177 résultats
17102811Paris: A l’Entrée de la Porte de l'Academie Royale de Musique …: Henry de Baussen 1710. The first illustrated and the first edition engraved full score of Lully’s Persée. Engraved music. Folio. In somewhat later green half maroquin. Spine and front panel gilt. Supra ex-libris: M.me Adolp. de Lanneau - Partitions. With six engravings by Scotin and Deplaces after Duplessis. Binding rubbed at the extremities. Water stain to the lower edge of the first and last leaves. Sporadic foxing pages toned due to aging. Otherwise in fine condition. The first illustrated and the first edition engraved full score of Lully’s Persée. Engraved music. Folio. In somewhat later green half maroquin. Spine and front panel gilt. Supra ex-libris: M.me Adolp. de Lanneau - Partitions. With six engravings by Scotin and Deplaces after Duplessis. 4 229 1 p. The first illustrated and the first edition engraved full score of Lully’s Persée.<br /> Full score of Lully’s tragédie en musique with Philippe Quinault libretto. The opera premiered on 7 April 1682. This is the Persée’s first engraved edition adorned with six engravings illustrating scenes from the opera the first for the prologue and one for each of the five acts.<br /> Provenance: Madame Adolphe de Lanneau wife of A. de Lanneau 1796–1881 a French school director and politician to whom George Onslow dedicated his Violin Sonata No. 6 Opus 31.<br /> RISM L 2993. A l’Entrée de la Porte de l'Academie Royale de Musique […]: [Henry de Baussen] unknown
172593531725 A Paris, de limprimerie de Jean-Baptiste-Christophe Ballard, seul imprimeur du Roy pour la musique, & noteur de la Chapelle de Sa Majesté. 1725. Avec privilège du Roy. Un volume grand in-2° (275 x 386 mm) de 4 pages typographiées +204 pages gravées; grande vignette sur bois gravé au titre et six superbes bandeaux sur cuivre dessinés par C. Gillet et gravés par G. Scotin, en tête du prologue et des cinq actes. Reliure de lépoque en plein veau moucheté, dos à nerfs orné, pièce de titre en maroquin rouge, tranches rouges. Coiffes restaurées, déchirure marginale sans manque de texte en page 203/204. En très bon état.
167539689Paris: Christophe Ballard seul Imprimeur du Roy pour la Musique ruë Saint Jean de Beauvais au Mont Parnasse . Par exprés commandement de Sa Majesté 1675. Small quarto. Modern marbled boards with paper title label to upper and spine. 1f. recto title verso blank 1f. "Acteurs du Prologue" 4ff. "Prologue" 1f. "Acteurs de la Tragedie" 76 pp. With woodcut device to title including Apollo with lyre figures in Greco-Roman dress with harp and lute and a pegasus; exceptionally fine woodcut headpiece to Prologue and additional headpieces to each act; decorative woodcut initials and tailpieces throughout.<br /> <br /> Full named cast lists for the "Acteurs du Prologue" and the "Acteurs de la Tragedie."<br /> <br /> Small holes to blank inner margins from previous sewing; slightly worn; very occasional minor foxing soiling and stains; minor loss to blank upper outer corner of pp. 31/32. First Edition fourth issue. Sonneck Librettos p. 1069. Schmidt LLC3-2.3. <br /> <br /> Thesée a tragédie en musique in a prologue and five acts to a libretto by Quinault after Ovid's Metamorphoses was first performed at St Germain-en-Laye on 11 January 1675.<br /> <br /> "The orchestra and chorus are used with brilliant effect in several divertissements but especially in the evocation of battle throughout Act 1. Medea's role like that of Lully's final lovesick sorceress Armide is replete with expressive monologue airs: 'Doux repos' 'Dépit mortel' 'Sortez Ombres' and 'Ah! faut-il me venger'. Thésée was part of the standard repertory at the Paris Opéra from 1675 until 1767; in addition it was selected to represent Lully when in 1779 the Opéra presented an historical survey of French operatic styles. Lully's score was substantially modernized by editors for productions from 1754 onwards." Lois Rosow in Grove Music Online. Christophe Ballard, seul Imprimeur du Roy, pour la Musique, ruë Saint Jean de Beauvais au Mont Parnasse ... Par exprés command unknown
17786957Paris, Aux dépens de l'Académie & de Lormel, 1778. In-8 carré (174 x 232 mm), 60 pp. Maroquin brun aux armes, encadrement de filets et fleurs de lys, dos à nerfs orné, roulette sur les coupes, doublure et garde de tabis bleu ciel, tranches dorées (reliure de l'époque).
