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163 résultats
162580715Frankfurt a. M. [ca. 1625]. Darstellung 10,0 x 14,5 cm. Unter starkem Schrägschnitt-Passepartout mit vergoldeten Schnittkanten im Rahmen aus vergoldeter Profilleiste (diese etwas bestoßen).
170082861Rostock, Schwiegerau, um 1700. 3 Bl., 54 S. Mit Wappenholzschnitt auf dem Titel. Rohbögen.
167288225[Lüneburg, Stern, 1672]. Bildmaß 24,5 x 19,5 cm, Blattmaß 34 x 22 cm, darunter wenige Text-Zeilen; verso Fortsetzung des Textes. Feinkartonpassepartout.
164986912[Amsterdam], ( 1694?1649]. Plattengröße 14 x 8 cm, Bildgröße 8,5 x 7,3 cm. Feinkartonpassepartout.
169484483Stockholm, 1694. Platte 26 x 39 cm. Unter Schrägschnittpassepartout, gerahmt.
16721307491O.O. (Hamburg?), o. Vlg, 1672. Kl.-4to. 4 Bl. Rücken-Broschur.
16131242794München, A. Berg, 1613. Kl.-4to. 36 (statt 38) Bl. Neuer Ppbd (Titel etwas angestaubt, ohne die letzten beiden Bl.).
168898226Leiden, Claude Jordan, avec privilège de Mrs Les Etats de Hollande et de Westfrise, 1688. 698 S., [16] S. Index, 1 Bl., 651, [1] S., [16] S. Index. Mit 1 Textholzschnitt u. 1 gefalteten Kupfertafel nach Bodenehr (17 x 26 cm). 12mo (14,5 cm). Ldr d. Zeit auf 4 Bünden, mit goldgeprägt. Rückentitel u. Rückenvergoldung.
16881250189Frankfurt/M. Latomus u. Steindecker, 1688. 144 S., 2 Bl. Neuer Ppbd (gleichmäßig leicht gebräunt, vereinzelte Anstreichungen).
16881245254Leipzig, Joh. Fr. Gleditsch, 1688. 24 S. Rückenbroschur (Titel angestaubt, gering gebräunt, schwacher Feuchtigkeitsrand im Kopfsteg, ohne die angezeigte Defensional-Schrift).
164191431Ohne Ort, ohne Verlag/Drucker, ( 1641). 32 Bll. Ohne Umschlag.
164136689Ohne Ort, ohne Verlag/Drucker, ( 1641). 32 Bll. - ANGEBUNDEN: Copia Schreibens/ Ihr. Königl. Majestät Christiani IV. Zu Dennemarck/ Norwegen/ der Gothen und Wenden Königs/ Hertzogens zu Schleßwig/ Holstein/ Stormarn und der Ditmarschen/ Grafens zu Oldenburg und Delmenhorst/ etc. An das hochlöbl: Churfürstl. Collegium/ zu Regenspurg sub dato den 28 Julii Anno 1641. Gegenst und wider die Stadt Hamburg. Nebenst denen dabey gehörigen Beylagen. Ohne Ort, Verlag/Drucker. 8 Bll. 4to. Zus. in priv. marmor. Pp. mit LdrRSch.
1655317812Zürich, 1655. 4to. 4 Bl. Mit kl. Wappenholzschnitt auf dem Titel. Ohne Einband.
161697638Amsterdam, Johann Janssonius, 1616. Bildmaß 14 x 18,8 cm. Gerahmt (Rahmen 28 x 34 cm).
16294435Anvers, Plantin (Balthazar Moretus), 1629 ; fort in-12 (11,5 x 6 cm) ; plein maroquin grenat, dos et plats encadrés d'un double filet doré, toutes tranches dorées (reliure de l'époque) ; 861 pp., (1) p. nom d'imprimeur, (1) f. marque au compas, verso blanc.
16721307499O.O. o. Vlg, (1672). Kl.-4to. 8 Bl. Rücken-Broschur.
163036687Ohne Ort, ohne Verlag/Drucker, 1630. 1 w., 64, 1 w. Bll. 4to. Kl.-8vo. Neuer marmor. Pp. mit Ldr.-RSch.
16581074221Frankf. impensis W. Selini, 1658. Kl.- 4to. 39 S. Br. M. Sign. v. alter Hd. a. Tit.
167413955(Ohne Ort). Hofkammer-Zahl 26991. 1674. 5 Seiten. 34x21 cm
1684621419Constantinopel (fingiert), 1684. 40; 26 Bl. Moderner Pappband.
