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178486383Kehl Baden: Imprimerie de la Société Littéraire-Typographique 1784. Leather Bound. Very Good. L 8vo 7.75 - 9.75'' tall. Leather Bound. Condition: Very Good. Imprimerie de la Société Littéraire-Typographique Kehl Baden 1784. In French. Famous first posthumous collected edition of Voltaire's 1694-1778 works known as the 'Kehl Voltaire' produced by Beaumarchais who created a print foundry at Kehl to carry out this great work. Set contains 69 of the 70 Volume 8vo edition smaller 12mo 90 volume edition was also produced. Volume 23 Histoire de Charles XII missing. Volumes 10 and 27 printed 1784 summary volume 70 printed 1789 all other volumes printed 1785. Uniform 18th century calf full brown leather. Spines decorated in gold floral designs titles volume numbers within 6 boxed compartments. Boards have a natural brown mottled leather finish slanted gold lines on the narrow board edges. All page ends stained a very light yellow finely bespeckled with green. Green silk reading ribbons. Moderate wear of leather at spine tops light stress wear along exterior leather hinges some boards show minor leather loss at edges. All interior hinges firm untorn. Volume 20 upper rear board tip charred. Otherwise no volume damaged or repaired uniform light general wear. Only endpapers show browned bands along margins from pasted endpaper glue chemistry. Volumes 1 to 69 containing all the works and massive correspondences of Voltaire. Volume 70 contains Condorcet's Life of Voltaire and Condorcet's 'Memoires' of Voltaire index and 'Additions et Corrections' to the 70 volumes. Volume 1 frontispiece engraving of Voltaire by Moreau.; Volume 10 frontispiece engraving of Henry IV; Volume 16 frontispiece portrait of Voltaire; Volume 24 frontispiece engraving military map camp plan; Volume 31 14 engraved plates of scientific diagrams. Provenance: Each volume has the small ink stamp 'William H. Floyd Collection No.' on the rear of the title page. Floyd was a late 19th century American antiquarian collector. The numbering sequence 5098-5166 shows that volume 23 was missing even when cataloged by Floyd. Size: L 8vo 7.75 - 9.75'' tall. A major cultural event of the last decade of the ancien regime a beautiful monument to Voltaire the greatest man that literature had produced. Pierre-Augustin Caron de Beaumarchais led a controversial life. Playwright The Marriage of Figaro politician publisher entrepreneur spy supplier of munitions for the American Revolution and an early champion of the rights of artists and intellectual property. Shortly after the death of Voltaire in 1778 Beaumarchais set out to publish Voltaire's complete works many of which were banned in France and vehemently condemned by the Church. Royal letters would be censored by Frederick II of Germany Catharine II of Russia and others. He bought the rights to most of Voltaire's many manuscripts from publisher Charles-Joseph Panckoucke in 1779. To evade censorship printing presses were set up in the small neutral independant state of Baden at Kehl. Beaumarchais bought with exclusivity the complete foundry of the famous English type designer John Baskerville for the Societe Litteraire Typographique an organization he established to produce editions in which he was interested. Three paper mills were purchased. Seventy volumes were published between 1783 to 1790. While the venture proved a financial failure Beaumarchais was instrumental in preserving many of Voltaire's later works which otherwise might have been lost. The Kehl edition was banned on French territory until 1789. Baskerville font was revived by Americans in the 20th century. Voltaire Kehl Condorcet Pierre Beaumarchais Charles-Joseph Panckoucke RBR4 RBR4 Imprimerie de la Société Littéraire-Typographique hardcover
17335282Amsterdam: Zacharias Chatelain 1733. Contemporary gold-tooled calf by the Three Acorn Bindery sewn on 7 supports with the corresponding raised bands on the spine a red morocco title label on the spine lettered in gold both boards are richly gold-tooled in a panel design with a central ornament mottled and sprinkled panels of varying density separated by vegetal borders. Further with gold-tooled board edges and blue mottled page edges. Large folio. With an engraved frontispiece an engraved vignette on the title page the title printed in red and black a large armorial head-piece for the dedication and 60 full-page engraved plates by Bernard Picart. Large-paper copy of the first Dutch edition of a beautifully illustrated explanation of the classical fables sumptuously bound by the Three Acorn Bindery in Amsterdam fl. ca. 1756-1780/1806. Each chapter is dedicated to a single fable. It contains a Latin quotation from the original source primarily from Ovid but also Seneca Martial Lucan and Horace followed by a Dutch prose account of the fable an explanation of its meaning and scholarly notes. The 60 fine plates were designed and engraved by Bernard Picart 1673-1733 and his pupils. These engravings framed by elaborate rococo borders populated with scrollwork and mythological creatures not only represent Picarts final works but also his finest.The inspiration for the collection comes from Michel de Marolles' Tableaux du Temple des Muses 1655 but the texts were newly written for the present edition by Antoine de la Barre de Beaumarchais. The plates include a brief caption in French Dutch English and German likely so that they could be reused as Chatelain published editions in all four languages simultaneously. The French and German translations were published a second time in 1749 and 1754 respectively.The binding shows minor traces of use. The text leaves are somewhat browned and foxed but the plates are clean. Otherwise a fine large-paper copy in good condition.l Cat. Rijksmuseum Amst. I p. 170; STCN 182996409; cf. Cohen-De Ricci col. 531 French ed.; Storm van Leeuwen Dutch decorated bookbindings vol. I pp. 599-612 for the bindery and vol. III L358 for this binding. Zacharias Chatelain, hardcover
196330415Paris Nouveau Cercle Paris 1963 In-4 mont sur onglets, maroquin vert sur le premier plat et la premire moiti du dos, maroquin bleu sur la seconde moiti du dos et le second plat, spars verticalement selon une ligne ondule; plats orns d'un dcor voquant les grilles d'une fentre mosaque en relief en plexiglas; dos sans nerfs portant le titre de l'ouvrage pouss or en longueur; doublures et gardes de papier orange, non rogn, couverture illustre. Chemise, tui (Henri Mercher, 1969).56 lithographies originales par Andr Derain, dont 52 en couleurs (8 sur double page et 44 in-texte), originellement conues en 1953 pour les dcors et les costumes de la reprsentation de l'opra de Rossini au festival d'Aix-en-Provence en 1956. Tirage unique limit 270 exemplaires numrots sur vlin de Rives. Exemplaire enrichi du prospectus illustr de l'diteur. Le dcor de la reliure voque la fentre de Rosine.