0568<br/><br/>Quinault Philippe 1635-1688. La Mort de Cyrus tragedie. Paris: A. Courbe et G. de Luyne 1659. Five act tragedy in verse. Priv 10 February; Acheve12 July 1659. Rare original edition. Soleinne 1275 for Tragedies et Comedies de Philippe Quinault: Paris Guillaume de Luyne 1668.<br/><br/>12mo. Modern wraps. 1f title page verso blank; 6pp. epistre signed Quinault; 84pp. text; 1p. Priv; 1p. acteurs bound before title leaf. Collation: pi1 A4 A-D alternating 8s & 4s; C12 D6. Browning to text a few margins notes shaved but a good copy.<br/><br/>La Mort de Cyrus is a tragic-comedy is based one of the early French novels of the period especially that of Le Grand Cyrus of Madeline de Scudery ten vols. 1649-53 which was taken from the histories Herodotus and Xenophon. Quinault's play was substantially changed by altering Cyrus' attitude toward the queen and by staging the death of the three leading characters not two as in the histories. The play revolves around Cyrus' love for Tomiris who is forced to marry her general Odartise; otherwise Odartise will kill Cyrus. When the revenge plot unfolds Tomoris is unable to murder Odartise but Cyrus does. <br/><br/> In terms of theatrical form Quinault's tragedy is an early example of the tragic-comedy genre perfected by Thomas Corneille with his Berenice and Darius which were also based on French novels of the period. Quinault along with Thomas Corneille occupied an important place in the history of French drama between the zenith of Pierre Corneille and the rise of Racine. His early tragedies have not lasted compared to his operas to which he devoted himself after 1670. Quinault wrote libretti for the composer Jean Baptiste Lully and is credited with the introduction of dramatic action into the 17th French opera. According to two well-known 20th century critics Barnwell and Lancaster Quinault's La Mort de Cyrus influenced two of Jean Racine's works: Alexandre le Grand 1666 and also Andromaque 1667. According to Barnwell Racine's "Alexandre le Grand 1666 is a concession to contemporary fashion and constitutes a good example of the Romanesque tragedy in vogue when Racine was beginning to write for the theatre: superficially it has much in common with Thomas Corneille's Timocrate 1667 the greatest immediate success of the century and with Quinault's even more improbable but highly successful Mort de Cyrus 1658." Concerning Andromaque 1667 Lancaster wonders aloud: "Had not Racine become aware by then that the original version of his tragedy in which Andromaque's reappearance may derive from such plays as Quinault's La Mort de Cyrus weakened the obsessive hold of her own legendary past over his heroine Such considerations would reinforce Dr Elliot's contention that Andromaque in its original form is rooted in contemporary dramatic conventions." <br/><br/>References: Barnwell H.T. Mythe et legende dans le theatre de Racine by Revel Elliot; The Modern Language Review Vol. 66 No. 4. Oct. 1971 pp. 898-900; Beauchamps Recheches sur les theatres de France 1735; Cesar: http://www.cesar.org. Locations: OCLC. 1 copy. William College. BnF has a copy. paperback books
