Marin

5 365 résultats

Trier parPrix décroissant

Pertinence Auteur A - Z Auteur Z - A Titre A - Z Titre Z - A Prix croissant Prix décroissant Libraire A - Z Libraire Z - A

Par page25

25 50 100

Filtres

Reich, Sheldon; John MarinBiblio.com

JOHN MARIN : a Stylistic Analysis and Catalogue Raisonne - TWO 2 VOLUME SET Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Works

Marais, MarinBiblio.com

Pièces en Trio Pour les Flutes Violon & Dessus de Viole Composées par M. Marais Ordinaire de la Musique de la Chambre du Roy. Ier Dessus

16922792Paris: Chez Lâ€™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. Extremely scarce first edition of Maraisâ€™ PiÃ¨ces en Trio the earliest Frech collection of trio sonatas. PiÃ¨ces en Trio is Marin Maraisâ€™ second work to be published and considered the first collection of trio music to appear in France. The present volume pardessus de viole part belonged to â€œM.lle Bourretâ€ Anne Ã‰lisabeth Bourret b. 1693 the daughter of a lawyer at the Parliament and later the wife of Antoine Scott de la MÃ©zangÃ¨re the Kingâ€™s MaÃ®tre dâ€™HÃ´tel. Mme de la MÃ©sangÃ¨re was a harpsichordist herself considered FranÃ§ois Couperinâ€™s best pupil and a gifted composer to whom Louis Antoine Dornel dedicated his 1711 book of violin sonatas Sonates Ã violon seul. She was celebrated for her acting and teaching skills among many others Simon Simon was among her protegÃ©s. Marin Marais 1656â€“1728 was a French baroque composer and a master of the viol a pupil of Jean-Baptiste Lully. Any of Maraisâ€™ works are extremely rare on the market. RISM M 387. Chez L’Author; Hurel; Bonneuil; Foucault unknown

Foldvaribooks · Hongrie15 601,20 $US≈ 13 200,18 €

MERSENNE, Marin 1588-1648Biblio.com

Harmonicorum Libri In Quibus Agitur De Sonorum Natura Causis & effectibus: de Consonantiis Dissonantiis Rationibus Generibus Modis Cantibus Compositione orbisque totius Harmonicis Instrumentis

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. Part I 1f. recto title verso blank 1f. dedication 4ff. preface 184 pp. Bound with: Part II. Harmonicorum Instrumentorum. 168 pp. Provenance 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. 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. Part I contains the earliest examples of music engraving in France. Part II is an important study of musical instruments of the late Renaissance and early Baroque. 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 "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. 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." A cornerstone of the literature. Guillelmi Baudry unknown

J & J Lubrano Music Antiquarians LLC · États-Unis10 350,00 $US≈ 8 757,14 €

NICERON Jean Francois / MERSENNE MarinABAA

La Perspective Curieuse.Divisée en Quatre Livres Avec lOptrique et La Catoptrique du R.P. Mersenne

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

Martayan Lan, Inc. · États-Unis7 500,00 $US≈ 6 345,75 €

NICERON, Jean Francois / MERSENNE, MarinBiblio.com

La Perspective Curieuse.Divisée en Quatre Livres Avec lOptrique et La Catoptrique du R.P. Mersenne

Martayan Lan, Inc. · États-Unis7 500,00 $US≈ 6 345,75 €

CARBURI, MarinBiblio.com

Monument élevé a la gloire de Pierre-Le-Grand

1777115583Paris: Nyon and Stoupe 1777. The invention of ball bearings making possible one of the great engineering feats of the 18th century First edition of this account of this remarkable feat the first practical use of ball bearings in engineering. Charged with designing the bronze equestrian statue of the Russian emperor Peter the Great that remains a celebrated landmark of St Petersburg the French sculptor Etienne Falconet decided that the traditional pedestal for equestrian statues would be too mundane. Only a massive rock would suffice. Eventually an enormous piece of granite was located in a marsh near the Gulf of Finland. The Thunder Stone as it was dubbed was estimated to be 40 feet long 25 feet side and 21 feet tall and weighed some 1800 tons: about 1300 tons more than any of the obelisks moved by the ancient Egyptians or Romans. Most engineers declared its removal impossible but Catherine the Great turned to Carburi a Greek of dubious moral reputation who had banished himself from his native island of Cephalonia and had come to Russia where he found favour with the empress. To move the giant rock Carburi devised a gigantic sled moving on a system of rails and six-inch bronze ball bearings. Although ball bearings had been shown in earlier sketches by both Leonardo da Vinci and Agostino Ramelli Carburi's feat was the first practical demonstration of their use. It predated the first modern recorded patent on ball bearings that awarded to Philip Vaughan a British inventor and ironmaster who created a design for a ball bearing in Carmarthen in 1794 by more than two decades. The project invited comparison to the moving of the Vatican obelisk by Fontana in the 16th century which Carburi here argues must have been easier because it was a shorter distance. Folio 423 x 280 mm. With 12 folding engraved plates most double-page by Sellier and d'Elvaux after Blarenberg. Contemporary mottled calf red morocco label spine gilt in compartments marbled endpapers red edges. Armorial bookplate of Henry Tronchin. Skilful and unobtrusive repairs to joints and tips final two plates with a couple of very light red paint marks occasional variable light browning and offsetting overall a pleasing copy of this handsome folio. Berlin Kat. 1794. unknown

