38 résultats
166519485Paris: Jacques d’Allin 1665. Contemporary mottled calf spine and label gilt edges sprinkled red. Ownership inscriptions on the title and verso one dated 1674. Bookplate of “Pitfirrane.†In very good condition. Second edition of this pioneering work in neuropsychology. The author attempts to explain the guiding principles of human behavior and argues that life processes are responses to linking images that are innate to the organism. The text describes cognition in all living things including plants natural instinct and the functions of the soul. Cureau de la Chambre’s assertion that even inanimate vegetation has the faculties of thought and soul is unique; he claims that “everything which is living knows and all that which knows is living.†He goes on to classify cognition as either the “vegetative faculty†or the “natural faculty†the former being the body’s passive and innate mode the latter purposeful behavior resulting from intelligence. He acknowledges the Divine role in both: God designs organisms to function effectively without active intelligence but also gives free will to some.<br /> <br /> Marin Cureau de la Chambre 1594-1669 was a French physician. He served as royal physician to Louis XIII and Louis XIV and wrote numerous books on human and animal passions light digestion and occult practice. Peter Bayle called him “one of the most illustrious 17th century followers of Aristotle. Despite his groundbreaking work in the field of psychology he was basically forgotten to the history of medicine.<br /> <br /> Caillet 2735; Wright John P. “The Embodied Soul in Seventeenth-Century French Medicine†in CBMH/BCHM Vol 8: 1991 21-42. Jacques d’Allin unknown
1665029795Paris 1665 L. Billaine Full-Leather (Hardcover) 1st Edition
165037850Paris: Pierre Rocolet 1650. 4to. 9 1/4 x 7 inches. 6 340 6pp. Engraved printer's device on title-page engraved head-piece and initial on the dedication leaf 26 engraved illustrations including one full-page. Contemporary mottled calf expertly rebacked to style spine gilt with raised bands red morocco lettering piece<br/> <br/> Rare first edition of an important work of optics and the musical nature of the refraction of color.<br/> <br/> La Chambre a protégé of Cardinal de Richelieu served as physician to Chancellor Seguier and Louis XIII and entered the Academie Royale in 1666. The present work was instrumental in the development of French mathematician Pierre de Fermat's eponymous principle as well as the experiments by Newton which led to his publication of Opticks in 1704. Following Aristotle in deriving a link between the color spectrum and musical theory La Chambre theorized all colors being encompasses within white light and arranged colors over two octaves with the seven colors of Aristotle at successive fourths fifths and octaves. Thus arranged symmetrically the "scale" could be read in either direction both up and down with white as the highest or lowest notes. La Chambre hoped to establish a universal theory of color and musical harmony; i.e. if a musical interval was dissonant the colors it represented would similarly clash. In Newton's Opticks this parallel between the color spectrum and a musical scale was further refined. A second edition of this work would be published in 1662.<br/> <br/> Krivatsy 3017; Brunet III 726; Grasse IV 62; Cioranescu 22651; Esmerian 11 annexe A v. Pierre Rocolet unknown
1648582801 vol. petit in-4 reliure de l'époque plein veau marbré, dos à 5 nerfs orné, Chez Pierre Rocolet, Paris, 1648, 4 ff., 30 pp., 5 ff., 390 pp. (pagination 168-169 omise, sans manque)
168640526Paris: Chez l'Autheur Ruë du jour proche St. Eustache du costé de la ruë Montmartre. Et ean Huret faiseur d'Instruments pour la musique du Roy ruë des Arcis a l'Image St. Pierre 1686. Oblong folio. Full contemporary dark brown mottled calf. 4-5 "Avertissement" 6 "Extrait du Privilege du Roy" 7-119 pp. music.