was the first European artist to create drawings of Indigenous Australian, Maori & South Sea peoples, as well as landscapes, from direct observation. Hundreds of his original drawings survive in the British Museum. He is particularly remembered for his plant illustrations which were later used to create the lavish plates for Joseph Banks’ Florilegium.
When the Endeavour returned to England in 1772, a dispute arose between Joseph Banks and Sydney’s brother, Stanfield Parkinson. As his employer, Banks claimed rights to Sydney’s drawings, papers and collections made on the voyage. Stanfield claimed that Sydney had willed them to his family. Banks lent the Parkinson family Sydney’s journal and drawings with instructions that they were not to be published, however Stanfield disregarded this and arranged for A Journal of a voyage to the South Seas to be printed from Sydney’s account of the voyage.
Banks managed to suppress Stanfield’s publication until the official account of the voyage, edited by John Hawkesworth, appeared. In return for Parkinson’s papers, Banks paid Stanfield Parkinson 500 pounds for balance of wages due to Sydney, but the dispute did not end there. Stanfield further accused Banks of retaining items collected by Sydney which were intended for his relatives. Stanfield Parkinson was declared insane soon after the publication of Sydney Parkinson’s Journal and died in an asylum.

John Hawkesworth An English writer and journalist, Hawkesworth was commissioned by the British Admiralty to edit for publication the narratives of its officers’ circumnavigations. He was given full access to the journals of the commanders and the freedom to adapt and re-tell them in the first person. Cook was already on his way back from his second Pacific voyage, temporarily docked at Cape Town (South Africa), when he first saw the published volumes: he was mortified and furious to find that Hawkesworth claimed in the introduction that Cook had seen and blessed (with slight corrections) the resulting manuscript. (In his defense, Hawkesworth also had been a victim of misunderstanding.) Cook had trouble recognizing himself. Moreover, the work was full of errors and commentary introduced by Hawkesworth and, in Cook’s view, too full of Banks, who had promoted himself and the publication. Still, the work was popular; the first edition sold out in several months.

Robert Bénard 1734 – 1777 was an 18th-century French engraver.
Specialized in the technique of engraving, Robert Ménard is mainly famous for having supplied a significant amount of plates (at least 1,800) to the Encyclopédie by Diderot & d\'Alembert from 1751.
Later, publisher Charles-Joseph Panckoucke reused many of his productions to illustrate the works of his catalog.

• Title : Vue de Taiti et de plusieurs Pirogues De Cette Isle (View of the Island of Tahiti and canoes)
• Size: 15in x 7 1/2in (380mm x 190mm)
• Ref #:  21576
• Date : 1778
• Condition: (A+) Fine Condition

Description:
This large original copper-plate engraved antique print a view of
Matavia Bay, on the Island of Tahiti, with various canoes & boats, visited by Captain James Cook in August 1773, during his 2nd Voyage of Discovery to the South Seas, was engraved by Robert Benard - after William Hodges - and was published in the 1778 French edition of Capt. James Cooks 2nd Voyage of Discovery to the South Seas A voyage towards the South Pole, and round the World. Performed in His Majestys ships the Resolution and Adventure, in the years 1772, 1773, 1774, and 1775..... Paris : Hotel de Thou ......1778.

Cooks Journal 1773
On 20th Aug, wrote Cook, Nothing worthy of note happened till the Dusk of the evening when one of the Natives made off with a musquet belonging to the Guard on shore, I was present when this happen\'d and sent two or three of our people after him, this would have signified but little had not some of the natives pursued the thief, knock\'d him down and took from him the Musquet and return\'d it to us.
Three days later I set out accompanied by Captain Furneaux some of the Gentlemen and several of the Natives, we met the Chief... I knew him at first sight and he me, having seen each other several times in 1769 at which time he was but a boy. According to Wales the Capt returned from his Visit to the King, Owhyadoa, having with much difficulty, and expince in presents &c procured three Hogs.