1797Beaumarchais3<p><strong>BEAUMARCHAIS de Pierre-Augustin Caron 1732-1799</strong></p><p>Autograph letter signed " Beaumarchais " to Citizen Pierre-Charles-Louis Baudin<br />N.p " ce 15 floréal " 4th May 1797 1 p. small in-8°<br />Apostille " Répondu le 18 floréal " from the hand of Pierre-Charles-Louis Baudin<br />One word "Monsieur" crossed off by Beaumarchais</p><p><strong>Quoting Voltaire Beaumarchais sent his correspondent <em>La Mère coupable</em> the third part of his <em>Figaro Trilogy</em></strong></p><p><em>" Vous Souvient il Monsieur de ces quatre vers de Voltaire à un Evèque <br />–<br /><strong>Vous m'envoyés un mandement.<br />Recevés une tragédie.<br />Et qu'ainsi mutuellement<br />Nous nous donnions la comédie !<br /></strong>–<br />Souffrés que je vous dise : Vous m'envoyés des choses aussi bien faites qu'importantes à la République ; <strong>Et moi homme inutile ! Je vous prie d'accepter les rèveries de mon bonnet.<br /></strong>Je n'entends point m'acquiter auvers vous ; mais seulement vous engager a vous contenter de ma part de ce léger tribut d'une vive reconnaissance.<br />Beaumarchais<br />ce 15 floréal "</em><br /><em>" Rep. Le 18 "</em></p><p>This letter is part of a sequence of epistolary exchanges between Beaumarchais and Pierre-Charles-Louis Baudin. We know Baudin's reply to the "18 floréal" as indicated by him in the lower margin: "My political abortions cannot become the equivalent of your dramatic work. As I read it with avidity I perfectly felt how necessary Susanne's bottle was. Your Irishman suffocates me … however observed that on the one hand political fanaticism as well as religious fanaticism explains many facts which seem to exceed the known measure of human wickedness; that on the other hand what we have seen that is most atrocious most revolting and above all most disgusting had a character of brutal frankness whereas in your Tartuffe it is a question of a refinement of hipocrite blackness so managed spun with so much art … ". <em>Beaumarchais et le Courrier de l'Europe</em>. Ed. Gunnar & Mavis von Proschwitz. <em>Studies on Voltaire and the Eighteenth Century</em>. Oxford : The Voltaire Foundation 1990 ; p. 1173-1174 n°628.</p><p>When Baudin evokes the characters "Irish" Bégearss "Suzanne" Figaro's wife and more broadly the praise he makes of the theatrical drama of his correspondent we understand that the text sent by Beaumarchais is the third part of his <em>Spanish</em> Figaro <em>trilogy</em>: <em>The</em> <em>Guilty Mother</em>.<br />The play performed on 26 June 1792 at the Théâtre du Marais was a failure. The revival at the Théâtre de la rue Feydeau on 16 Floréal of the year V 5 May 1797 that is to say the day after this letter was this time crowned with great success. The play represents the third part of the Figaro trilogy after<em> The Barber of Seville</em> 1775 and <em>The Marriage of Figaro</em> 1778. Beaumarchais himself wrote a notice to comment on this third and final act: "After having laughed at the Barber of Seville at the turbulent youth of Count Almaviva after having gaily considered in the Mad Day <em>The Marriage of Figaro</em> the faults of his virile age come and convince yourself by the picture of his old age that every man who is not born a dreadful villain always ends up being good. "</p><p>Although no letter between Voltaire and Beaumarchais has come down to us today we nevertheless know the esteem in which they were held. In his book<em> Voltaire's Kehl Edition</em>. <em>L'édition Kehl de Voltaire. Une aventure éditoriale et littéraire au tournant des Lumières</em> Linda Gil explains that "Their relationship is built on mutual admiration. Beaumarchais read Voltaire and admired his works. His own writing is often influenced by the style of the philosopher. As for Voltaire "he cites Beaumarchais as an example to D'Alembert he compares himself to him. A good part of his correspondence from the first months of 1774 is occupied with it."</p><p><u>Provenance:</u><br />Vente Cornuau 25-26 mai 1934<br />A. Guichard Collection</p><p><u>Bibliography:</u><br />" Chroniques " <em>Revue d'histoire littéraire de la France</em> 42e année n°1 1935 p. 148 transcription partielle – Linda Gil<em> L'édition Kehl de Voltaire</em>.<em> Une aventure éditoriale et littéraire au tournant des Lumières</em> Honoré Champion Paris 2018 t. 1 p. 573-576 – <em>Inventaire numérique de la correspondance de Beaumarchais</em> Linda Gil dir. Humanum/IRCL IDC24</p>