<br /> <br /> The fine engraved illustrated title incorporating a viol lute sheet music putti and drapery has been laid down to the verso of the upper board and an elaborate engraved illustration from another publication "Sonate o partite ad una o due viole da gamba con il basso continuo" D'Augusto Kühnel Cassel 1698 of two men playing viols accompanied by a woman at the harpsichord etc. laid down to the recto of the lower board. <br /> <br /> Binding considerably worn rubbed and bumped with loss to portions of leather; spine lacking; boards nearly detached. Light uniform browning somewhat heavier in spots; some internal wear soiling and small stains; 17 leaves defective with tears and abrasions resulting in loss to text to "Avertissement" and notation on pp. 21 44 45 59 63 75 91 and 95; tear to pp. 70/71 79 111 repaired with archival tape; p. 120 following blank and dedication leaf lacking; engraving to recto of lower board worn and browned trimmed lacking upper inner and lower outer corners. Lacking 7 leaves pp. 1-3 42/43 48/49 98-101 and 120. First Edition. Rare. Lesure p. 412. BUC p. 647. RISM M383 3 copies in the U.S. at Yale Eastman and the Library of Congress. <br /> <br /> Marais was a French composer and viol player. "He is one of the outstanding figures in French music of the Baroque period. . A viol virtuoso Marais was one of the first French instrumentalists to make his mark as a soloist. Gifted with a remarkable technique he developed it adding new complexities. His pleasing tone had a rare power thanks to an 'airy' style of playing which made full use of open strings and their harmonics. However his virtuosity always took second place to his musicality. His performances full of charm and 'fire' captivated his contemporaries who said that he played 'like an angel'. Composer and performer were closely linked for at this time soloists concentrated almost exclusively on playing their own works at concerts. Between 1686 and 1725 Marais published five books of pieces for viol and continuo and several suites for two and three viols - a total of 596 pieces grouped into 39 suites two of them for three viols." Jérôme de La Gorce and Sylvette Milliot in Grove Music Online<br /> <br /> Works of both the artist Antoine Pezey 16-16 and the engraver Antoine Trouvain 1656-1708 of the title page are held in major museum collections.<br /> <br /> The present work constitutes the first published music for viola da gamba by Marin Marais the greatest viol-player of the Baroque era. Chez l'Autheur Ruë du jour proche St. Eustache du costé de la ruë Montmartre. Et ean Huret faiseur d'Instruments pour la musi unknown
165037850Paris: Pierre Rocolet 1650. 4to. 9 1/4 x 7 inches. 6 340 6pp. Engraved printer's device on title-page engraved head-piece and initial on the dedication leaf 26 engraved illustrations including one full-page. Contemporary mottled calf expertly rebacked to style spine gilt with raised bands red morocco lettering piece<br/> <br/>First edition of an important work of optics and the musical nature of the refraction of color.<br/> <br/>La Chambre a protege of Cardinal de Richelieu served as physician to Chancelier Seguier and Louis XIII and entered the Academie Royale in 1666. The present work was instrumental in the development of French mathematician Pierre de Fermat's eponymous principle as well as the experiments by Newton which led to his publication of Opticks in 1704. Following Aristotle in deriving a link between the color specturm and musical theory La Chambre theorized all colors being encompasses within white light and arranged colors over two octaves with the seven colors of Aristotle at successive fourths fifths and octaves. Thus arranged symmetrically the "scale" could be read in either direction both up and down with white as the highest or lowest notes. La Chambre hoped to establish a universal theory of color and musical harmony; i.e. if a musical interval was dissonant the colors it represented would similarly clash. In Newton's Opticks this parallel between the color spectrum and a musical scale was further refined. A second edition of this work would be published in 1662; the first edition is scarce.<br/> <br/>Krivatsy 3017; Brunet III 726; Grasse IV 62; Cioranescu 22651. Pierre Rocolet unknown books
1648262348Paris: Pierre Rocolet 1648. First. hardcover. near fine. Printer's device on title and some other decorative woodcut initials and headpieces throughout. 8 30 10 390 pages. Short 4to full contemporary calf with gilt spine. Paris: Chez Pierre Rocolet; Jacques Langlois Imprimeur du Roy 1648. First edition. Scarce. A near fine copy with clean pages and wide margins.<br/> <br/> An uncommon title on animal psychology. The author a doctor from Le Mans who was the personal physician of the Chancelier Seguier and founding member of the Academie Francaise examines the likely relationships of animals and classifies them under the broad categories of love and hate. In terms of intelligence he concludes that animals indeed have feelings and are able to express them. OCLC lists 21 copies including those at Harvard Cambridge National Library of Medicine & Bibliotheque Nationale de France.<br/> <br/> Pierre Rocolet unknown