Off to Matavai Bay
The next day, wrote Burney we hove our Anchors up & saild from this place, the Commodore leaving his Cutter behind to try if they could procure any more Hogs - the next day (25th) the Cutter returned about Noon with 10 which were divided between the 2 Ships - at 7 this Evening we Anchored in Matavia Bay in 10 fathoms & Moord with our Small Bower & Stream Anchors.
When the natives came aboard, Cook found several of whom I knew and almost all of them me... In the morning, after having given directions about erecting Tents for the reception of the Sick, Coopers and guard, I set out for Oparre accompanied by Captain Furneaux, some of the gentlemen... as soon as we landed we were conducted to Otoo [Tu], the chief.
When Cook returned, he had the Sick land, Twenty from the Adventure and one from the Resolution, landed a sufficient number of men to guard the Whole and left the command to Lieutt Edgcombe of the Marines. A party of Marines being sent on Shore as a Guard, wrote Wales, I landed my Observatory and Instruments and begun to put them up on the Spot where Mr Green Observed the Transit of Venus in 1769.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 7 1/2in (380mm x 190mm)
Plate size: - 14 1/2in x 7in (370mm x 180mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - Folds as issued
Verso: - None

Background: 
Tahiti previously also known as Otaheite is the largest island in the Windward group of French Polynesia. The island is located in the archipelago of the Society Islands in the central Southern Pacific Ocean.
The first European to have visited Tahiti according to existing records was lieutenant Samuel Wallis, who was circumnavigating the globe in HMS Dolphin, sighting the island on 18 June 1767, and eventually harboring in Matavai Bay. This bay was situated on the territory of the chiefdom of Pare-Arue, governed by Tu (Tu-nui-e-a a-i-te-Atua) and his regent Tutaha, and the chiefdom of Ha apape, governed by Amo and his wife Oberea (Purea). Wallis named the island King Georges Island. The first contacts were difficult, since on the 24 and 26 June 1767, Tahitian warriors in canoes showed aggression towards the British, hurling stones from their slings. In retaliation, the British sailors opened fire on the warriors in the canoes and on the hills. In reaction to this powerful counter-attack, the Tahitians laid down peace offerings for the British. Following this episode, Samuel Wallis was able to establish cordial relations with the female chieftain “Oberea “ (Purea) and remained on the island until 27 July 1767.
In July 1768, Captain James Cook was commissioned by the Royal Society and on orders from the Lords Commissioners of the Admiralty to observe the transit of Venus across the sun, a phenomenon that would be visible from Tahiti on 3 June 1769. He arrived in Tahitis Matavai Bay, commanding the HMS Endeavour on 12 April 1769. On 14 April, Cook met with Tutaha and Tepau. On 15 April, Cook picked the site for a fortified camp at Point Venus along with Banks, Parkinson, Daniel Solander, to protect Charles Greens observatory. The length of stay enabled them to undertake for the first time real ethnographic and scientific observations of the island. Assisted by the botanist Joseph Banks, and by the artist Sydney Parkinson, Cook gathered valuable information on the fauna and flora, as well as the native society, language and customs, including the proper name of the island, Otaheite. On 28 April, Cook met Purea and Tupaia, and Tupaia befriended Banks following the transit. On 21 June, Amo visited Cook, and then on 25 June, Pohuetea visited, signifying another chief seeking to ally himself with the British.