169785501697 A Amsterdam chez Antoine Schelte, 1697. Deux volumes : 7 x 13.5 cm. Nouvelle édition augmentée & enrichie de figures en taille douce. I/ 2 ff. bl., 1 f. titre grav., 5 pp. [Préface], 65 pp. [La Mort de Cyrus], 4 pp. [Epistre] 66 pp. [Le Mariage de Cambise], 4 pp. [Epistre], 65 pp. [Le Feint Alcibiade], 80 pp. [Les Coups de l'Amour & de la Fortune], 4 pp. [Epistre], 66 pp. [Amalasonte], 4 pp. [Epistre], 66 pp. [Stratonice], 4 pp. [Epistre], 82 pp. [La Comédie sans Comédie], 4 pp. [Epistre], 72 pp. [Le Fantosme Amoureux], 1 f. bl. II/ 1 f. bl., 1 f. titre grav., 6 pp. [Ode], 74 pp. [La Généreuse Ingratitude], 4 pp. [Epistre], 78 pp. [L'Amant Indiscret], 70 pp. [Les Rivales], 3 pp. [Epistre], 65 pp. [Agrippa Roy d'Albe, ou le Faux Tiberinus], 4 pp. [Epistre], 61 pp. [Bellerophon], 2 pp. [A Madame de la Duchesse de Monthaussier], 80 pp. [La Mère Coquette], 3 pp. [A la Reyne], 65 pp. [Astrate, Roy de Ty], 3 pp. [A Monseigneur], 61 pp. [Pausanias]. Elégantes reliures en cuir de Russie bleu, plats à filets dorés, dos à quatre nerfs, capitales et tomaisons dorés, roulettes décorées, gardes jaspées. Ex-libris: André Gutzwiller. Chaque pièce est illustrée d'un titre gravé (non-signé) en représentant le sujet. Rousseurs sur la page de titre du second volume sinon en très bon état.
174791802n. l.: s. n. 1747. Fine. s. n. n. l. 1747 10 x 16.8 cm Relié First edition of this work published by the Société du Bout-du-Banc the celebrated literary salon presided over by Mademoiselle Jeanne-Françoise Quinault and the Comte de Caylus. This intimate circle originally comprising eight members would gather on Mondays at dinner to exchange ideas and to write; at the close of each meal every distinguished guest was required to set down a few lines whether in the coarse poissard style or in a more refined vein on paper. It was in this context that Les Fêtes roulantes ou les regrets des petites rues came into being in the wake of the celebrations held in Paris in honour of the Dauphin's second marriage to Marie-Josèphe de Saxe. Pastiche binding in plum half-shagreen spine with five raised bands framed by gilt dotted fillets and six compartments decorated with gilt fillets and fleurons marbled paper boards gilt top edge pastedowns and endpapers in shell-pattern marbled paper. Some minor rubbing to the paper of the lower board corners slightly bumped. ""In his youth the Comte de Caylus had paid considerable tribute to the literature of fairy tales which the translations from Arabic and Persian by Galland and Pétis de la Croix had brought into fashion; one does not find him again in these artificial creations to which he returned when he was nearly seventy. But in the intervening years his character as a writer emerged and declared itself in accordance with his manners and tastes and in how propitious a milieu! The Société du bout du banc that academy of Gallic ribaldry presided over by Mademoiselle Quinault; those suppers at which an inkwell served as centrepiece and which La Chaussée d'Armenonville Voisenon Moncrif the Grand Prior of Vendôme Duclos Salley and Crébillon fils enlivened with their bawdy and bantering wit. All men of letters with little taste for philosophy all content to let the world go its own way and finding it perfectly satisfactory as it was all of that sacred flock of Epicurus somewhat transformed by Circe in which each member is satisfied or very nearly with what their presiding lady declared sufficient for Duclos the least fastidious among them. The popular literature of the eighteenth century that is to say literature which took the common people as the subject of its observations and tableaux was born within this company of mirth and folly and the Comte de Caylus was its natural father and its foster father; it took its first lively flights in those ""Écosseuses"" 1739 those ""Étrennes de la Saint-Jean"" 1742 those ""Mémoires de l'Académie des colporteurs"" those ""Avantures des bals des Bois"" those ""Fêtes roulantes"" 1748 a veritable magic lantern of Parisian popular life ."" Avertissement ""Mémoires et réflexions du comte de Caylus"" 1874 s. n. hardcover