1648262348Paris: Pierre Rocolet 1648. First. hardcover. near fine. Printer's device on title and some other decorative woodcut initials and headpieces throughout. 8 30 10 390 pages. Short 4to full contemporary calf with gilt spine. Paris: Chez Pierre Rocolet; Jacques Langlois Imprimeur du Roy 1648. First edition. Scarce. A near fine copy with clean pages and wide margins.<br/><br/> An uncommon title on animal psychology. The author a doctor from Le Mans who was the personal physician of the Chancelier Seguier and founding member of the Academie Francaise examines the likely relationships of animals and classifies them under the broad categories of love and hate. In terms of intelligence he concludes that animals indeed have feelings and are able to express them. OCLC lists 21 copies including those at Harvard Cambridge National Library of Medicine & Bibliotheque Nationale de France.<br/><br/> Pierre Rocolet unknown books
166541178Paris: Jacques Dallin 1665. The Blackmer copy First edition of this scarce treatise concerning the causes of the flooding of the Nile for the first time published separately previously included in his Pensées of 1634 and 1662; from the celebrated library of Henry M. Blackmer II with his bookplate. This could perhaps be a presentation copy as in addition to the gilt supralibros there is an inked inscription "Pour les Capucins de St. Honoré" to the title page. The Capuchin convent adjoined the Tuileries gardens. Cureau was Louis XIV's doctor the monarch apparently having been impressed by his ability to judge character from outward appearance. A precursor of Lavater Cureau was indeed best known for his work in the area of physiognomy but he also published on physics - the nature of light on rainbows - the occult and philosophy the final paper here being a study of the divine in Platonic philosophy. The critic Jean Chapelain his contemporary said of him: "C'est un excellent philosophe et dont les écrits sont purs dans le langage justes dans le dessein soutenus dans les ornements et subtils dans les raisonnements". Quarto 252 x 183 mm. Engraved map of the topography of the Nile to the text title page vignette historiated initials engraved head and tailpieces. Contemporary calf raised bands to spine compartments gilt with floral lozenges within double ruled panels presentation gilt stamp to front cover "Aux Capuchins de St. Honoré". Covers a little rubbed joints lightly chafed light browning. A very good copy. Blackmer 171; Ibrahim-Hilmy p. 351; just 6 copies on WorldCat three of them in the US. hardcover
16631752Paris: Jean du Puis/Widow of Langlois 1663. Scarce edition of this important treatise on perspective by the most scientifically rigorous of 17th-century French theorists of particular interest for its contention that the illustrations to earlier treatises were often defective Millard thus making it the first work on the subject to treat the problem of didactic illustration in a deliberate and self-conscious manner. A comprehensive textbook Book I gives basic geometrical definitions and an introduction to perspective construction; Book II treats simple and deformed perspectivenamely the curved or irregular surfaces found in vaulted ceilings niches etc. and examines the necessary surface distortion anamorphosis to bring a picture painted on such a surface into perspective; Book III deals with more complex cases of anamorphosis such as reflections on flat cylindrical and conical surfaces; and Book IV covers the use of dioptrics for placing figures on flat surfaces. The sections of books II and III dealing with anamorphosis were particularly important whether in Nicerons own practice as a painter or for later artists or theorists see the chapter on Niceron in Baltruaitis and according to Mahoney DSB the discussion of refraction in Book IV possibly contains the first published reference to Descartes derivation of the law of refraction X.104. The work first appeared in French in 1638; reprinted in 1646 and 1651 in the latter with the first appearance of Mersennes treatise. This edition is a second edition of that reprint. Millard French 124 1663; Wiebenson III.b.18; Kemp The Science of Art pp. 129ff.; Baltruaitis Anamorphosis 51ff. Folio 35 x 22.5 cm engraved frontispiece signed