Peter Harrington · Royaume-Uni3 500,00 £GB≈ 3 996,30 €

FOSSE Charles Louis Francois de 1734 1812 author. Louis Marin BONNET 1736 1793 engraverABAA

IdÃ©es d'un militaire pour la disposition des troupes confiÃ©es jeunes officiers dans la dÃ©fense et l'attaque des petits postes

178330521Paris: printed by FranÃ§ois-Ambroise Didot l'ainÃ© published by Alexandre Jombert jeune 1783. Large quarto. 11 1/2 x 8 1/4 inches. Half-title title with wood-engraved vignette letterpress dedication with engraved armorial headpiece printed in colours. 11 engraved plates 10 folding printed in colours "en maniÃ¨re de pastel" by Louis-Marin Bonnet "premier Graveur en ce genre" each plate hinged to the upper margin of the relevant caption leaf as issued. Contemporary tree calf covers bordered in gilt flat spine divided in compartments with gilt roll tools red morocco lettering piece in the second the others with a repeat decoration in gilt marbled endpapers The first edition of a work of great importance to the history of the development of colour printing. One of the most successful eighteenth century experiments in colour-printing this is the only book illustrated by Bonnet the inventor of pastel manner engraving or "gravure en maniere de pastel." The crayon manner technique for reproducing chalk drawings in three-colour prints had been invented by J.C. FranÃ§ois in 1757 and Bonnet was his pupil. Bonnet extended the technique to suggest tone and printed additional colours calling his new method the pastel manner. This technically demanding process allowed Bonnet to produce colour prints of the highest quality and paved the way for the great French illustrated works of the late-18th and early-19th century. The text is the work of the French military engineer Charles-Louis de FossÃ© and divides naturally into two sections. The first dealing with the strategies to be employed when attacking or defending a small military outpost manned by between 30 and 300 men; the second dealing with the correct use of colour when drawing military maps and plans and touching on perspective drawing as applied to military plans. This second part is illustrated using Bonnet's plates. Apart from the colour printing another unusual feature of this beautifully produced work is that the plates are all attached along the upper margin of the descriptive associated caption leaves: this allows for individual plans to be folded out whilst the relevant text in the body of the book is studied. Brunet II1354; cf. V. Carlson & J. Ittmann Regency to empire: French Printmaking 1715 - 1814 Baltimore Museum of Art 1984; Colorful Impressions: The Printmaking Revolution in Eighteenth-Century France. Washington: National Gallery of Art 2003-2004 no. 46; Jean FÃ¼rstenberg Das franzÃ¶sische Buch im 18 Jahrhundert p. 121; Graesse II:620; Jacques Herold Louis-Marin Bonnet catalogue de l'Oeuvre grav. Paris: 1935 p.28; Joseph Marie QuÃ©rard La France littÃ©raire ou Dictionnaire bibliographique des savants Paris: 1829 III p.173 'ouvrage estimÃ©'. printed by FranÃ§ois-Ambroise Didot l'ainÃ©, published by Alexandre Jombert, jeune unknown books

Donald Heald Rare Books · États-Unis4 000,00 $US≈ 3 384,40 €

MARAIS, Marin 1656-1728Biblio.com

Pieces a une et a deux Violes Composées par M. Marais ordinaire de la musique de La Chambre du Roy. Pezey inv. . Trouvain sculp. Livre 1. Viola da gamba part

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. 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. 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. 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 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. 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

J & J Lubrano Music Antiquarians LLC · États-Unis3 680,00 $US≈ 3 113,65 €

Marin

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues