Docteur Lucien-GrauxMareMagnum
HAMMAN A.G.MareMagnum
L'Epopée du livre. Du scribe à l'imprimerie. La transmission des textes anciens
Perrin, 1985. In-8 broché, 239 pages. Bon état.
1 884 résultats
First edition of this rÈcit. 73 pp plus a frontispiece drypoint portrait of the author by RaphaÎl- Schwartz. From a total edition of 355 numbered copies, this is ONE OF ONLY 25 COPIES PRINTED ON IMPERIAL JAPANESE PAPER (this copy printed for Manuel Bruker, the printer). Beautiful, large color-printed initial, in the art-dÈco style, on the first page of text. 8vo. Original wraps. Uncut, unopened, FINE AND BRIGHT, with no defects.
SAINT-MALO, Chez L.-H. Hovius, fils - 1791 - 1 volume In-12 - Reliure veau marbré de l'époque - Dos à 5 nerfs & à filets dorés - Pièce de titre havane, titre doré - VIII- 576 pages - coins émoussés, sinon Bel exemplaire - Rare édition de Saint-Malo Attribué à Louis-Isaac Lemaistre de Sacy, tandis que Brunet et la Biographie Générale soutiennent que Nicolas Fontaine, compagnon de captivité de Lemaistre de Sacy en serait le principal auteur. Quoi qu'il en soit, leur appartenance à Port-Royal, valurent à Fontaine et Lemaistre d'être persécutés comme jansénistes et enfermés à la Bastille pendant trois ans. C'est durant leur captivité qu'ils écrivirent " l'Histoire du Vieux et du Nouveau Testament " aux alentours de 1668
26, [4]pp., one of 200 numbered copies, 4 folding plates, orig. printed wrappers, a fine copy.
Perrin, 1985. In-8 broché, 239 pages. Bon état.
4to, illustrs., orig. decorated wrappers. Reprint of these important sections of the Encyclop?die showing text and all the plates.
First English Edition, 4to in 8's, woodcut ornament on title, Black Letter, a few early ink annotations, small hole in M7 affecting 2 letters of one word, wide margins, [4], 232 leaves, recased in original vellum, title in ink on spine, a good copy. This is Crompton's chief work and the first English law book devoted exclusively to the Royal courts, L'authoritie is a guide to all the courts then in existence, from the court functions of Parliament to the smallest local and special courts. Additionally, it contains a number of circuit reports of criminal cases not printed elsewhere. It is also the first book printed by Charles Yetsweirt, who had received a Royal commission to be printer of law books. STC, 6050; Sweet and Maxwell, p. 259 (8); Beale, T328.
Complete in 3 volumes: viii,vii,18 + xxiii,40 + ix,11 pp. + 465 unbound plates (facsimiles of 2272 examples of typography and woodblock illustrations from the period 1500-1540 in the Netherlands), in 3 uniform cloth-backed portfolio's from the publisher (with a few traces of use), text in French, limited edition (most probably 200 copies), rare complete set in very good condition, weight: 10 kg., [Content: Vol.I: Les Pays-Bas septentrionaux, II: Les Pays-Bas meridionaux, 3: Supplement], S102956
4to, vii,[i],276+4pp., of adverts, numerous plates and illustrs., (some coloured), orig. printed wrappers, a nice copy. Profusely illustrated and containing some superb coloured plates. Includes an article by Douglas Cockerell 'La Reliure de luxe en Angleterre.' p.69-121. From the library of Pierre Ber?s.
4to, vii,[i],276+4pp., of adverts, numerous plates and illustrs., (some coloured), orig. printed wrappers, partly defective. Profusely illustrated and containing some superb coloured plates. Includes an article by Douglas Cockerell 'La Reliure de luxe en Angleterre.' p.69-121.
Paris, Librairie Garnier Frères, " Collection Artistique ", 1931. In-8, broché, 280 pp. Illustrations dans le texte. Bon ex. Chapitres : Les caractères mobiles, propagation de l'imprimerie, Les débuts du l'Art du livre en France, en Italie au XVè siècle, en france au XVIè siècle, l'Art du livre au XVIè siècle en Flandre, en Italie et en Angleterre, l'Art du livre au XVIIè, XVIIIè, XIXè siècle, la reliure, table.