1660ST19567-160Paris: Chez Pierre Lamy 1660. FIRST EDITION. 179 x 120 mm. 7 x 4 3/4". 10 p.l. 496 35 1 pp. <br/> EXTREMELY FINE 19TH CENTURY RED MOROCCO BY HARDY stamp-signed in gilt on front turn-in covers with gilt coat of arms and French fillet border raised bands compartments ruled in gilt and with elegant gilt floral and foliate tooling gilt lettering gilt dentelles all edges gilt. Front free endpaper with bookplate of poet Auguste P. Garnier 1885-1966. Tchemerzine IX 332. ◆Trivial imperfections only: A VERY FINE COPY INSIDE AND OUT.<br/> <br/> In a very handsome binding by one of the most widely sought-after binders of the turn of the 20th century this is a beautifully preserved volume of verse by a founding member of the Académie française. A protégé of Malherbe Honorat de Bueil Seigneur de Racan 1589-1670 is primarily known for his elegant pastoral and religious poetry which as Britannica notes succeeds at "preserving the elegiac lyricism of an earlier age and foreshadowing the gentle melancholy of Alphonse de Lamartine." According to Tchemerzine the present work is "the most complete edition of Racan's religious works" and is in large part composed of his verse interpretations of the Psalms. The Hardy atelier produced luxurious volumes many of them armorial for a range of 19th century connoisseurs. Although we have not been able to identify the coat of arms on the covers the crown with pearls indicates that the owner bore the title of "Comte." Among other connections in the bibliopegic world Henri Hardy employed Jean Marius Michel as a gilder near the start of his career; he also worked with Charles Meunier and Émile Mercier before meeting Robert Hoe in Paris and agreeing to come to New York in early 1896 to serve as foreman of the newly established Club Bindery. In 1917 Hardy along with his compatriots Leon Maillard and Gaston Pilon formed the French Binders with the stated intention of "bringing together distinguished members of the craft to afford them opportunity to work under the most advantageous conditions." The present item is an excellent example of Hardy's earlier work is in outstanding condition inside and out and makes an excellent impression on the shelf. The bookplate on the flyleaf indicates that it was once owned by the French poet Auguste P. Garnier 1885-1966 who later ran the Garnier publishing house established by his family in 1833. Chez Pierre Lamy unknown
1622ST20888Munich: N. Henricus 1622. First Edition in German. 160 x 100 mm. 6 1/4 x 4". 16 p.l. 699 3 pp. Translated from the Latin by Sebastian Äntzenhover. <br/> UNUSUAL AND QUITE BEAUTIFUL CONTEMPORARY GERMAN DARK RED MOROCCO GILT covers with gilt fillet border central panel with onlaid corner pieces and centerpiece of black morocco stamped in relief to an Ottoman-inspired design of flowering vines raised bands spine panels with gilt centerpiece two leather straps with silver clasps and catches all edges gilt. Title page with engraving of the Tower of Babel. Top half inch of title page cut away to remove owner inscription. VD17 12:103845E; USTC 2019170. A touch of bowing to boards spine a little crackled joints and extremities a bit rubbed occasional small round marginal marks apparently made with wax! and presumably meant to indicate textual importance other trivial imperfections but an excellent copy clean and fresh in an unrestored binding with lustrous boards glistening with gilt.<br/> <br/> This rare work on sinning through the use of wicked words is offered here in a lovely binding that is quite out of the ordinary for its time and place and that may well have a very noble provenance. "Spiritual Tongues: That is a Salutary Treatise Concerning the Poisonous Tongue of Man--How to Guard Against and Remedy It" is an examination of the sins committed through speaking written by Munich Jesuit Johannes Pelecyus 1545–1623 and first printed in Latin in 1620. Pelecyus addresses the evils of gossip slander indiscretion cursing mocking and other injurious speech. The first part of the work is a general overview of the topic from a theological standpoint while the second part is a more practical guide to types of harmful speech and specific remedies for avoiding and correcting these offenses. Pelecyus concludes with a poem "The Devil's Disease and its Remedy." The binding here is remarkable in terms of its material makeup and the conjectural origin of its design. In the first part of the 17th century morocco was not commonly used by German binders who preferred sturdier pigskin particularly for treatises like this which could be expected to see much use poisonous tongues have long been a fact of life and in need of being frequently read about. Morocco was generally reserved for presentation copies or ceremonial liturgical works. In addition to the material the decoration here is unusually lavish for a text of this sort with onlays gilt adornment and silver clasps that required time and skill from the artisan and considerable expense for the patron. Significantly the lovely relief centerpiece design on the boards here also appears on the covers of a Book of Hours originally created for Holy Roman Emperor Maximilian I 1459-1519. That volume was later acquired by another similarly named owner Duke Maximilian I of Bavaria and is now to be found in the Bavarian State Library: shelfmark BSB 2 L.impr.membr. 