Item 2: Engelmann, G. Recueil d’Essais Lithographiques… Paris: 1816.

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Lithography

Presentation Copy of a Geological Classic

1. CHARPENTIER, Jean de. Essai sur les Glaciers et sur le Terrain Erratique du Bassin duRhone. One large folding hand-tinted map (tear neatly repaired without loss), 8 lithographicplates (one folding), & text illus. 2 p.l., x, 363 (i.e. 362) pp., one leaf of errata. 8vo, orig. printedupper wrapper bound in cont. half-cloth & marbled boards, spine gilt. Lausanne: M.Ducloux, 1841. $1650.00

First edition. This is a classic work on the phenomenon of erratic blocks and the functionof glaciers in transporting them. Charpentier’s theory, delivered in a paper in 1834, was metwith disbelief and scorn. “Undismayed, Charpentier continued his observations and invitedthe incredulous to visit him and see the evidence for themselves. Among his visitors wasLouis Agassiz, who was soon carried away with such enthusiasm for the theory of the Ice Agethat he visited a number of glaciers and blocks and rushed into print, ahead of Charpentier,with his Études sur les Glaciers (1840)…Charpentier received Agassiz’ book on 28 October 1840,three days before he finished his own Essai sur les Glaciers, which was published in February1841. The scrupulous care with which he weighed the evidence and described thephenomenon of erratic blocks and the function of glaciers in transporting them makes thisbook a classic.”–D.S.B., III, p. 211.

While Agassiz is generally credited with the origin of the theory of the Ice Age, the theoryhad in fact been developed long before by Charpentier.

Very nice copy with a presentation inscription from the author on the upper wrapper:“à Monsieur Schwedler hommage de l’auteur” (the final four letters of “auteur” have beencropped by the binder’s knife).

The Beginning of Lithography as an Art Form

2. ENGELMANN, Godefroy. Recueil d’Essais Lithographiques dans les différents genres dedessin tels que manière de Crayon, de la plume, du pinceau et de lavis exécutés par le Procédé de… Lithographed title with vignette depicting both sides of the medallion of the Sociétélithographique de Mulhouse, lithographed leaf of table of contents, & eight lithographedplates (two in color). Large 4to, later blue wrappers (title a little dusty), newly stitched, uncut. Paris: “chez l’Auteur Rue Casette No. 18,” [1816]. $32,500.00

First edition of one of the great rarities of lithography. Engelmann (1788-1839), a nativeof Mulhouse, first learned of lithography in 1813 and began to experiment on some stones. Realizing he needed more information, he decided to go to Munich to see the process at firsthand. “For several weeks Engelmann studied the art in the studios of Stuntz where Strixnerand Piloty worked. He had his own press constructed and produced some lithographs in thetinted style which had become so popular in Germany. Like Lasteyrie, whom he is supposedto have met in Munich, Engelmann returned [to Mulhouse] with a press, stones, and all theequipment needed to set up a lithographic establishment…

“Engelmann must have realized that Mulhouse was not the best place in which topractise lithography, especially if he was interested in getting artists to draw on stone, andon 15 June 1816 he followed Lasteyrie to Paris and set up another printing works with hisbrother-in-law Pierre Thierry at rue Cassette, no. 18…

“Within a few years artists flocked to his press, and it soon far outstripped that ofLasteyrie in both size and reputation. Probably in the same year that Lasteyrie published hisRecueil de différens genres d’impressions lithographiques Engelmann produced [the present work]. It was a smaller but rather more competent production with a pen-drawn map, an imitationwood-engraving, a sheet of transferred writing, two examples of tinted lithography, anddrawings in either ink or chalk by Girodet, H. Vernet, Mongin, and Engelmann himself[including a fine self-portrait]. The competition between the houses of Engelmann andLasteyrie was obviously keen and, as a contemporary English writer observed, this helpedthe art to make rapid progress there. In the long run it was Engelmann who took thelead…Engelmann was concerned with lithography throughout his life and at his death left

a flourishing press to his son. For twenty years he was responsible for most of the majortechnical developments of the process…Already by 1820 his was probably the leading pressin Europe, and certainly so for that branch of lithography in which France has ever since ledthe work, the production of artists’ prints. More than anyone else in Europe it wasEngelmann who, by virtue of his technical improvements, clear descriptions, and skilfulprinting, encouraged artists to draw on stone; and the real growth of lithography as far as theartist was concerned really dates from the establishment of his press in Paris.”–Twyman,Lithography 1800-1850, pp. 52-55.

Fine copy of a very rare book, preserved in a box.

A Very Pretty Copy

3. HULLMANDEL, Charles Joseph. The Art of Drawing on Stone, giving a full explanationof the Various Styles, of the different methods to be employed to ensure Success, and of the Modes ofCorrecting, as well as of the Several Causes of failure. Lithographed title (tiny repaired tear toouter lower corner) & 19 lithographed plates, each with a blank guard sheet. 1 p.l.(lithographed title), xvi, 92, vii pp., one leaf. Small folio, cont. aubergine morocco, sides richlypanelled in gilt, spine richly gilt. London: Ch. Hullmandel, & R. Ackermann, [1824].