1733B5643Amsterdam: Printed for Zachariah Chatelain c. 1733. Corners slightly bumped occasional faint browning; faint dampstains to blank margins of final plate and final few leaves; otherwise text and plates clean and crisp; a bright near fine copy in full contemporary mottled calf. Edition: First Edition in English Binding: Contemporary mottled calf seven raised bands with gilt morocco title on two and elaborate floral gilt design on remaining compartments; edges marbled. Notes: First Edition in English; published the same year as the French edition. Illustrated with Picart’s magnificent engravings each within an ornate border depicting fables of the ancient world many from Ovid. The text is by Antoine de La Barre de Beaumarchais. Size: Folio 297x468mm. Illustration: Illustrated with additional engraved allegorical title-page dated 1732 by B. Picart red- black title with printer’s device dated 1729 and 60 full-page plates captioned in French English German and Dutch engraved by Picart; tail pieces and rubricated initials. References: Reference Cohen de- Ricci 531; Brunet V 696 Pages: Half title blind illustrated title blind title blind preface xxii contents xxiii-xxiv 153 with 60 plates index and advertisement 3. Category: Book Plate Books General; Book Antiquities Printed for Zachariah Chatelain hardcover
1738979F40London: T. Astley 1738 . First edition. Leather. Very Good Indeed. 7" by 4.5". None. A wonderful example of the very scarce first English language edition of Antoine de La Barre de Beaumarchais's retelling of the Greek myths to be published in England. The vanishingly scarce first English language translation of this work to be published in England. This English language translation was first published in Amsterdam in 1733. While the Amsterdam edition was illustrated throughout with Picard's engravings our first England edition was issued without illustrations.The text discusses classical fables and myths such as those found in Ovid's 'Metamorphoses'. Based on an earlier work by Abbé de Marolles Antoine de La Barre de Beaumarchais discusses tales of heroes and gods such as the myths of Sisyphus Andromeda Hercules and the Hydra and Phaeton's Fall.ESTC T90860With the register: a12 b8 B1-5 B4-10 C-O12 P6 Q6. Collated complete. Despite the irregularity in register to gathering B the pagination and catchwords run correctly.Rebacked retaining original endpapers.With the contemporary bookplate of W. Dodd to the front pastedown and a contemporary 1738 former owner's inscription to the front free endpaper. With a 1997 inscription to the head of the front pastedown.A fascinating detailed and very scarce analysis and retelling of classical mythology. Rebacked retaining the original calf boards and endpapers. Externally excellent with minor rubbing to front board fore edge. Bookplate to front pastedown with former owner's inscription to front pastedown head. Contemporary inscription to front free endpaper. Internally firmly bound. Pages a touch age toned due to paper type but generally clean with light spotting to first and last few leaves. Very Good Indeed T. Astley hardcover
178566809With the Suppressed Plates by Naudet BEAUMARCHAIS Pierre Augustin Caron de. La Folle JournÈe ou le Mariage de Figaro ComÈdie en Cinq Actes en Prose. Paris: de lÃImprimerie de la SociÈtÈ LittÈraireñTypographique chez Ruault 1785. First edition second printing. Royal octavo. li 199 pp. plus the errata leaf and five engravings by SaintñQuentin. Together with the excessively rare suppressed suite of engravings by Naudet laid in at end. Full 19th century red morocco decoratively stamped in gilt; gilt board edges and dentelles; all edges gilt; marbled endpapers. Faint foxing primarily to preliminary and terminal leaves. An extremely attractive copy. Housed in a custom quarter red morocco clamshell case. The suite of five engravings by Naudet was executed for an edition which was never printed and the plates were subsequently suppressed. They are especially rare when seen with their full margins as here. Le Mariage de Figaro Beaumarchaisà masterpiece influenced French literature by reviving the ìcomedy of intrigueî which had declined since MoliËre. In addition Le Mariage de Figaro was one of the first plays which fully incorporated DiderotÃs theories of acting and stageñcraft. ìIn 1784 the year of its first performance it was repeated sixtyñsix times. ìPublic interest was whetted by its satirical references to the aristocracy and it was this that first won it fame. Although greeted with enthusiasm by French society it in fact contributed largely to its destruction. It is however the music of Mozart which has immortalized it as the perfect type of comedy.î Cohen-Ricci pp. 125/6. Printing and the Mind of Man 230. HBS 66809. $5000 De l'Imprimerie de la SociÈtÈ LittÈraire-Typographique unknown books
12484[Kehl], De l'Imprimerie de la Société littéraire-typographique ; et se trouve à Paris, chez Ruault, 1785 ; in-8. LI-(1)-199 pp.-(1). 10 planches hors-texte. Maroquin rouge, dos à nerfs richement orné, encadrements de triples filets dorés sur les plats, doubles filets sur les coupes, dentelle dorée sur les chasses, tranches dorées. (Rel. Chambolle-Duru). Bel exemplaire à grande marges, présentant cependant un coin émoussé et des frottements en tête des deux charnières. Conservé sous chemise et étui avec dos de maroquin brun, titre doré.