[xiv],209,[7]; engraved frontispiece, 18 engraved plates. 2 works bound in one, neat stamp to title of first work otherwise plates and text are nice and clean in both volumes, recent full vellum. The first work, originally published in 1687, was one of the earliest European works on the techniques of using watercolours. The second, a treatise on engraving, when first issued in 1645, the work was "notable for its completeness for the time of its production, and for its plates, which have been reproduced by most subsequent writers on the art"?Bigmore & Wyman I, p.72.
271pp.illustré de 221 gravures et d'une planche en couleurs, reliure cart.moderne, 26cm., peu de rousseurs, bel état, T86048
Histoire du livre, par Paul LOUISY: parchemin et papier, manuscrits, miniatures, reliure, imprimerie, librairie; illustrée de 221 gravures et d'une chromolithographie en frontispice: reproduction d'une miniature "tirée des ouvrages des ouvrages de M. Paul Lacroix (bibliophile Jacob)". Français
Small 8vo (150 x 100 mm). (8), 112 ff. With the title in a woodcut border with 6 putti (without wings) and 8 fantastic beasts in and growing out of stylized foliage, incorporating Sessa's device (a cat with a mouse in its mouth) in the foot; Sessa's woodcut device (cat with a mouse in its mouth, now in a crowned wreath with initials MS) on the otherwise blank final page; 1 woodcut decorated initial (as S designed with a gap in the central stroke to accommodate the profile of a man, possibly intended as Dante). Set in an Aldine-style italic (with upright capitals).19th-century (?) sheepskin parchment , sewn on 3 recessed supports, sprinkled edges. Fourth edition (the last before 1723) of Dante's important philosophical allegory in autobiographical form, expressing his love of wisdom and knowledge personified as a beautiful lady named Philosophy, and his view that they lead to virtue and worldly happiness. Dante presents the story as a metaphorical banquet where he is content to eat the crumbs that fall from the plates of the wise: "the first extended piece of original expository prose in the Italian vernacular" (Lansing). Dante began work on it around 1304, ten years after completing his verse Vita nuova, his elevation of courtly love poetry into sacred love poetry that centred around his love for the beautiful and virtuous Beatrice, an idealized picture of a real lady of the Florentine court who died in 1590. In the intervening years he had developed a great love for philosophy, literally meaning the love of wisdom (a deep understanding of human nature and the physical universe) that leads to virtue. This idea was to infuse the Convivio. He finished only four of its projected fifteen "trattati", and never widely circulated the Convivio during his life, but it represents a turning point in his writing. It appears to have given him a new inspiration so that he set it aside around 1307 to begin work on his Divine comedy, where he returned to verse but merged his first love, the more human and religious Beatrice of the Vita nuova, with his new love, Philosophy, to create the new version of Beatrice that he honours in the Divine comedy. The first treatise introduces the story, while each of the others begins with a canzone expressing a particular aspect of Dante's love for Philosophy, followed by the main text explaining its literal and symbolic meaning. The whole therefore forms an encyclopedia of secular knowledge, intended for the education of both men and women. It also passionately pleads for the use of the Tuscan vernacular Italian at a time when learned works were usually written in Latin. The fourth book was politically subversive, proclaiming that the love Dante describes ennobles the soul, and attacking the Holy Roman Emperor Frederick II's notion that nobility comes from inheritance and manners. Many elements, including the cosmology, return in the Divine comedy. - All surviving manuscripts of the Convivio are believed to derive from a single lost manuscript that was unfortunately corrupt, so the work has long been a challenge to its editors. It was first printed at Florence in 1490 under the title Convivio, the "amoroso" of the present title being added for the second edition published at Venice in 1521, emphasizing the importance of love in Dante's text. "Convivio" means banquet, but like the English convivial, its etymology (living together) gives it connotations of the pleasures of human relations. The text of the present edition follows that of 1521. - With numerous points in the text marked by a charming contemporary manuscript pointing hand in the margin. In very good condition, with only a tiny hole on the edge of the woodcut border, a small hole where the ink of one marginal pointing hand has eaten through the paper and an occasional minor spot. An unfinished work by Dante, important in its own right, as an early example of literary Italian prose and as part of the genesis of the Divine Comedy. Adams D 119. Edit 16, 1161. Gamba, Serie ... Italiana letteratura 419. Mambelli, Edizioni Dantesche 803. Sander, Dante Alghieri 2331. USTC 808776. For the text: R. Lansing, "Convivio", in: Dante encyclopedia, pp. 224-232.