167539713Paris: Christophe Ballard seul Inprimeur du Roy pour la Musique ruë Saint Jean de Beauvais au Mont Parnasse . Par exprés commandement de Sa Majesté 1675. Quarto. Disbound. 1f. recto title verso blank 1f. "Acteurs du Prologue" 3ff. "Prologue" 1f. "Acteurs de la Tragedie" 70 pp. With woodcut device to title including Apollo with lyre figures in Greco-Roman dress with harp and lute and a pegasus; woodcut headpieces to each act; decorative woodcut initials and tailpieces throughout.<br /> <br /> Full named cast lists for the "Acteurs du Prologue" and the "Acteurs de la Tragedie."<br /> <br /> Somewhat worn browned foxed soiled and stained a bit heavier to title; some worming especially to lower inner margins; stub of front free endpaper and blank preliminary leaf preceding title; first signature detached; loss to blank outer margin of title repaired with contemporary paper; blank outer margin of all leaves of "Prologue" repaired with contemporary paper; numerous additional leaves with contemporary paper reinforcements to inner margins; other minor defects. Lacking first leaf of Prologue pp. 65-66 and pp. 71-76. First Edition first issue all other issues with a date of first performance as 11 January 1675. This issue not in Sonneck Librettos. Schmidt LLC3-1. <br /> <br /> Thesée a tragédie en musique in a prologue and five acts to a libretto by Quinault after Ovid's Metamorphoses was first performed at St Germain-en-Laye on 11 January 1675.<br /> <br /> "The orchestra and chorus are used with brilliant effect in several divertissements but especially in the evocation of battle throughout Act 1. Medea's role like that of Lully's final lovesick sorceress Armide is replete with expressive monologue airs: 'Doux repos' 'Dépit mortel' 'Sortez Ombres' and 'Ah! faut-il me venger'. Thésée was part of the standard repertory at the Paris Opéra from 1675 until 1767; in addition it was selected to represent Lully when in 1779 the Opéra presented an historical survey of French operatic styles. Lully's score was substantially modernized by editors for productions from 1754 onwards." Lois Rosow in Grove Music Online. Christophe Ballard, seul Inprimeur du Roy, pour la Musique, ruë Saint Jean de Beauvais au Mont Parnasse ... Par exprés command unknown
1777121877P., Deslauriers, s.d. (1777), in-folio (323 x 250 mm), (1) f. de titre, 279 pp, reliure plein veau raciné, dos à 5 larges faux-nerfs soulignés de doubles filets dorés, titre doré dans un encadrement floral au 1er plat, tranches mouchetées (rel.de l'époque), coiffes arasées, pt accrocs au 2e plat, pt mque à un coin, plats lég. frottés, coins émoussés, trace de mouillure ancienne en coin, infime travail de vers en marge sup. des 10 derniers feuillets, marges des 4 premiers feuillets restaurées, 4 pages manquantes (p. 217-220) remplacées par une copie manuscrite très bien exécutée à l'époque, bon exemplaire, entièrement gravé sur cuivre, imprimé sur papier fort