17580S.l., de l'imprimerie de la société littéraire-typographique, 1784-1789. 70 vol. in-8, veau moucheté brun de l'époque, frises dorés en encadrement sur les plats, dos lisse orné de caissons dorés, pièces de titre et de tomaison rouge, tranches mouchetées (épidermures, petits manques, quelques taches et roussseurs).
2305SB039<p>ORNÉ DE LX TABLEAUX Où sont représentés les Evenemens les plus remarquables de LANTIQUITÉ FABULEUSE; Dessinés & gravés par B. Picart Le Romain & autres habiles Maitres; et accompagnés DEXPLICATIONS et de REMARQUES Qui découvrent le vrai sens des Fables & le fondement quelles ont dans lHistoire. A AMSTERDAM Chez ZACHARIE CHATELAIN M. DCC. XXXIII. 1733.</p>_x000d_<p>De 44x305 cm. Com xii 152 iv págs. Encadernação de grande beleza de inícios do século XX inteira de pele com nervos e ferros a ouro em casas fechadas na lombada com o ano de 1783 gravado no pé. As pastas totalmente cobertas por belos e muito elaborados ferros a ouro em esquadrias com uma cercadura exterior com uma fiada dupla de elementos vegetalistas delimitada por filetes duplos que enquadram nova cercadura simples que por sua vez é separada por filetes duplos de uma terceira cercadura simples com motivos vegetalistas virados para o centro que está decorado por um losango constituído pelos mesmos motivos sobre filetes duplos também em losango tendo ao centro interiormente um florão rodeado de pequenos elementos decorativos que se repetem nos cantos da parte central juntamente com motivos vegetalistas em voluta. Cortes das folhas carminados. Folhas de guarda em belo papel marmoreado.</p>_x000d_<p>Ilustrado em extratexto com frontispício gravado bela composição de motivos arquitectónicos com o título enquadrado por um pórtico com duas colunas com figuras alegóricas na frente de cada uma e composições alegóricas na parte superior e no embasamento relativas à morte ao tempo e à arte; e 54 belas gravuras em água-forte sobre papel mais encorpado a maioria da autoria de Bernard Picart. As gravuras incluem legendas em alemão francês neerlandês e inglês e encontram-se enquadradas por belas molduras com motivos alegóricos e antropomórficos todas da autoria de Picart.</p>_x000d_<p>Rosto impresso a vermelho e preto. Texto em caracteres itálicos na dedicatória índice de capítulos e citações no texto e nas notas dispostas em duas colunas. Inclui iniciais ornamentadas e florões de remate em xilogravura. A dedicatória apresenta um cabeção em água-forte com as armas do dedicatário.</p>_x000d_<p>Exemplar com falta de 6 gravuras: X XV XXII XXIII XXXV LVI encontrando-se uma folha branca em substituição das mesmas pelo que terá sido encadernado já com estas falhas. Apresenta acastanhamento do papel e manchas de humidade em algumas folhas destacando-se na margem lateral das folhas de anterrosto e rosto. Restauro amador na folha de anterrosto.</p>_x000d_<p>As primeiras páginas não numeradas contêm folha de anterrosto dedicatória a Philipp Karl von Eltz ou Philippe-Charles dEltz Kempenich 1665 Mayence 1743 e índice de capítulos. As últimas folhas têm um índice de assuntos.</p>_x000d_<p>Este livro reúne 60 episódios da mitologia grega cada uma acompanhada da sua gravura desde o <em>Caos</em> até ao submundo passando por Pandora Prometeu Pigmalião Hércules Andrómeda Penélope Sísifo e muitos outros.</p>_x000d_<p><em>Le Temple des Muses </em>é o título de uma obra do Abade de Marolles publicada em Paris em 1655 e dedicada à Rainha da Polónia Marie-Louise de Gonzague. É um dos livros mais importantes publicados no século XVII para o estudo da mitologia na literatura da época. Trata-se de um fólio com mais de 500 páginas ilustrado com 58 gravuras de página inteira.<br />A presente obra toma a de Marolles como ponto de partida embora no prefácio se avise que o «título é quase a única conformidade que existe entre a sua obra e a que agora é dada ao público»; e que a presente obra é detentora de uma mais completa e precisa explicação histórica. Não obstante a estrutura da obra é claramente semelhante sendo o seu conteúdo modificado e resumido relativamente à primeira. No mesmo prefácio se refere ainda que algumas das gravuras se baseiam naquelas que ilustram a obra de Marolles embora «apareçam aqui com tão grandes mudanças que tirando a excepção têm todo o mérito da novidade».</p>_x000d_<p>Bernard Picart Paris 1673 Amsterdam 1733 foi um notável ilustrador que ganhou muita reputação na Holanda e com um estilo semelhante ao de Rembrandt e Guido Reni.</p>_x000d_<p>Antoine de Labarre de Beaumarchais 1698 1750 é autor do texto. Nascido em Paris e antigo cónego parisiense mudou-se para a Républica Holandesa onde se dedicou ao jornalismo e à escrita e de acordo com o próprio encontrou uma verdadeira liberdade de ideias e de expressão.</p>_x000d_<p>EN 44x305 cm. xii 152 iv pp. Very beautiful binding from early 20th century full leather with raised bands and gilt tools on spine with the year 1783 engraved at its foot. The boards are completely covered with beautiful and very elaborate gilt tooling in frames with an outer frame with a double row of plant motifs inside double fillets that form a new simple frame which in turn is separated by double fillets from a third simple frame with plant motifs facing the centre. The centre is decorated with a central <em>fleuron</em> framed by double lozenge fillets. Red edges. Beautiful marbled endpapers.