Cook and Banks circumnavigated the island from 26 June to 1 July. On the exploration, they met Ahio, chief of Ha apaiano o or Papenoo, Rita, chief of Hitia a, Pahairro, chief of Pueu, Vehiatua, chief of Tautra, Matahiapo, chief of Teahupo o, Tutea, chief of Vaira o, and Moe, chief of Afa Ahiti. In Papara, guided by Tupaia, they investigated the ruins of Mahaiatea marae, an impressive structure containing a stone pyramid or ahu, measuring 44 feet high, 267 feet long and 87 feet wide. Cook and the Endeavour departed Tahiti on 13 July 1769, taking Raiatean navigator Tupaia along for his geographic knowledge of the islands.
Cook returned to Tahiti between 15 August and 1 September 1773, greeted by the chiefs Tai and Puhi, besides the youg ari i Vehiatua II and his stepfather Ti itorea. Cook anchored in Vaitepiha Bay before returning to Point Venus where he met Tu, the paramount chief. Cook picked up two passengers from Tahiti during this trip, Porea and Mai, with Hitihiti later replacing Porea when Cook stopped at Raiatea. Cook took Hitihiti to Tahiti on 22 April, during his return leg. Then, Cook departed Tahiti on 14 May 1774.
During his final visit, Cook returned Mai to Tahiti on 12 Aug. 1777, after Mais long visit in England. Cook also brought two Maori from Queen Charlotte Sound, Te Weherua and Koa. Cook first harbored in Vaitepiha Bay, where he visited Vehiatua II s funeral bier and the prefabricated Spanish mission house. Cook also met Vehiatua III, and inscribed on the back of the Spanish cross, Georgius tertius Rex Annis 1767, 69, 73, 74 & 77, as a counterpoint to Christus Vincit Carolus III imperat 1774 on the front. On 23 Aug., Cook sailed for Matavai Bay, where he met Tu, his father Teu, his mother Tetupaia, his brothers Ari ipaea and Vaetua, and his sisters Ari ipaea-vahine, Tetua-te-ahamai, and Auo. Cook also observed a human sacrifice, taata tapu, at the Utu-ai-mahurau marae, and 49 skulls from previous victims.
On 29 Sept. 1777, Cook sailed for Papetoai Bay on Moorea. Cook met Mahine in an act of friendship on 3 Oct., though he was an enemy of Tu. When a goat kid was stolen on 6 Oct., Cook in a rampage, ordered the burning of houses and canoes until it was returned. Cook sailed for Huahine on 11 Oct., Raiatea on 2 Nov., and Borabora on 7 Dec.
On 26 October 1788, HMS Bounty, under the command of Captain William Bligh, landed in Tahiti with the mission of carrying Tahitian breadfruit trees (Tahitian: uru) to the Caribbean. Sir Joseph Banks, the botanist from James Cooks first expedition, had concluded that this plant would be ideal to feed the African slaves working in the Caribbean plantations at very little cost. The crew remained in Tahiti for about five months, the time needed to transplant the seedlings of the trees. Three weeks after leaving Tahiti, on 28 April 1789, the crew mutinied on the initiative of Fletcher Christian. The mutineers seized the ship and set the captain and most of those members of the crew who remained loyal to him adrift in a ships boat. A group of mutineers then went back to settle in Tahiti.
Although various explorers had refused to get involved in tribal conflicts, the mutineers from the Bounty offered their services as mercenaries and furnished arms to the family which became the Pōmare Dynasty. The chief Tū knew how to use their presence in the harbours favoured by sailors to his advantage. As a result of his alliance with the mutineers, he succeeded in considerably increasing his supremacy over the island of Tahiti.