Daret 6 ff. including half-title and title engraved portrait of Niceron signed M. Lasne 191 1 pp. with 7 woodcut diagrams in text and 50 numbered plates 49 full-page 1 double page; 6 ff. 134 pp. Note: plates bound at back. Bound in contemporary calf covers ruled spine with raised bands elaborately gilt; covers abraded and some small chips to spine on bands; former ownership stamp on verso of title; spotting and even toning or light browning on scattered leaves often seen in this work; wormhole in margin of plates 27 and following repaired extending into printed surface generally only printed border. Otherwise very good. Jean du Puis/Widow of Langlois hardcover books
16631752Paris: Jean du Puis/Widow of Langlois 1663. Scarce edition of this important treatise on perspective by the most scientifically rigorous of 17th-century French theorists of particular interest for its contention that the illustrations to earlier treatises were often defective Millard thus making it the first work on the subject to treat the problem of didactic illustration in a deliberate and self-conscious manner. A comprehensive textbook Book I gives basic geometrical definitions and an introduction to perspective construction; Book II treats simple and deformed perspectivenamely the curved or irregular surfaces found in vaulted ceilings niches etc. and examines the necessary surface distortion anamorphosis to bring a picture painted on such a surface into perspective; Book III deals with more complex cases of anamorphosis such as reflections on flat cylindrical and conical surfaces; and Book IV covers the use of dioptrics for placing figures on flat surfaces. The sections of books II and III dealing with anamorphosis were particularly important whether in Nicerons own practice as a painter or for later artists or theorists see the chapter on Niceron in Baltruaitis and according to Mahoney DSB the discussion of refraction in Book IV possibly contains the first published reference to Descartes derivation of the law of refraction X.104. The work first appeared in French in 1638; reprinted in 1646 and 1651 in the latter with the first appearance of Mersennes treatise. This edition is a second edition of that reprint. Millard French 124 1663; Wiebenson III.b.18; Kemp The Science of Art pp. 129ff.; Baltruaitis Anamorphosis 51ff. Folio 35 x 22.5 cm engraved frontispiece signed Daret 6 ff. including half-title and title engraved portrait of Niceron signed M. Lasne 191 1 pp. with 7 woodcut diagrams in text and 50 numbered plates 49 full-page 1 double page; 6 ff. 134 pp. Note: plates bound at back. Bound in contemporary calf covers ruled spine with raised bands elaborately gilt; covers abraded and some small chips to spine on bands; former ownership stamp on verso of title; spotting and even toning or light browning on scattered leaves often seen in this work; wormhole in margin of plates 27 and following repaired extending into printed surface generally only printed border. Otherwise very good. Jean du Puis/Widow of Langlois hardcover
163639451Paris: Guillelmi Baudry 1636. Two parts bound in one. Folio. Early full dark brown panelled leather. With 21 fine engraved illustrations and more than 100 woodcut illustrations mainly of musical instruments; numerous musical examples some in lute tablature and diagrams throughout; occasional woodcut head- and tailpieces ornaments and decorative initials. Typeset. Text in Latin.<br /> <br /> Part I<br /> 1f. recto title verso blank 1f. dedication 4ff. preface 184 pp.<br /> <br /> Bound with:<br /> Part II. Harmonicorum Instrumentorum. 168 pp. <br /> <br /> Provenance<br /> From the collection of Sir Frederick A. Gore Ouseley 1825-1889 English church musician composer professor of Music at Oxford University and collector of music and music theory books with his signature in pencil to free front endpaper. Some early notation in pencil to Vol. I most likely in Ouseley's hand.