</p>_x000d_<p>Illustrated <em>hors-texte</em> with engraved frontispiece beautiful composition of architectural motifs with the title framed by a portico with two columns with allegorical figures in front of each and allegorical compositions at the top and bottom relating to death time and art; and 54 beautiful etchings on thicker paper most by Bernard Picart. The engravings include captions in German French Dutch and English and are framed by beautiful allegorical and anthropomorphic motifs all by Picart.</p>_x000d_<p>Frontispiece printed in red and black. Text in italics in dedication chapter index and quotations in text and notes arranged in two columns. Includes decorated initials and woodcut finishing <em>fleurons</em>. The dedication features an etching of the dedicatee's coat of arms.</p>_x000d_<p>Copy lacking 6 engravings: X XV XXII XXIII XXXV LVI with a white sheet replacing them so it must have been bound with these flaws. The paper is browning and there are damp stains on some leaves especially on the outer margin of the front and back leaves. Amateur restoration on half title page.</p>_x000d_<p>The first unnumbered pages contain an half title page dedication to Philipp Karl von Eltz or Philippe-Charles d'Eltz Kempenich 1665 - Mayence 1743 and chapter index. The last leaves have a subject index.</p>_x000d_<p>This work brings together 60 episodes from Greek mythology each accompanied by its own engraving from <em>Caos</em> to the underworld including Pandora Prometheus Pygmalion Hercules Andromeda Penelope Sisyphus and many others.</p>_x000d_<p><em>Le Temple des Muses </em> is the title of a work by the Abbé de Marolles published in Paris in 1655 and dedicated to the Queen of Poland Marie-Louise de Gonzague. It is one of the most important books published in the 17th century for the study of mythology in the contemporary literature. It is a folio of over 500 pages illustrated with 58 full-page engravings.</p>_x000d_<p>The present work takes Marolles' as its starting point although the preface warns that the "title is almost the only conformity that exists between his work and that now given to the public"; and that the present work has a fuller and more accurate historical explanation. Nevertheless the structure of the work is clearly similar its contents being modified and summarised in comparison with the first. The same preface also mentions that some of the engravings are based on those illustrating the work of Marolles although "they appear here with such great changes that apart from the exception they have all the merit of novelty".</p>_x000d_<p>Bernard Picart Paris 1673 - Amsterdam 1733 was a noted illustrator who gained much reputation in the Netherlands and with a style similar to that of Rembrandt and Guido Reni.</p>_x000d_<p>Antoine de Labarre de Beaumarchais 1698 - 1750 is the author of the text. Born in Paris and a former Parisian canon he moved to the Dutch Republic where he devoted himself to journalism and writing and where according to himself he found a real freedom of ideas and speech.</p>_x000d_<p>Referencias/References:</p>_x000d_<p>BNF ark:/12148/cb30701498g</p>_x000d_<p>Worldcat E39PBJk4B98MGfTqg6VGQhYtrq.</p> M-8-A-37 hardcover
179133259Sans lieu sans nom 1791 Plaquette in-12 de 8 pages, bradel papier marbr, pice de titre en maroquin rouge sur le dos; doublures et gardes de papier crme, non rogne.Edition originale de ce pome divis en 18 couplets qui se chantent selon un air transcrit la fin de la plaquette sur trois portes musicales. Trs rare.
51-3723Amsterdam :Zacharias Chatelain 1733. Large folio. 32 x 49 cm. 12.25 x 19.25 inches.Modern binding by the artisan binder Sasha Mosalov; 3/4 Sokoto goatskin and marbled boards with matching endpapers. Half title and title page with repairs. Some pages with light stains. Very good. Text in Dutch. OCLC Number: 937130768. . . 6 xxviii 158 4 pp. With 60 copper plate engravings by Bernard Picart "The Roman" additional engraved architectural title page title page engraved printer's device an engraved headpiece woodcut floriated initials and woodcut endpieces. Picart based his illustrations primarily on the plates by Abraham van Diepenbeek that were engraved by Bloemaert for Michel de Marolles' Temples des Muses Paris 1655. Picart added superb rococo borders however that are exemplars of the style. The result combines the high baroque period of the Rubens school with the more gracious inventions of his own time. Each plate bears captions in French English German and Dutch. This is among Picart's final works as he died during the year of its publication. Brunet V:696. t.Titelbladet tryckt i rött och svart. Gravyr på titelbladet.Detta verk är baserat på tidigare arbeten av Jacques Favereau och Michel de Marolles.Grav. frontespis: "De Tempel der Zang-Godinnen. T'Amsterdam by Z. Chatelain." Amsterdam :Zacharias Chatelain, 1733 hardcover
99187aafLondres & Philadelphie; et se trouve par-tout / Au Palais-Royal, chez Ruault, M.DCC.LXXXV, 1779 / (1785), in-8vo, 56 p. / 1 f. (faux-titre, au verso: Cet ouvrage se trouve,... & Avis de l’Editeur) + titre avec vignette gravée + LVI + 237 p. (+ 1 p. blanche) papier légèrement bruni, dédicace manuscrite ‘de la part de l’auteur’ sur titre des Observations, reliure du XIXè en demi-veau, dos lisse avec pièce de titre et filets or.