171535600685Amsterdam, David Mortier, 1715 ; 2 volumes in-12, veau fauve, colombe dor. frappée au centre des plats, dos ornés avec colombes dor. au bas, tr. rouge. (Reliure de l'époque) Seconde édition collective elzevirienne. La première, de 1663 ne contenait que 12 pièces (Willems 1724). Celle-ci contient en tout 16 pièces, soit la totalité de l'œuvre théâtrale. Ces deux tomes sont constitués de la manière suivante :1) Frontispice, titre en rouge et noir avec vignette, 4 ff. de préface ; La mort de Cyrus. Suivant la copie imprimée à Paris. 1708. 3 ff., 65 pp., - Le mariage de Cambise. Id. 1708. 3 ff., 66 pp. - Le feint Alcibiade. Id., 1682. 3 ff., 65 pp. - Les Coups de l’Amour et de la Fortune. Id., 1708. 80 pp. en tout. - Amalasonte. Amsterdam, Schelte, 1697. 3 ff., 66 pp. - Stratonice. Suivant la Copie impr. à Paris, 1708. 3 ff., 66 pp. - La Comédie sans Comédie. Id. ; 1662. 3 ff., 82 pp. - Le Fantosme amoureux. Amsterdam, Schelte, 1697. 3 ff., 77 pp.2) Frontispice, 1 f. titre en rouge et noir ; La Généreuse ingratitude. Amsterdam, Schelte, 1697. 4 ff., 74 pp. - L’Amant indiscret. Id., 1697. 3 ff., 78 pp. - Les Rivales. Id., 1697. 1 f., 70 pp. - Agrippa Roy d’Albe. Id., 1697. 3 ff., 65 pp. - Bellerophon. Suivant la Copie impr. à Paris. 1688. 3 ff., 61 pp., - La mère coquette. Id., 1666. 2 ff., 80 pp. - Astrate Roy de Tyr. Id., 1665. 3 ff., 65 pp. - Pausanias. Amsterdam, Schelte, 1697. 3 ff., 61 pp.Outre les frontispices généraux pour chaque tome, ce recueil contient des frontispices particuliers pour chaque pièce, soit 16 gravures.Bel exemplaire relié au début du XVIIIe siècle avec un emblème (colombe dressée) que nous n’avons pu identifier.
1824002122Paris Crapelet 1824
1824006561Paris: Crapelet Imprimeur-Libraire 1824. In handsome red leather and marbled boards end pages marbled top edges gilt gilt titles and decorations 4 raised band Near Fine slight rubbing to leather at tips slight foxing and toning scattered throughout. Philippe Quinault 1635-1688 was a French dramatist best known for his 14 opera librettos which he wrote for Lully. First Thus. Leather and Marbled Boards. Near Fine/No Jacket As Issued. 8vo - over 7¾" - 9¾" tall. Crapelet, Imprimeur-Libraire Hardcover books
182446402783Paris, Crapelet, 1824 ; 2 volumes grand in-8, plein maroquin violet, large encadrement de filets dorés et guirlandes à froid, grande arabesque à froid au centre des plats, dos orné d’un décor romantique doré et à froid, tranches dorées, dentelles intérieurieures dorées. (Dauphin) 2 ff., portrait, 50 pp., 1 f., 446 pp., 1 f. - 2 ff., 460 pp.Portrait de Quinault gravé par Bonvoisin.Belle édition typographique du théâtre de Quinault : Astrate, La mère coquette, Alcestee, Thésée, Atys, Isis, Prosperine, Persée, Phaeton, Amadis, Roland, Le Temple de la Paix, Armide, Sceaux. La plupart de ces oeuvres ont été mises en musique par Lulli.Le premier tome, outre la vie de Quinault par Crapelet et un examen de ses oeuvres par Laharpe, contient diverses pièces relatives à l’établissement de l’Académie Royale de Musique, les lettres patentes du roi pour l’établissement de l’Académie de Danse de Paris, la création d’Académies d’opéra ou représentations en musique, en langue française, sur le pied de celles d’Italie, en faveur de Perrin, la permission en faveur de Lulli, le privilège pour l’impression des oeuvres de Lulli.UN DES 42 EXEMPLAIRES NUMÉROTÉS SUR GRAND RAISIN VÉLIN, seuls grands papiers. Vicaire VI, 902. Il est somptueusement relié à l’époque par l’excellent relieur lyonnais Dauphin. Qq. rousseurs.