<br /> <br /> Binding slightly worn rubbed and bumped; restored and rebacked; endpapers slightly browned at margins. Slightly worn and browned; light to moderate dampstaining throughout; title slightly trimmed soiled and with small holes to blank areas minor chips to margins laid down to backing sheet; Part II with small hole to pp. 67/68 just touching illustration to p. 67 and affecting several letters of text to p. 68; lower outer corner of pp. 159/160 lacking just touching lower outer corner of illustrative plate; occasional minor defects. Part I lacking signatures R and X4 pp. 125-132 and 153-160 as is often the case in early issues; lacking pp. 163-166; pages 43-46 mispaginated. Part II lacking pp. 35-38; pages 148 149 and 167 mispaginated. First Edition. Charbon The Hague Gemeentemuseum I p. 95. Cortot p. 135. Gregory-Bartlett pp. 178-79 with pp. 126-31 and 154-59 lacking in Vol. I. Hirsch I 405. Wolffheim I 836. Wood Harvard 988. RISM Écrits Imprimés p. 572. <br /> <br /> Part I contains the earliest examples of music engraving in France. <br /> <br /> Part II is an important study of musical instruments of the late Renaissance and early Baroque. <br /> <br /> Mersenne was a "French mathematician philosopher music theorist and savant. He was one of the leading French thinkers of the 17th century and his work is central to the academic and scientific movements of the second quarter of the century; an important part of it is devoted to the science theory and practice of music. He was a transitional figure at a crucial confluence of Renaissance and Baroque ideas in France summing up the accomplishments of the past and posing the difficult questions for the future inherent in the new attitudes of his own time." Albert Cohen in Grove Music Online<br /> <br /> "An examination of the Harmonicorum will at once show how much it was in advance of anything published up to that time and it is the first in which the science of acoustics is applied practically to the study of Music. Perhaps to us in the present day the greatest interest is in the last four Books treating of the various instruments known at that time divided into stringed and wind instruments the organ having a book to itself and instruments of percussion as bells and drums. These are illustrated profusely with woodcuts as well as with engravings on copper both printed in the text. It is worthy of notice that in treating of the organ several schemes are given for dividing the octave into more than twelve semi-tones so as to be able to use it in the keys impossible with unequal temperament." Matthew: The Literature of Music p. 53. <br /> <br /> Mersenne also authored an early and influential work on music theory Harmonie Universelle published in Paris 1636-37 addressing the relationship between music and mathematics and containing the earliest presentation of what have become known as "Mersenne's Laws" describing the harmonics of vibrating strings; he is thus often referred to as the "father of acoustics."<br /> <br /> A cornerstone of the literature. Guillelmi Baudry unknown
16922792Paris: Chez L’Author; Hurel; Bonneuil; Foucault 1692. First edition. Engraved entirely with a title page illustrated by C. Simonneau a dedication A Mademoiselle Roland a poem Aux Muses an excerpt from the privilege and the score engraved by Bonneuil. In contemporary leather. Supra ex-libris of M.lle Bourret. Gilt spine and edges. Tinted edges. Binding rubbed at the extremities small damages to the corners and joints. The title vignette on the spine missing. Paper tanned. Stains occasionally. Overall in very good condition. First edition. Engraved entirely with a title page illustrated by C. Simonneau a dedication A Mademoiselle Roland a poem Aux Muses an excerpt from the privilege and the score engraved by Bonneuil. In contemporary leather. Supra ex-libris of M.lle Bourret. Gilt spine and edges. Tinted edges. 114 p. <br> <br /> Extremely scarce first edition of Marais’ Pièces en Trio the earliest Frech collection of trio sonatas.<br /> Pièces en Trio is Marin Marais’ second work to be published and considered the first collection of trio music to appear in France. <br> <br /> <br /> The present volume pardessus de viole part belonged to “M.lle Bourret†Anne Élisabeth Bourret b. 1693 the daughter of a lawyer at the Parliament and later the wife of Antoine Scott de la Mézangère the King’s Maître d’Hôtel. Mme de la Mésangère was a harpsichordist herself considered François Couperin’s best pupil and a gifted composer to whom Louis Antoine Dornel dedicated his 1711 book of violin sonatas Sonates à violon seul. She was celebrated for her acting and teaching skills among many others Simon Simon was among her protegés. <br> <br /> <br /> Marin Marais 1656–1728 was a French baroque composer and a master of the viol a pupil of Jean-Baptiste Lully.<br> <br /> <br /> Any of Marais’ works are extremely rare on the market. <br> <br /> <br /> RISM M 387. Chez L’Author; Hurel; Bonneuil; Foucault unknown