17549Paris, chez Ruault, 1785. In-8, LI-199-[1] pp. 11 pl., maroquin bleu de Chambolle-Duru, filets et fleurons en encadrement sur les plats, dos à nerfs orné de caissons et fleurons dorés, doublure de maroquin rouge dans un encadrement de maroquin bleu, frises dorées en encadrement, tranches dorées (plat supérieur cassé, dos légèrement insolé, quelques petites épidermures et taches, quelques petites rousseurs).
180789775Hamburg Paris: A. Galland 1807. Fine. A. Galland Hamburg Paris 1807 12.6 x 19.8 cm Relié Very rare first edition cf. Monglond VII 661.Contemporary half brown sheep with corners smooth spine gilt with floral tools and fillets rubbing to spine and joints marbled paper boards grey endpapers and pastedowns corners softened yellow edges.Pleasant clean interior.A shadowy figure who was by turns and at times simultaneously a secret agent Talliens associate a Revolutionary pamphleteer and a double agent under the Directory and the Empire Méhée de La Touche 17621827 left in 1784 on a covert diplomatic mission to Poland and Russia from which he was expelled at the end of 1791. The correspondence he publishes here running from 1788 to July 1791 abounds in valuable information on the social and political situation of these countries at the close of the eighteenth century. A. Galland hardcover
1773587281 vol. fort in-4 reliure de l'époque plein veau marbré, dos à 5 nerfs dorés, Chez Ruault, Paris, 1774, portrait en frontispice, 40-78-64-28-108 pp., 2 ff., 64 pp., 1 f., viij-84 pp., 1 f., 24-96-27-99-4-4-54 pp., 1 f. blanc, 20 pp., 1 f., 28-38-7-7-36-24-4-24-7 pp., 1 f., 41-23-24-6-15-8 pp. Détail : Mémoire à Consulter pour Pierre-Augustin Caron de Beaumarchais, Imprimerie de Ph. D. Pierres, Paris, 1774, 40 pp. (Cordier, 333) ; Addition au Supplément du Mémoire à Consulter, Imprimerie de Ph. D. Pierres, Paris, 1774, 78 pp. (Cordier, 336) ; Supplément au Mémoire à Consulter, De l'Imprimerie de Quillau, Paris, 1773, 64 pp. (Cordier, 334) ; Requête d'Atténuation pour le Sr. Caron de Beaumarchais, De l'Imprimerie de Knappen, Paris, 1773, 28 pp. (Cordier, 337) ; Quatrième Mémoire à Consulter, De l'Imprimerie de J. G. Clousier, 10 Février 1774, 108 pp. (Cordier, 338) suivi d'1 feuillet : "Note" ("A l'instant où ce Mémoire alloit paroitre, un ordre exprès du Gouvernement a défendu aux Comédiens François de représenter une Pièce nouvelle de moi, intitulée : Le Barbier de Séville ou la Précaution inutile [ ... ]") ; Suite de la Justification du Sieur de Beaumarchais, De l'Imprimerie de Quillau, 1776, 1 f. 64 pp. (Cordier, 339) ; Mémoire pour Pierre-Augustin Caron de Beaumarchais : Avertissement servant de réponse au troisième Précis du Comte De La Blache. Mémoire à Consulter et Consultation, De l'Imprimerie de J.G. Clousier, 16 janvier 1775, 1 f., viij-84 pp., 1 f. (Cordier, 327) ; Plainte contre la Demoiselle Julie Caron de Beaumarchais, Chez P.G. Simon, Paris, 1774, 24 pp. (pas dans Cordier qui signale seulement, au numéro 355, l'édition Lambert de 7 pp.) ; Réponse ingénue de Pierre-Augustin Caron de Beaumarchais à la Consultation Injurieuse que le Comte Joseph-Alexandre Falcoz de La Blache a répandue dans Aix, [ Suivi de : ] Consultation ("Vu un Sommaire raisonné des dix-septs dossiers de papiers qui composent le sac du Sieur de Beaumarchais..." délibéré à Aix le 17 juin 1778, signé Roman Tributiis, Pazery, Mathieu, Monsieur de Saint-Marc Rapporteur, s.l.n.d., 96-27 pp. (mal chiffré 17) ( Cordier, 329) ; Le Tartare à la Légion ("Brûler n'est pas répondre") [ suivi de ] Réponse du Sieur de Beaumarchais, au second article de l'exorde du mémoire du Comte de la Blache, qui dit ainsi :", [ suivi de ] Observations pour le Sieur Caron de Beaumarchais sur la Consultation communiquée le 15 du courant", s.l.n.d., 99 pp. (mal chiffré 69) (Cordier, 330) ; 4 pp. (Errata du premier Mémoire intitulé "Réponse ingénue", Errata de la Consultation, Errata du Second Mémoire intitulé "Le Tartare", Errata des Observations) ; Lettre de M. de Beaumarchais aux Gazetiers & Journalistes, Paris, ce 10 septembre 1778, s.n., 4 pp. ; Mémoire pour Madame de Goezmann, De l'Imprimerie de Michel Lambert, 1773, 54 pp. (Cordier, 343) ; 1 f. blanc, Pièces du Mémoire de Madame de Goezmann n° I, dispositif de l'Arrêt du Parlement du 6 avril 1773, De l'Imprimerie de Michel Lambert, 1773, 20 pp. ; Requête au Roi, pour le Sieur de Goezmann, Conseiller au Parlement de Paris, De l'Imprimerie de Grangé, s.d. [ 1774 ], 1 f., 28 pp. (Cordier, 357) ; Observations pour Monsieur de Goezmann, Conseiller de Grand'Chambre [par Eynard ], De l'Imprimerie de M. Lambert, 1773, 38 pp. (Cordier, 342) ; Plainte contre le Sieur Caron de Beaumarchais, [par Eynard ], De l'Imprimerie de Michel Lambert, 1774, 7 pp. (Cordier, 354) ; Note remise par Monsieur de Goezmann, Conseiller de Grand'Chambre, à MM. ses Confrères [par Me Eynard ], De l'Imprimerie de