18033Amsterdam, Antoine Schelte, 1697. 2 vol. petit in-12, vélin ivoire Bradel à rabats, titre en noir au dos. Reliure du XIXe s. Bon exemplaire. 2 titres-frontispice h.-t. gravés à l'eau-forte, 16 frontispices h.-t. gravés à l'eau-forte en tête de chaque pièce et 1 frontispice gravé à l'eau-forte au verso du titre de Stratonice, (6) ff. (front. compris), (4) ff., 65 pp., (4) ff., 66 pp., (4) ff., 65 pp., (4) ff., 66 pp., (4) ff., 66 pp., (4) ff., 66 pp., (5) ff., 87 pp., (4) ff., 77 pp.; (2) ff. (front. compr.), (5) ff., 74 pp., (1) f. blanc, (4) ff., 78 pp., (4) ff., 70 pp., (3) ff., 80 pp., (4) ff., 65 pp., (4) ff., 62 pp., (2) ff. blancs, (4) ff., 61 pp., (4) ff., 65 pp. Les frontispices sont intervertis ainsi que les pp. 43 à 61 d'Astrate et de Pausanias au tome II.
1824006561Paris: Crapelet Imprimeur-Libraire 1824. Book. Near Fine. Leather and Marbled Boards. First Thus. 8vo - over 7¾" - 9¾" tall. In handsome red leather and marbled boards end pages marbled top edges gilt gilt titles and decorations 4 raised band Near Fine slight rubbing to leather at tips slight foxing and toning scattered throughout. Philippe Quinault 1635-1688 was a French dramatist best known for his 14 opera librettos which he wrote for Lully. Crapelet, Imprimeur-Libraire Hardcover
2012x-1409420469Ashgate Pub Co 2012. Hardcover. New. new edition edition. 368 pages. 9.53x6.50x1.22 inches. Ashgate Pub Co hardcover
2011x-1441104283Continuum Intl Pub Group 2011. Hardcover. New. 291 pages. 9.00x6.00x0.75 inches. Continuum Intl Pub Group hardcover
ria9781409420460_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; The figure of William Gladstone continues to loom large in the history of nineteenth-century Britain. Not only was he Prime Minister four times and leader of the Liberal Party for over three decades but he also took an active interest hardcover
cROU-938Paris, chez Crapelet, 1824 ; 2 volumes in-8°, demi-chagrin lissé bleu, filet doré soulignant les mors, dos à nerfs,filet doré sur les nerfs, caissons de doubles filets dorés ornés de petits fers dorés, tête dorée (reliure fin XIXeme); 2ff.,Lpp., 1f., 446pp., 1f.; 2ff., 460pp.; mors un peu frottés,sinon très bon exemplaire exempt de rousseurs.
18777327-nnew. unknown
18777327like new. unknown
Two books pound as one. 232 pages in total. Index for each book. Line drawings throughout. "The material presented in this account of the Quinault was gathered during three visits of a month each in the spring of 1925 and the winters of 1925-26 and 1926-27. Above-average wear. Usual library markings. Book
1996x-0521497248Cambridge Univ Pr 1996. Hardcover. New. 367 pages. 9.50x6.50x1.00 inches. Cambridge Univ Pr hardcover
A9781409420460Hardback. New. William Ewart Gladstone 1809-98 was an MP for over sixty years and four times Prime Minister. This study reappraises Gladstone by focusing on five themes: his reputation; his representation in visual and material culture; his personal life; his role as an official; and the ethical and political basis of his international policies. hardcover
ria9781441104281_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Today representative democracy is the dominant political system in the world. Britain played a prominent part in the democratization of the world through both its constitutional reforms at home and its power and influence abroad. In tha hardcover