4to, 178,[1]pp., one of 300 copies, 76 facsimiles (some folding), orig. printed wrappers detached, spine broken.
SAINT-MALO, Chez L.-H. Hovius - 1792 -Complet 2 parties en 1 volume In-12 - Reliure veau marbré de l'époque - dos lisse orné - Pièce de titre cerise, titre doré - toutes tranches rouges - (2)-243 & 198-(2) pages - Bel exemplaire Rare édition de Saint-Malo
A beautiful livre d'artiste illustrated with 16 ORIGINAL COLOR WOODCUTS BY HERMANN-PAUL (2 large compositions and 14 lettrines). Edition limited to 109 numbered copies printed on extremely fine Arches wove paper. Initialed in pencil by the printer. Large folio. Loose as issued in original wraps. FINE AND BRIGHT, WITH NO DEFECTS, in the original qurter cloth portfolio (extremities of portfolio lightly faded).
Folio [31 x 20 cm], (8), 551 pp, (13), including terminal blank. Title-page printed in red and black with large woodcut partially handcolored; large woodcut header on iir; and 3 large woodcuts in text on pp. 1, 199, and 527 (repeated from title). Late 19th century marbled boards. First few leaves a little creased in gutters; minor loss to blank margin of P4 affecting a handful of letters; repaired closed tear to corner of Xx1 with no loss of text. A few early marginal markings.p Extremely rare sole edition of this voluminous ‘Volksbuch’ bringing together nearly a thousand satirical tales in a rich vernacular, all here of course ‘enlarged and improved’, with additions ‘never before appearing in print’. Like Boccacio’s original, it seems that even in the late 16th century such tales were intended to be recited orally for the amusement of an audience of both sexes: Sigmund Feyerabend’s preface (iir-iiir) makes it clear that he intends the book for “jeden person, Mann oder Weib, jungen Gesellen und Jungkfrauwen zu lessen oder zu hören”, while the title-page specifically confirms that the book can be read unabashedly by ‘virtuous women and maidens, without deleterious offense”. Evidently surviving poorly, we have located just a few copies of the Kurtzweilige und Lächerliche Geschichte und Historien in libraries worldwide, with just one in the US (Illinois). - The compendium begins with Johannes Pauli’s famous collection Schimpf und Ernst, first printed in 1522 in the midst of the Reformation. Like his contemporary Luther, Pauli (ca. 1455-1535) was a monk himself (Franciscan) but here pokes endless fun the clergy of all levels, for example in his tale of a pope who ceremoniously washes the feet of paupers but is accused of looking for money between their toes (# 339). By some accounts an apostate Jew, Pauli became a friend of Geiler von Kaiserberg, and his oft-reprinted collection influenced an entire generation of Protestant German satirists including Hans Sachs. - Following Schimpf und Ernst is Arigo’s German translation of the Decameron (ca. 1473), which is here curiously called “der neuwen Zeitung”. Finally, at the end we find three extracts from original works of further German satirists: Jörg Wickram (ca. 1505-1560)’s Rollwagen (pp. 527-542); Jakob Frey (ca. 1520-1562)’s Gartengesellschaft (pp. 543-551); and Martin Montanus (ca. 1537-1566)’s Wegkürtzer (pp. 543-551). As the titles suggest, these jocular tales were expressly intended for the entertainment of travelers, as depicted in their ‘Rollwagen’ in the woodcut on p. 527. - VD16 shows just 5 copies in German and Austrian libraries; OCLC adds the British Library, Illinois, and the National Library of Sweden only. Individual 16th-century printings of each of the constituent parts also prove to be very rare in census. VD 16 P 969; Bacchi della Lega, Serie delle edizioni delle opere di Giovanni Boccaccio (1995), p. 72; cf also Monostory, Der Decamerone und die deutsche Prosa des 16 Jahrhunderts (1971); Florence N. Jones, Boccaccio and his imitators in German (1910), pp. 1-2; and Hawley (ed.), Reform and Counterreform: Dialectics of the Word in Western Christianity (1994), pp. 1-14.