William Hodges RA 1744 – 1797 was an English painter. He was a member of James Cooks second voyage to the Pacific Ocean, and is best known for the sketches and paintings of locations he visited on that voyage, including Table Bay, Tahiti, Easter Island, and the Antarctic.
Between 1772 and 1775 Hodges accompanied James Cook to the Pacific as the expeditions artist. Many of his sketches and wash paintings were adapted as engravings in the original published edition of Cooks journals from the voyage.
Most of the large-scale landscape oil paintings from his Pacific travels for which Hodges is best known were finished after his return to London; he received a salary from the Admiralty for the purposes of completing them. These paintings depicted a stronger light and shadow than had been usual in European landscape tradition. Contemporary art critics complained that his use of light and colour contrasts gave his paintings a rough and unfinished appearance.
Hodges also produced many valuable portrait sketches of Pacific islanders and scenes from the voyage involving members of the expedition..

Robert Bénard 1734 – 1777 was an 18th-century French engraver.
Specialized in the technique of engraving, Robert Ménard is mainly famous for having supplied a significant amount of plates (at least 1,800) to the Encyclopédie by Diderot & d\'Alembert from 1751.
Later, publisher Charles-Joseph Panckoucke reused many of his productions to illustrate the works of his catalog.

• Title : Un Toupapow, avec un Cadavre dessus avec le principal personnage du deuil en habit de Ceremonie (Manao tupapau Ceremony with a corpse top with the main character of the mourning ceremony dress)
• Size: 15in x 10in (380mm x 255mm)
• Ref #:  21652
• Date : 1774
• Condition: (A+) Fine Condition

Description:
This large original copper-plate engraved antique print of the Spirit of the Dead Watching (Manao tupapau) in Tahiti with priest and mourners, visited by Captain James Cook in 1773, during his 2nd Voyage of Discovery to the South Seas, was engraved by Robert Benard - after William Hodges - and was published in the 1778 French edition of Capt. James Cooks 2nd Voyage of Discovery to the South Seas A voyage towards the South Pole, and round the World. Performed in His Majestys ships the Resolution and Adventure, in the years 1772, 1773, 1774, and 1775..... Paris : Hotel de Thou ......1778.

Ghosts in Polynesian culture
There was widespread belief in ghosts in Polynesian culture, some of which persists today. After death, a person\'s ghost would normally travel to the sky world or the underworld, but some could stay on earth. In many Polynesian legends, ghosts were often involved in the affairs of the living. Ghosts might also cause sickness or even invade the body of ordinary people, to be driven out through strong medicines.
In the reconstructed Proto-Polynesian language, the word qaitu refers to a ghost, the spirit of a dead person, while the word tupuqa has a broader meaning including all supernatural beings. Some of the ancient Māui legends that are common throughout the Polynesian islands include the idea of a double soul inhabiting the body. One was the soul which never forsakes man, and the other the soul that could be separated or charmed away from the body by incantations was the hau.
In some societies, the tattoo marks on the Polynesian\'s face indicated their cult. A spiral symbol meant that the man favoured the sky world, but before ascending there on a whirlwind his ghost had to travel to his people\'s homeland, situated in the navel of the world. Different markings indicated that the ghost chose to live in the underworld. The Hawaiians believed in aumakua, ghosts who did not go down into Po, the land of King Milu. These ghosts remained in the land of the living, guarding their former families.
Of his 1892 Tahitian painting Manao Tupapau, Paul Gauguin said according to Tahitian beliefs, the title Manao Tupapau has a double meaning . . . either she thinks of the ghost or the ghost thinks of her.

General Definitions:
Paper thickness and quality: - Heavy and stable
Paper color : - off white
Age of map color: -
Colors used: -
General color appearance: -
Paper size: - 15in x 10in (380mm x 255mm)
Plate size: - 15in x 9 1/2in (380mm x 245mm)
Margins: - Min 1/2in (12mm)

