80 résultats
17602752311 gravures format 19 x 13 cm, tirée de l'édition de Historiae et Allegoriae de Hertel (circa 1760)
1703275221 gravure au format support 18 x 26 cm. , format sujet : 15 x 21 cm., sans doute tiré de l'édition de Nuremberg de 1703
1800ABC_48559Japan 1800. In a passepartout and framed. Drawing size ca. 34 x 39.5 cm; frame size ca. 46 x 51 cm. Oil painting on leather. Late 18th-century painting on leather depicting everyday life on the island of Deshima in Japan created by an anonymous artist who seems to be of Japanese origin possibly originating from the Nagasaki school of painting: the faces of most human figures show remarkable Japanese features despite their reddish-brown hair and Dutch clothing.Judging by a woodcut map of Deshima published in 1780 by Toshimaya Bunjiemon the south-eastern part of the island is shown in the present illustration. On the left the warehouse masters residence next to a tall flagpole with the Dutch flag at top; in the centre the important watergate through which cargo was brought in via ship with four Dutch merchants one seen from behind and two Javanese servants in front of the gate; on the right the warehouse "De Lelie" The Lily. In the background lying in the bay of Nagasaki a Dutch three-master has been depicted with fourteen hoisted Dutch flags and several sailors on deck and in the rigging. This ship closely resembles a transom return ship in Dutch: "spiegelretourschip" which was used by the Dutch East India Company VOC during its whole existence.Based on the depicted style of clothing of the Dutch merchants we assume that this painting could have been made during the second half of the 18th century.The artificial island of Deshima was a small fan-shaped island used as trading post initially by the Portuguese until 1639 and subsequently by the Dutch from 1641 until 1858. During the Tokugawa Shogunate the military government of Japan in the Edo period of 1603-1868 foreigners were not allowed to enter the Japanese territory and the island of Deshima was the only place where initially only the Portuguese and later only the Dutch were admitted.With some flaking of the paint off the leather slightly affecting the image but mainly affecting the upper outer corners. Otherwise in good condition.l H. Paul Nederlanders in Japan 1600-1854. De VOC op Desjima pp. 106-107. unknown
1715344381715 Paris - Chez Jacques Estienne - 1715 - 1 volume in8 de 36 - 554 - 9 pages - Reliure pleine basane d'époque - dos 5 nerfs orné de fleurons - Bel exemplaire - Bien complet du Frontispice par Coypel -
1796_202100325Paris, Chez Gay & Gide, anIV (1796) ; in-8 (136 x 205 mm), VIII-512 pp., + frontispice, 2-720-4 pp. + frontispice, relié plein cuir (veau), coloris naturel moucheté, dos orné de caissons et de fleurons à 5 nerfs, pièce de titre et de tomaison brun foncé, plats et chants ornés de frises dorées, tranches marbrées (coiffes usées, traces de frottement, épidermures, coins usés) (traces de mouillure). Les 2 volumes.
179227668Florenz, Giovacchino Pagani, 1792. 12°. Mit 12 Kupfertafeln. 240 S., Mod. Ppbd.
1800038037Paris Circa 1800 1800. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving. Part Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Antoine Arnauld 1612 - 1694 - Le Grand As Contemporaries Called Him To Distinguish Him From His Father - Was A French Roman Catholic Theologian Philosopher And Mathematician. He Was One Of The Leading Intellectuals Of The Jansenist Group Of Port-Royal And Had A Very Thorough Knowledge Of Patristics. He Was One Of The First To Adopt The Philosophy Of René Descartes Though With Certain Orthodox Reservations Relating To Meditations On First Philosophy; And Between 1683 And 1685 He Had A Long Battle With Nicolas Malebranche On The Relation Of Theology To Metaphysics. On The Whole Public Opinion Leant To Arnauld's Side. When Malebranche Complained That His Adversary Had Misunderstood Him Boileau Silenced Him With The Question: "My Dear Sir Whom Do You Expect To Understand You If M. Arnauld Does Not" Later Arnauld Was Engaged In An Extensive Correspondence With Gottfried Wilhelm Leibniz Regarding The Latter's Views Detailed In His "Discourse On Metaphysics" 1686. Popular Regard For Arnauld's Penetration Was Much Increased In His L'art De Penser Commonly Known As The Port-Royal Logic Which Kept Its Place As An Elementary Text-Book Until The 20Th Century And Is Considered A Paradigmatical Work Of Term Logic. Arnauld Came To Be Regarded As Important Among The Mathematicians Of His Time; One Critic Described Him As The Euclid Of The 17Th Century. After His Death His Reputation Began To Wane. Contemporaries Admired Him As A Master Of Intricate Reasoning; On This Jacques-Bénigne Bossuet The Greatest Theologian Of The Age Agreed With Henri François D'aguesseau The Greatest Lawyer. However His Eagerness To Win Every Argument Endeared Him To No One. "In Spite Of Myself" Arnauld Once Said Regretfully "My Books Are Seldom Very Short."Citation Needed. Despite Arnauld's Achievements In Various Fields His Name Is Mostly Known Because Of Pascal's Acclaimed Writings Which Were More Fit For The General Public Than Arnauld's Technical Essays. Wikipedia <br/> <br/> unknown