Michel Lambert, 1773, 7 pp. (Cordier, 341) ; Mémoire à Consulter pour le Sieur Marin, en réponse à ce qui le concerne dans un Mémoire, pour le sieur Caron de Beaumarchais [par Me Delaboureys ], De l'Imprimerie de D. C. Couturier, s.d. [ délibéré à Paris de 30 novembre 1773 ], 36 pp. (Cordier, 352) ; Mémoire pour le Sieur Marin, en réponse à ce qui le concerne dans un troisième Libelle du sieur Caron de Beaumarchais [ Suivi de : ] Plainte contre le sieur Caron de Beaumarchais [ par Me Picard ], De l'Imprimerie de D. C. Couturier, s.d., 24 pp. (Cordier, 353) ; A Nosseigneurs du Parlement, les Chambres assemblées, supplie humblement Louis-François-Claude Marin [par Me Picard ], De l'Imprimerie de Michel Lambert, 1773, 4 pp. (Cordier, 350) ; Arrest de la Cour du Parlement, Extrait des Registres du Parlement, Du 26 février 1774, Chez P. G. Simon, Paris, 1774, 24 pp. (Cordier, 356) ; Mémoire à Consulter et Consultation, pour le Sieur Marin, Contre le Sieur Caron de Beaumarchais, De l'Imprimerie de D. C. Couturier, s.d. [ délibéré le 7 octobre 1773 ], 7 pp. (Cordier, 351) ; Mémoire à Consulter et Consultation pour Antoine-Bertrand d'Airoles, Accusé, De l'Imprimerie de L. Cellot, 1773, 1 f., 41 pp. (Cordier, 345) ; Addition au Mémoire à Consulter pour Antoine-Bertrand d'Airolles, Accusé, contre le Sieur Caron de Beaumarchais, Accusé, De l'Imprimerie de Michel Lambert, 1774, 23 pp. (Cordier, 349) ; Supplément au Mémoire du Sr Bertrand d'Airolles, De l'Imprimerie de M. Lambert, 1773, 24 pp. (Cordier, 346) ; Observations pour Antoine Bertrand d'Airolles, sur la Réponse du Sieur Gardane, Médecin, &c, De l'Imprimerie de Michel Lambert, 1774, 6 pp. (Cordier, 348) ; Mémoire à Consulter pour François-Thomas-Marie d'Arnaud, Conseiller d'Ambassade de la Cour de Saxe... contre Pierre-Augustin Caron, De l'Imprimerie de Michel Lambert, 1773, 15 pp. (Cordier, 344) ; Réponse pour le Sieur J.J. Gardane, Docteur-Régent de la Faculté de Médecine [ ... ] Aux libelles imprimés & publiés par les Sieurs Marin & Bertrand d'Airolles, De l'Imprimerie de la Veuve Ballard, 1774, 8 pp. (Cordier, 347)
1779801801779. BEAUMARCHAIS Pierre-Augustin Caron de. Observations sur le Memoire Justificatif de la Cour de Londres. A Londres a Philadelphie 1779. 56pp. Modern unprinted wrappers. Minor soiling to title page and final page early owner's name on titlepage else a near fine copy. HOWES B-289 "aa." Sabin 4182. Goldsmiths 11907. Bell B129. A reply to Edward Gibbon's Memoire Justificatif. not to be confused with de Rayneval's response of the same name. "This work by the famous playwright was part of the pamphlet war that flared over French support of the Americans in the Revolution" Bell. Beaumarchais who wrote the libretti of The Barber of Seville and The Marriage of Figaro was an avid supporter of the colonists' plight and had been instrumental in obtaining and transporting arms and ammunition to the Americans under the firm name of Roderigue Hortalez & Co. Later however there was some confusion about whether the supplies were gifts from the French government and Beaumarchais was never properly compensated. His heirs were finally paid $800000 in 1835 only a portion of the actual amount owed him. This present pamphlet is a justification of French policy during the American Revolution and an account of French and American grievances against Great Britain. According to Streeter this "represents the first diplomatic approach to the international problem of the recognition of neutrals of seceded colonies and revolutionary governments"-- Streeter Sale 797. unknown
1779801961779. BEAUMARCHAIS Pierre-Augustin Caron de. Observations sur le Memoire Justificatif de la Cour de Londres. A Londres a Philadelphie 1779. 56pp. A very good copy in later patterned cloth boards with a leather spine label. HOWES B-289 "aa." Sabin 4182. Goldsmiths 11907. Bell B129. A reply to Edward Gibbon's Memoire Justificatif. not to be confused with de Rayneval's response of the same name. "This work by the famous playwright was part of the pamphlet war that flared over French support of the Americans in the Revolution" Bell. Beaumarchais who wrote the libretti of The Barber of Seville and The Marriage of Figaro was an avid supporter of the colonists' plight and had been instrumental in obtaining and transporting arms and ammunition to the Americans under the firm name of Roderigue Hortalez & Co. Later however there was some confusion about whether the supplies were gifts from the French government and Beaumarchais was never properly compensated. His heirs were finally paid $800000 in 1835 only a portion of the actual amount owed him. This present pamphlet is a justification of French policy during the American Revolution and an account of French and American grievances against Great Britain. According to Streeter this "represents the first diplomatic approach to the international problem of the recognition of neutrals of seceded colonies and revolutionary governments"--Streeter Sale 797. unknown