Imperfections:
Margins: - None
Plate area: - None
Verso: - None

Background: 
Tahiti previously also known as Otaheite is the largest island in the Windward group of French Polynesia. The island is located in the archipelago of the Society Islands in the central Southern Pacific Ocean.
The first European to have visited Tahiti according to existing records was lieutenant Samuel Wallis, who was circumnavigating the globe in HMS Dolphin, sighting the island on 18 June 1767, and eventually harboring in Matavai Bay. This bay was situated on the territory of the chiefdom of Pare-Arue, governed by Tu (Tu-nui-e-a a-i-te-Atua) and his regent Tutaha, and the chiefdom of Ha apape, governed by Amo and his wife Oberea (Purea). Wallis named the island King Georges Island. The first contacts were difficult, since on the 24 and 26 June 1767, Tahitian warriors in canoes showed aggression towards the British, hurling stones from their slings. In retaliation, the British sailors opened fire on the warriors in the canoes and on the hills. In reaction to this powerful counter-attack, the Tahitians laid down peace offerings for the British. Following this episode, Samuel Wallis was able to establish cordial relations with the female chieftain “Oberea “ (Purea) and remained on the island until 27 July 1767.
In July 1768, Captain James Cook was commissioned by the Royal Society and on orders from the Lords Commissioners of the Admiralty to observe the transit of Venus across the sun, a phenomenon that would be visible from Tahiti on 3 June 1769. He arrived in Tahitis Matavai Bay, commanding the HMS Endeavour on 12 April 1769. On 14 April, Cook met with Tutaha and Tepau. On 15 April, Cook picked the site for a fortified camp at Point Venus along with Banks, Parkinson, Daniel Solander, to protect Charles Greens observatory. The length of stay enabled them to undertake for the first time real ethnographic and scientific observations of the island. Assisted by the botanist Joseph Banks, and by the artist Sydney Parkinson, Cook gathered valuable information on the fauna and flora, as well as the native society, language and customs, including the proper name of the island, Otaheite. On 28 April, Cook met Purea and Tupaia, and Tupaia befriended Banks following the transit. On 21 June, Amo visited Cook, and then on 25 June, Pohuetea visited, signifying another chief seeking to ally himself with the British.
Cook and Banks circumnavigated the island from 26 June to 1 July. On the exploration, they met Ahio, chief of Ha apaiano o or Papenoo, Rita, chief of Hitia a, Pahairro, chief of Pueu, Vehiatua, chief of Tautra, Matahiapo, chief of Teahupo o, Tutea, chief of Vaira o, and Moe, chief of Afa Ahiti. In Papara, guided by Tupaia, they investigated the ruins of Mahaiatea marae, an impressive structure containing a stone pyramid or ahu, measuring 44 feet high, 267 feet long and 87 feet wide. Cook and the Endeavour departed Tahiti on 13 July 1769, taking Raiatean navigator Tupaia along for his geographic knowledge of the islands.
Cook returned to Tahiti between 15 August and 1 September 1773, greeted by the chiefs Tai and Puhi, besides the youg ari i Vehiatua II and his stepfather Ti itorea. Cook anchored in Vaitepiha Bay before returning to Point Venus where he met Tu, the paramount chief. Cook picked up two passengers from Tahiti during this trip, Porea and Mai, with Hitihiti later replacing Porea when Cook stopped at Raiatea. Cook took Hitihiti to Tahiti on 22 April, during his return leg. Then, Cook departed Tahiti on 14 May 1774.
During his final visit, Cook returned Mai to Tahiti on 12 Aug. 1777, after Mais long visit in England. Cook also brought two Maori from Queen Charlotte Sound, Te Weherua and Koa. Cook first harbored in Vaitepiha Bay, where he visited Vehiatua II s funeral bier and the prefabricated Spanish mission house. Cook also met Vehiatua III, and inscribed on the back of the Spanish cross, Georgius tertius Rex Annis 1767, 69, 73, 74 & 77, as a counterpoint to Christus Vincit Carolus III imperat 1774 on the front. On 23 Aug., Cook sailed for Matavai Bay, where he met Tu, his father Teu, his mother Tetupaia, his brothers Ari ipaea and Vaetua, and his sisters Ari ipaea-vahine, Tetua-te-ahamai, and Auo. Cook also observed a human sacrifice, taata tapu, at the Utu-ai-mahurau marae, and 49 skulls from previous victims.
On 29 Sept. 1777, Cook sailed for Papetoai Bay on Moorea. Cook met Mahine in an act of friendship on 3 Oct., though he was an enemy of Tu. When a goat kid was stolen on 6 Oct., Cook in a rampage, ordered the burning of houses and canoes until it was returned. Cook sailed for Huahine on 11 Oct., Raiatea on 2 Nov., and Borabora on 7 Dec.
On 26 October 1788, HMS Bounty, under the command of Captain William Bligh, landed in Tahiti with the mission of carrying Tahitian breadfruit trees (Tahitian: uru) to the Caribbean. Sir Joseph Banks, the botanist from James Cooks first expedition, had concluded that this plant would be ideal to feed the African slaves working in the Caribbean plantations at very little cost. The crew remained in Tahiti for about five months, the time needed to transplant the seedlings of the trees. Three weeks after leaving Tahiti, on 28 April 1789, the crew mutinied on the initiative of Fletcher Christian. The mutineers seized the ship and set the captain and most of those members of the crew who remained loyal to him adrift in a ships boat. A group of mutineers then went back to settle in Tahiti.
Although various explorers had refused to get involved in tribal conflicts, the mutineers from the Bounty offered their services as mercenaries and furnished arms to the family which became the Pōmare Dynasty. The chief Tū knew how to use their presence in the harbours favoured by sailors to his advantage. As a result of his alliance with the mutineers, he succeeded in considerably increasing his supremacy over the island of Tahiti.