Ming dynasty 1 Kwan note of the Hung-wu era (1368-98), produced from 1375. Printed on grey mulberry bark paper, size ca. 335 x 222 mm. Framed and glazed. Extremely early example of a banknote, and a specimen of the largest paper money ever issued. The Chinese writing along the top of this Ming note reads "Da ming tong xing bao chao" (from right to left, in regular K'ai Shu style), which translates as "Great Ming Circulating Treasure Note". Below this, the denomination is written in two characters "yi guan" ("one string", then the equivalent of 1000 copper cash or one tael of purse silver or one-fourth tael of gold). Beneath the denomination is a picture of a string of 1000 coins, arranged in ten groups of one hundred coins. Beneath this are the instructions for use and a threat to punish forgers. - Paper very thin and fragile, with some very old repairs, partly faded and with some soiling, some folds. Traces of two faded red (vermilion) seal handstamps, one at each side. As these stamps typically tend to fade with time, they are not easily perceptible. These seals had the function of signatures on modern banknotes. The red imperial seal is applied on the reverse. The outer frame surrounding the text is ornamented with dragon patterns. On both sides of the centre are eight Chinese characters "Ta Ming Pao Ch'ao, Tien Hsia T'ung Hsing" (The Great Ming note, circulates everywhere) in Chuan Shu style. - The 1 Kuan note is the largest paper money ever issued. China was the first country in the world to use paper money (credit currency). The very earliest paper money notes date from the 11th and 12th centuries, but as only fragments of these are extant, they can only be described in very general terms. This kind of note was observed by Marco Polo in the 12th century, and he referred to it as "flying money". The oldest paper money of which a complete specimen survives is that from early Ming dynasty, dated 1375. These notes are the earliest numismatic prints, also the earliest obtainable commercial printing on paper, indeed very nearly the earliest obtainable printing of anything - a full lifetime before Gutenberg. Very few examples survive.
Folio (205 x 303 mm). (42) ff. With one large woodcut in text. Modern half calf. Extremely rare, early edition: "a work of the utmost importance for German military science, in many ways nothing less than fundamental" (Jähns, p. 484). One of the most interesting early 16th century books on the art of warfare; one of three undated issues. Treats sieges and occupations, various kinds of weaponry and their application. The woodcut shows the siege of a city. The BM copy cited by Cockle (with different quire signatures and surmised publication date of 1525) is not traceable in the BM General Catalogue. Ott von Echterdingen was General of the Artillery under Emperor Maximilian I and Emperor Charles V (cf. ADB XXIV, 558f.). - Some browning throughout. Provenance: from the collection of Thomas Fremantle, 3rd Baron Cottesloe (1862-1956), commander of the Territorial Army and president of the Society for Army History Research. VD 16, O 1453. Jähns 483. Bonnemann, Rodler 9. BM-STC German 478. Cf. Cockle 508. Jordan 2748. Fairfax Murray 235. BMC XIV, 418, 740. Weller, Repertorium Suppl. 341.
8vo, [4], [309]-344pp., bound in a volume of none related pamphlets, nineteenth-century brown cloth. Contains the first appearance of Oscar Wilde 'A Fragment from the "Agamemnon" of Aeschylos' and 'A Night Vision.' Mason, 74.
215x185mm. 184 pages. 36 B/W plates. Cloth cover slightly stained. Cover and spine both slightly worn at corners.Else in good condition.
Includes numerous color plates. 190X275 mm. 303 pages. Hardcover slightly bumped. Spine faded. Spine hinge cracked. Spine edges bumped. Binding visible on title page. Few pen markings on contents page. Single plate loose. Few plates slightly loose. Else in good condition.
Contains color and b&w plates. 27.5x20cm. 304 pages. Hardcover. Cover edges and corners slightly worn. Pages 305-308 slightly torn. Pages slightly yellowing. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
np. Text ruled in black. Text set in Weiss type by Ed Johnson, Bundscho Typographers. Designed by Charles R. Prilik. 16mo. Original full glossy blue paper wraps with printed paper label on front wrap. Christmas keepsake from Charles R. Prilik. Nice copy. Scarce christmas keepsake and type specimen. CPHAM/W71C1