177380435à Paris: Chez Ruault 1773. Fine. First edition of Beaumarchaiss famous memoirs against Judge Goezman Chez Ruault à Paris 1773 - 1776 19 x 25 cm In-4 relié First edition of this complete collection including the portrait of Cochin as frontispiece. Some of the memoirs had appeared in 1773 but the collected edition that brings them all together is indeed dated 1774; certain pieces are dated 1773 as they were added after the title page bearing the 1774 date. Although the pagination varies the collection contains only one general title page; some memoirs have half-titles others do not. Contents of the collection: Mémoires de M. Caron de Beaumarchais contre M. Goezman Supplément au mémoire à consulter Addition au Supplément du mémoire à consulter Requeste d'atténuation pour le Sr Caron de Beaumarchais Quatrième mémoire à consulter Suite de la justification du Sieur de Beaumarchais Mémoire pour Pierre-Augustin Caron de Beaumarchais Réponse ingénue de Beaumarchais à la consultation injurieuse que le Comte de la Blache a répandu dans Aix Le tartare à la légion this piece is rare and is found in very few collections. Contemporary full speckled calf binding. Spine with gilt decorative tooling gilt fillets at head and foot. Brown morocco label. Blue mottled edges. Rubbing to joints. A good fresh copy with some gatherings slightly toned. Bookplate of J. B. Regnault avocat. Between 1773 and 1776 Beaumarchais published several memoirs in which he staged his own legal battle he had chosen to represent himself. These four memoirs blending dialogues and interrogations captivated all of Parisincluding Madame Du Barryand were performed in cafés and along the boulevards. They read like a brilliant comedy in which deception is ultimately unmasked. Beaumarchais was eventually acquitted in the case that opposed him to Judge Goezman who had been the reporting magistrate in the Paris-Duverney inheritance case that had brought Beaumarchais to financial ruin and public disgrace. In turn Beaumarchais accused Goezman of corruption while Goezman countered with charges of defamation and attempted bribery. Judge Goezman ultimately came to symbolize the corruption of the new Parliament established by Louis XV and the arbitrariness of the justice system. Chez Ruault unknown
178522786Au Palais Royal, chez Ruault, 1785 ; in-8 ; demi-maroquin lavallière, dos lisse, pièce de titre havane dorée ancienne, tranches mouchetées (reliure première moitié du XXè s.) ; (2) ff. : faux-titre (au verso Villes où se trouve l'ouvrage et Avis de l'éditeur), titre, LVI pp. (Préface, puis "Caractères et habillemens de la pièce", avec à la fin "lu et approuvé le 25 janvier 1785 : Bret" et "Vu l'approbation, permis d'imprimer, ce 31 janvier 1785 : Lenoir"), 237 pp. y compris le second faux-titre au verso duquel on trouve la liste des personnages ; p. 237, liste des Approbations : par Coqueley de Chaussepierre, le 28 février 1784 ; par Bret, le 21 mars 1784 ; par Lenoir, le 29 mars 1784. Achevé d'imprimer le 28 février 1785, Imp. Ph.-D. Pierres. 5 figures de St Quentin, gravées par C.N. Malapeau, la 5ème, découverte, par Roi, qui viennent enrichir cet exemplaire. Edition originale des figures dites "Suite de Malapeau". (Cohen-Seymour de Ricci - 124-125)sign. : ( )2, a-c8, d4 ; A-O8, P7, 5 fig HT. Exemplaire sur papier fort marqué d'une astérisque " * ".
188237847Reliure plein maroquin rouge. Dos à nerfs. Filets dorés sur le dos et en encadrement sur les plats. Toutes tranches dorées. Reliure signée JOLY. Intérieur d'une belle fraicheur. Dessins de S. ARCOS gravés à l'eau-forte par Monziès.
177380435Chez Ruault | à Paris 1773 - 1776 | 19 x 25 cm (In-4) | relié
17902889Imprimerie Royale, 1790 ; in-8, broché, imprimé en rouge.
178515573Au Palais-Royal, chez Ruault, 1785. In-8 de (4)-LVI-237 pp., basane mouchetée, dos lisse orné de filets dorés, pièce de titre en maroquin rouge (reliure de l'époque).
1785105531785. St. Quentin. Beaumarchais Pierre de. LA FOLLE JOURNEE OU LE MARIAGE DE FIGARO. Paris 1785. 1st edition with engraved plates 1st issue before the reworking of Plate V to cover Rosina's breasts and before the inclusion of the portrait frontispiece. The first edition had no plates but almost immediately it was issued with five plates drawn by St Quentin of which the first four were engraved by Malapeau and the fifth by Roi. Tall 8vo. Preface of LI 51 pages plus 199pp. plus "approbations" and errata sheet five engraved plates after St. Quentin. Rebound in a period-appropriate binding of full gilt panel calf by Donna Starr of Starr Bookworks. A few light spots of foxing to the Half-title at the front and the Errata sheet at the back the plates with modest foxing else Fine throughout. unknown books