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All our Scientific books

Are you passionate about the history of science?
You will certainly find a book for you among our rare books and manuscripts of Mathematics, Physics, Chemistry or Natural Sciences.
The famous names in science are present on our shelves: Euclid, Newton, Darwin, Pascal, Lavoisier and also those who have participated in scientific progress.

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Photo CHEVREUL, Michel Eugène. 

First edition.
One of the most influential books on art in the 19th century.
Michel-Eugène Chevreul (1786–1889) is known to chemists for his research on fatty substances (1810–1823) and on immediate organic analysis (1824), but it is as a color theorist that his name achieved lasting fame.
De la loi du contraste simultané des couleurs introduced a scientific understanding of color that had a profound and lasting impact on the painters of his time.
His “law” describes how the perception of a hue is altered by the surrounding colors, each color projecting its complementary onto its immediate environment (thus, a red object tends to cast a greenish glow on nearby surfaces, a yellow one a purplish tint, and so on). This principle is clearly illustrated in plate 7 of the Atlas, where colored dots on a white background seem to emit halos of their complementary hues.

Eugène Delacroix (1798–1863), a central figure of Romanticism, paid close attention to Chevreul’s research. According to the painter Paul Signac, Delacroix even sought to meet the chemist and acquired notes from his lectures in order to better grasp the law of simultaneous contrast. Several of his paintings feature harmonies built around complementary color pairs. For instance, The Entry of the Crusaders into Constantinople (1840) deliberately juxtaposes yellow/purple, blue/orange, and red/green to dramatize the scene—so effectively that art historian Lee Johnson called it an ideal “illustration” of Chevreul’s treatise.

But it was arguably within the Impressionist movement that Chevreul’s theories reached their highest artistic fulfillment. Claude Monet (1840–1926), in particular, used simultaneous contrast to heighten luminosity in his landscapes. He avoided black and earth tones, preferring instead to render shadows in color: purples and blues for shaded areas at sunset, accented with yellow-orange highlights in full light. This technique appears as early as Impression, Sunrise, the foundational work of the movement. One might also recall the poppy fields, a favorite motif of the Impressionists (Van Gogh, Monet, Pissarro…), where red flowers vibrantly stand out against green backgrounds.

A book heralding one of the greatest revolutions in painting.

Our copy is complete with all the color plates, most of them signed by Chevreul himself.

Photo CHEVREUL, Michel Eugène. 

First edition of the rarest of Chevreul's publications on color.

Michel-Eugène Chevreul (1786-1889) is known to chemists for his research on fatty acids, saponification, and the discovery of stearin, but it is as a color theorist that his name will go down in history. Chevreul was appointed director of the Manufacture des Gobelins in 1824. Responsible for overseeing the production of dyes, he supported the work of dyers with his research on color perception. Thus, in 1839, he proposed a scientific approach to color complementarity and subsequently developed "color circles." A true "Pantone" color chart, a hundred years ahead of its time, Chevreul's color circles had the dual benefit of systematizing the production of hues (each with its own name) and making it easier to understand the concept of color complementarity. Thus, complementary colors are found on the same diameter of the color wheel, Red No. 2 corresponds to Green No. 2. "I believe I can affirm that it is possible to subject colors to a reasoned nomenclature, by relating them to types classified according to a simple method, accessible to the intelligence of all those who deal with colors" (extract from the preface). The standardization of color production was to interest first and foremost the industry then in full development, but it is undoubtedly in the Impressionist movement that Chevreul's theories found their finest accomplishment. Very early on, painters were inspired by Chevreul's work in their paintings, starting with Delacroix and then Monet. We will thus remember the fields of poppies dear to the Impressionists (Van Gogh, Monet, Pissaro...) where the red dots of the flowers burst out on complementary green backgrounds. The 27 spectacular plates were printed by René-Henri Digeon using chromochalcography, the process and difficulties of which are discussed in a paragraph in the book. Digeon appears to have presented a first edition of these plates at the 1855 World's Fair, for which he received a patent from the Empress. Several of the plates in our copy appear to be from this first edition and contain errors that have been corrected in other later copies that we have been able to consult.

Photo [MANUSCRIT]. 

Handwritten botany course focusing on "common plants", plants that can be used in medicine.
This course lists 486 plants, each with its Latin binomial name and its therapeutic use.
The plants seem to follow an order whose logic is not explained in the short introduction: "The large number of plants that I will have the honor of discussing with you during the short time that this course will last does not allow me to stop here for a long preface where I could explain to you in general how these same plants act, whether they are considered purgatives or simply as alteratives, [...] I propose to follow the order that we will follow in the demonstrations so that at the same time as you learn to know these same plants, you enter into the knowledge of their virtues."
The Latin names refer to the catalogues of Bauhin (C.B.) and Tournefort (inst. r. h.) which suggests that this course was dictated before the penetration of Linnaeus' classification in France, i.e. before the 1760s.
The structure of this course differs from the known courses on "Usual Plants", as dictated by Chomel and Jussieu.

We find, bound below, a manuscript by the same hand:
"Observations on bone diseases explained and demonstrated by Mr Arnaud In the amphitheater of the Jardin du Roy on June 13, 1714" 42 pages.

This suggests that both courses were taken at the Jardin du Roi or Royal Garden of Medicinal Plants (the future Museum of Natural History from 1793), which at the beginning of the 18th century was a major center for teaching medicine and surgery. It is known that at that time both Antoine Jussieu and Sébastien Vaillant were teaching botany there.

Photo [MANUSCRIT] MAHOT, Maurice. 

Original manuscript of an unpublished botanical treatise by a learned scholar from Nantes.
It presents botanical concepts as well as the classifications of Linnaeus and Tournefort. This manuscript, nearly 200 pages long, is written on the verso of the plates from Buc'hoz’s Flore Lorraine.
All plates are also annotated with details on plant names, their classification according to Linnaeus and Tournefort, and their medicinal uses—together forming a true pharmacopoeia.
These 187 plates were intended to illustrate Buc'hoz’s Traité historique des plantes qui croissent dans la Lorraine et les Trois-Évêchés, published in ten octavo volumes between 1762 and 1770. The plates, originally issued separately in installments and designed to be folded and bound in octavo, are gathered here in a single folio volume.
Buc'hoz, known for the beauty of his plates, had solicited financial support from fellow countrymen and botany enthusiasts for the production of these engravings. Thus, at the bottom of almost every plate, one finds the coat of arms and name of the sponsor who funded it.
Maurice Mahot, the author of this manuscript, sponsored plate 152.
While biographical information on Maurice Mahot “the elder” (1745–1810), a royal counselor, civil and criminal judge at the présidial, alderman (1777), and deputy mayor of Nantes (1779), offers little indication of an interest in natural sciences and botany, the same cannot be said of his son, Maurice Mahot “the younger” (1774–1842), a doctor of medicine and scholar who published several books on medicine and lexicography.
The annotations by the son—a physician—on the plates funded by the father—a botany enthusiast—explain the numerous pharmaceutical and medical recipes found in the work.
Another collector has left his name on the title page: Silas Boucher de la Ville Jossy, a member of a prominent Nantes family in the mid-19th century.
A fascinating manuscript, still largely unexplored, of exceptional character, both for the beauty of its annotated plates and for its content, which intertwines botanical classification and pharmacopoeia.

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