Captain James King FRS 1750 – 1784 was an officer of the Royal Navy. He served under James Cook on his last voyage around the world, specialising in taking important astronomical readings using a sextant. After Cook died he helped lead the ships on the remainder of their course, also completing Cooks account of the voyage. He continued his career in the Navy, reaching the rank of post-captain, commanding several ships and serving in the American War of Independence.
King joined HMS Resolution as second lieutenant, sharing the duties of astronomer with Cook, taking astronomical observations on board by sextant and with Larcum Kendals timekeeper K1, to establish the Resolutions position at sea and on shore by sextant or by astronomical quadrant to establish the geographical position of salient points during the course of Cooks surveys. Thus Kings geographical positions were an important contribution to the accuracy of the various surveys carried out during the voyage and his use of the early chronometers helped prove their use at sea for calculation of Longitude. .
Following the death of Cook, King remained in the Resolution but on the death of Charles Clerke, Cooks successor, King was appointed to command HMS Discovery, the Resolutions consort, remaining in her for the rest of the voyage. After his return to England King was very much involved in the publication of the official account of Cooks third voyage, writing the third volume at Woodstock, near Oxford, where his brother Thomas was rector of St Mary Magdalene. But shortly after his return King was promoted Post-captain and appointed commander of HMS Crocodile in the English Channel.

John Webber RA 1751 – 1793 was an English artist who accompanied Captain Cook on his third Pacific expedition. He is best known for his images of Australasia, Hawaii and Alaska.
Webber was born in London, educated in Bern and studied painting at Paris.His father was Abraham Wäber, a Swiss sculptor who had moved to London, and changed his name to Webber before marrying a Mrs Mary Quant in 1744.
Webber served as official artist on James Cooks third voyage of discovery around the Pacific (1776–80) aboard HMS Resolution. At Adventure Bay in January 1777 he did drawings of A Man of Van Diemens Land and A Woman of Van Diemens Land. He also did many drawings of scenes in New Zealand and the South Sea islands. On this voyage, during which Cook lost his life in a fight in Hawaii, Webber became the first European artist to make contact with Hawaii, then called the Sandwich Islands. He made numerous watercolor landscapes of the islands of Kauai and Hawaii, and also portrayed many of the Hawaiian people.
In April 1778, Captain Cooks ships Resolution and Discovery anchored at Ship Cove, now known as Nootka Sound, Vancouver Island, Canada to refit. The crew took observations and recorded encounters with the local people. Webber made watercolour landscapes including Resolution and Discovery in Ship Cove, 1778. His drawings and paintings were engraved for British Admiraltys account of the expedition, which was published in 1784.
Back in England in 1780 Webber exhibited around 50 works at Royal Academy exhibitions between 1784 and 1792, and was elected an associate of the Royal Academy in 1785 and R.A. in 1791. Most of his work were landscapes. Sometimes figures were included as in A Party from H.M.S. Resolution shooting sea horses, which was shown at the academy in 1784, and his The Death of Captain Cook became well known through an engraving of it. Another version of this picture is in the William Dixson gallery at Sydney

Robert Bénard 1734 – 1777 was an 18th-century French engraver.
Specialized in the technique of engraving, Robert Ménard is mainly famous for having supplied a significant amount of plates (at least 1,800) to the Encyclopédie by Diderot & d Alembert from 1751.
Later, publisher Charles-Joseph Panckoucke reused many of his productions to illustrate the works of his catalog.