$6750.00

First edition and the prettiest copy of this book I have seen. This “was the most importantEnglish treatise on lithography to be published in the first half of the nineteenth century. Itwas one of the few early treatises to appear in a large format (imperial octavo) and was, withthe exception of the English edition of Senefelders’s work, the most expensively produced. It is a somewhat larger book than Engelmann’s and…it is far more complete in itsinstructions.”–Twyman, Lithography 1800-1850, pp. 114-15.

The finely lithographed plates are highly detailed and clear.Fine copy; upper joint with slightest rubbing. Engraved armorial bookplate of Charles

Henry Turner.É Bigmore & Wyman, I, p. 349.

4. LASTEYRIE DU SAILLANT, Charles Philibert de. Collection de Machines,d’Instrumens, Ustensiles, Constructions, Appareils, etc. employés dans l’Economie rurale, domestiqueet industrielle. D’après les dessins faits dans diverses parties de l’Europe… 199 finely lithographedplates (the plate “Irrigations, No. 6“ in Vol. I was not published). Lithographed title, 48printed leaves of text including final leaf listing plates; one lithographed leaf of “Prospectus,”lithographed title, 45 leaves of text incl. final leaf listing plates. Two parts in one vol. Large4to, cont. green half-sheep (joints very carefully repaired), spine gilt. Paris, “á l’Etabissementlithographique du Comte de Lasteyrie, Rue du Bac No. 58,” 1820-21. $8500.00

First edition of one of the most extensive and important lithographic works published inthe early days of the medium. Lasteyrie (1759-1849), agronomist, industrialist, andphilanthropist, was much involved in modernizing the agricultural techniques practiced inFrance. He had taken an interest in lithography almost from the beginning and was, in largepart, responsible for making Paris the lithographic center of the world. He established hisfirst lithographic press in Paris in 1815 and did much commercial work for the government,printing of caricatures, vanity projects for the “high society” of the city, and, above all, thedrawings of artists and amateurs.

The plates, all signed “C. de Last,” contain depictions of farm buildings of various sorts;many kinds of fences, barriers, and walls; carriages, wagons, and wheel barrows; farm toolsincluding hoes and rakes; distillation apparatus; bee hives of many sorts; wine-makingequipment; irrigation devices including pumps, water raising devices, canals, and ditches;harnesses for horses, cows, and goats; racks to dry crops; bridges; furnaces; mills; baskets tobe placed on horses; chicken coops; ladders; trellises; gates; shelves for aging cheeses; dairyequipment; picks and axes; barns; bird houses; silos; designs for stalls for horses and cows;dams; green houses; etc.; etc.

A fine and attractive copy. Bookplate of the Chateau de Monbouan.É Twyman, Lithography, pp. 49-57.

The First Synagogue in Munich

5. MÉTIVIER, Jean Baptiste. Grund-Plaene, Durchschnitte und Façaden nebst einigenDetails der Synagoge in München erbaut im Jahre 1824/25. Nach dem Entwurfe und unter derLeitung des K. B. Bauraths und Hofbau-Decorateurs Johann Métivier. Two suites of 12lithographed plates, the first set of 12 in black-and-white (several a little foxed) and thesecond duplicate set in fine original coloring. Text: 7, [1] pp. Small folio, orig. printed blueupper wrapper bound in orig. reddish-orange glazed boards, covers with a gilt border, spinegilt, a.e.g. Munich: J.M. Herrmann, n.d. [but ca. 1825]. $22,500.00

This work describes the first synagoguebuilt in Munich; it is the presentation copygiven to the royal house of Bavaria, speciallybound and with an extra suite of hand-coloredplates. This is a rare book and our copy, withthe additional set of plates, appears to beabsolutely unique.

In 1790 there were only 127 Jews living inMunich. They earned their livelihood ascontractors for the army and the royal mint,merchants dealing in luxury wares andlivestock, moneylenders, and peddlers. Sincethere was no legal basis for their residence inMunich, they did not have the right to practicetheir religion, and every year they had to paya special tax to enable them to observe Sukkot. In 1805 a “Regulation for Munich Jewry” wasissued (it formed the basis for the BavarianJudenmatrikel of 1813); among other privileges,the Jews were permitted to inherit the right ofdomicile, to conduct services, and to reside inall parts of the city. During the NapoleonicWars, the number of Jews was augmented byimmigrants, and by 1814 there were 451 Jewsin the city. Two years later, the Jewishcommunity was formally organized and in thesame year the community was given permission to establish a cemetery. In 1824 a permit wasissued for the construction of a synagogue.

The synagogue on the Westenriederstrasse was the first structure initiated by the newlyempowered Jewish community. The architect Jean Baptiste Métivier (1781-1857), was royalbuilding inspector who designed many palaces for the nobility as well as furniture. Hefavored a more classical style for the building and believed it should serve as a model forfuture synagogues in the Bavarian kingdom. He was supported by the King but his ideaswere not carried out as later synagogues were built more in the oriental style.

The Westenriederstrasse synagogue and the St. Emmeram Castle in Regensburg wereMétivier’s most important commissions. The synagogue was destroyed by the Nazis in 1938during Kristallnacht.

A fine deluxe copy of a very uncommon book. From the Wittelsbach library of the dukesand kings of Bavaria.

É Pfister II, 2100-2111. Thieme-B., XXIV, 439. Lentner 1892.