LEVAILLANT, François (1753-1824). Histoire naturelle des perroquets. Paris: Levrault frères (later Levrault, Schoell & Co.), [1801-] 1804-1805. 2 volumes, large 2° (534 x 334mm). Half-titles, index leaves, 145 FINE ENGRAVED PLATES AFTER JACQUES BARRABAND, PRINTED IN COLOURS AND FINISHED BY HAND by Langlois under the direction of Bouquet. (Plate 23 with short, clean tear to lower margin, not affecting image, occasional light spotting, a few tissue guards creased.) Contemporary red morocco-backed boards, spines gilt in six compartments, edges mostly uncut (covers slightly scuffed). A FINE, TALL COPY OF THE FIRST EDITION OF ONE OF THE SCARCEST AND MOST BEAUTIFUL OF LEVAILLANT'S WORKS. Levaillant was one of the first naturalists of his day to study and record his subjects in their natural habitat. Barraband (1767 or 1768-1809) worked for the Gobelin factory and was considered the best ornithological artist of his time. Langlois's engravings capture the precision and beauty of his gouache and watercolour originals. Nissen IVB 558; Zimmer p.392; Anker 303; Fine Bird Books p.90. (2)
LEVAILLANT, François (1753-1824). Histoire naturelle des perroquets. Paris: Levrault frères (later Levrault, Schoell & Co.), [1801-] 1804-1805. 2 volumes, large 2° (534 x 334mm). Half-titles, index leaves, 145 FINE ENGRAVED PLATES AFTER JACQUES BARRABAND, PRINTED IN COLOURS AND FINISHED BY HAND by Langlois under the direction of Bouquet. (Plate 23 with short, clean tear to lower margin, not affecting image, occasional light spotting, a few tissue guards creased.) Contemporary red morocco-backed boards, spines gilt in six compartments, edges mostly uncut (covers slightly scuffed). A FINE, TALL COPY OF THE FIRST EDITION OF ONE OF THE SCARCEST AND MOST BEAUTIFUL OF LEVAILLANT'S WORKS. Levaillant was one of the first naturalists of his day to study and record his subjects in their natural habitat. Barraband (1767 or 1768-1809) worked for the Gobelin factory and was considered the best ornithological artist of his time. Langlois's engravings capture the precision and beauty of his gouache and watercolour originals. Nissen IVB 558; Zimmer p.392; Anker 303; Fine Bird Books p.90. (2)
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