64. It is certainly well within the realm of possibility that our later Maximilian 1573-1651 could have owned the present poisoned tongue volume and had it dressed in its elaborate morocco attire in imitation of the original binding design on the emperor’s prayer book. Whoever was responsible for the binding they surely did extremely fine work and no doubt for an elite clientele. One other curious feature of this volume is the series of round wax dollops made in the margins which an owner the fastidious second Maximilian has used to mark passages of interest in the text. While they don't materially affect the value of the volume they are intriguing in that they inevitably call up images for us of a careful early reader systematically marking with some kind of unknown implement the parts of the text that seemed important. "Spiritual Tongues" is a rare work: USTC and OCLC find just four copies outside Germany none of them in North America and we could trace just one copy sold at auction. N. Henricus unknown
1683ST20461-2Paris: Pierre le Petit 1683. 203 x 127 mm. 8 x 5". 4 p.l. first blank xxxii 629 3 pp. <br/> REGAL CONTEMPORARY RED MOROCCO GILT covers with French fillet border central field semé with alternating fleur-de-lys and Louis XIV's stylized "L" topped with a crown raised bands spine compartments with crowned "L" at center oblique fleur-de-lys at corners marbled endpapers olive green morocco label all edges gilt. Printer's device on title page and four engraved plates depicting the Entry into Jerusalem the Crucifixion the Descent into Hell and the Resurrection. Front pastedown with morocco bookplate of Hans Fürstenberg; verso of front free endpaper with book label of the Fondation Fürstenberg. USTC 6098649. For the binding: Olivier Pl. 2493 Fer no. 8. Top inner corner of covers a shade darker but apparently not from moisture boards tending to splay slightly corners a bit bumped endpapers with offsetting from binder's glue but the binding lustrous with very little wear to the joints and generally pleasing. About a quarter of the leaves with small faint dampstain at upper gutter intermittent minor browning and foxing more pronounced on a couple of quires other unserious signs of devout use but the text with nothing approaching a fatal defect.<br/> <br/> Bound for a distinguished library--and perhaps for a member of the French royal household--and with an illustrious modern provenance this is a pleasing copy of a 17th century Parisian edition of the Office of Holy Week. The attractive engravings that accompany these paschal hours demonstrate the lush graceful style that distinguished the fine late baroque printmakers. The scenes of the Crucifixion and Resurrection were engraved by Jean Morin ca. 1605-50 whose innovation of combining engraving and etching on the same plate ushered in a new popular style of printmaking and the depiction of the Entry into Jerusalem by Flemish artist Peter Paul Bouche fl. ca. 1685-1702 is especially pleasing. But the story of this volume is its period binding. The owner who commissioned the binding may well have been a member of the noted Lamoignon family whose celebrated library was built over several generations but particularly by Chrétien-François de Lamoignon I 1644-1709 a cultivated man of letters and friend to writers such as Boileau and Racine. The "L" surmounted by a crown appears typically on the family bindings though normally accompanied by the same cypher stamped in the margin of the third leaf of text a stamp that is not present here. The impressive library was sold to bookseller Thomas Payne and auctioned off in 1791-92. Equally or really unequally the repeating motif of Louis XIV's crowned "L" monogram could well indicate that this was the property of royalty. We have not been able to identify its specific owner but this style of semis was not uncommon for royal bindings; the Russian National Library has two late 17th century examples with Louis XIV's own arms over an identical ground. According to Olivier the semis repetition alternating the monarch's initial with a fleur-de-lys or with a specific royal's cipher became popular during the reign of Louis XIII and continued under his successors; "the result for royal bindings is a sort of uniformity in the ornamentation which seems to reflect in the field of art the unification and centralization of France." Our binding's crisp precise tooling has survived beautifully despite apparent dedicated devotional use by its early owner. Our copy is further distinguished by coming from the collection of Hans or Jean Fürstenberg 1890-1982 a bibliophile of refined discrimination who assembled one of the great collections of the 20th century and whose books were noted for their outstanding condition. He put together one of the finest collections of 18th century French books ever assembled and his library contained a discriminating selection of bindings from other periods such as the present example. Pierre le Petit unknown
1674621053Amsterdam, A. v. Panhausen (Appendix: ohne Dr.), 1674. 4to. 64; 40; 44; 60 S. Neuer Umschlag.
1674623381Amsterdam, (A. von Panhausen), 1674. 4to. 64; 40; 44; 60 S. Moderner Pappband mit Rückenschild.