1719038056Paris 1719. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving. Trimmed To Margins All Around. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Antoine Houdar Or Houdart Of La Motte Born On January 17 1672 In Paris Where He Died On December 26 1731 Is A French Writer And Playwright . He Held An Important Place In The Literary Life Of His Time By His Writings And His Conceptions. In The Salon Of The Marquise De Lambert Whose La Motte Was One Of The Pillars With His Friend Fontenelle With Whom He Shared An Absence Of Prejudice And A Spirit Of Investigation The Question Was Considered Of Whether Versification Was Indispensable To Poetry. It Was Ultimately Thought That The Verse Rendered The Poet Slave With Superfluous Complicated And Harmful Rules Which Favored The Ankles And Periphrases And Hindered The True Expression Of Poetry. It Was Advocated To Return To The Sharpness And Firmness Of Prose Especially In The Theater For Reasons Of Naturalness. Houdar De La Motte Wanted To Demonstrate That Prose Could Very Well Serve Poetry. He Gave Fenelon's The Adventures Of Telemachus As An Example In This Sense And Put In Prose A Scene Of Mithridates Of Racine.His Reputation Today Rests On The Excellent Prose In Which He Expressed His Views Much Better Than His Verses Hard And Colorless. We Also Remember That He Refrained From Answering A Letter From Jean-Philippe Rameau Who Would Have Liked To Put One Of His Librettos To Music: Probably A Great Opportunity Missed By Houdar De La Motte. But More Than By His Productions It Is By His Role In The Movement Of Ideas And By The Important Place He Occupied In The Literary Life Of His Time That The Name Of Houdar De La Motte Has Reached Us. "He Proved According To Voltaire That In The Art Of Writing One Can Still Be Something In The Second Rank. "French Wikipedia. Gérard Edelinck 20 October 1640 Baptized - 2 April 1707 Was A Copper-Plate Engraver And Print Publisher Of Flemish Origin Who Worked In Paris From 1666 And Became A Naturalized French Citizen In 1675; His Son Nicolas-Etienne Edelinck Did This Engraving. <br/> <br/> unknown
17977034Vienne (Wien), Chez A. Blumauer, 1797. In-8 (212 x 120 mm), frontispice, 208 pp. Reliure toile à la bradel moderne, rares rousseurs, rares annotations au crayon gris dans la marge. Bon exemplaire.
174443351Paris, J. Barois, 1744. In-12 de 1 planche, XVIII-(4)-294 pp., 1 f. blanc, 96 pp.GERSAINT (Edme-François). Catalogue raisonné des bijoux, porcelaines, bronzes, lacqs, lustres de cristal de roche et de porcelaine, pendules de goût, & autres meubles curieux ou composés; tableaux, desseins, estampes, coquilles, & autres effets de curiosité, provenans de la succession de M. Angran, Vicomte de Fonspertuis. Paris, Prault, Barrois, 1747. In-12 de 1 planche, XII-306-LV pp.Ensemble 1 vol. in-12, veau marbré, dos orné à nerfs, pièce des titre en maroquin rouge, tranches rouges (reliure de l'époque).
1792578611 gravure en couleurs format 16,2 x 25 cm contrecollée sur support cartonné, sous passe-partout en papier fort, Chez Blin, Imprimeur en taille-douce, Place Maubert, Paris, s.d. [ circa 1791 - 1792 ]
1767863471767 Amsterdam et Leipzig, Arkstée et Merkus, et Paris, Frères Estienne, 1767, in 12 relié pleine veau ancien, dos lisse très orné, 389 pages et 11 pages non chiffrées ; 2 planches hors-texte ; le frontispice manque ; rousseurs éparses ; défauts d'usage à la reliure.
179813783A Paris, chez Bernard, 1798. In-8 de (8)-316 pp., 2 pp. du catalogue Bernard (Notice des principaux livres d'assortiment qui se trouvent chez Bernard), demi-veau blond à petits coins de vélin, dos lisse orné, pièce de titre en maroquin rouge (reliure de l'époque).
179842761Paris, Bernard, 1798. In-8 de (8)-316 pp., 2 pp. (catalogue Bernard), veau marbré, dos lisse orné, pièce de titre en maroquin rouge, premier plat de couverture de papier dominoté conservé (reliure de l'époque).
1756PHO-2464Paris, Theodore de Hansy, 1756. In-12, XXIV-307pp.- 2ff., plein veau époque, dos à nerfs orné, tranches rouges, coiffe arasée. M-12A Illustrée d'un frontispice d'après de Sève et gravé par Baquoy.
175728436Paris Gaume 1757 Fort In-12 CXXVIII- 565 pp et 8 gravures sur bois in fine , reliure très usagéé dos fendu plus de coiffes et coins très émoussés mais en aucun cas dérelié - a probablement été beaucoup Consulté
17556Paris Herissant & Frère Estienne 1755 in-8 - 11,5x17cm Reliure de l'époque en pleine basane marbrée, dos à 5 nerfs richement orné. 1ff, VI, 758pp, 1ff.
178768061787 basane mouchetée, dos lisse. in-8, XII-407pp., Paris Moutard 1787,
17972391Paris, Zurich & Basle, chez la Vve Tilliard, Ziegler et Thourneisen, 1797. In-8 – 14,5 x 23,5 cm. Reliure de l’époque en plein veau raciné, dos lisse orné de fers et dentelle dorés, pièce de titre en maroquin rouge, dentelle dorée en encadrement des plats, ainsi que sur les coupes, tranches mouchetées. 157pp., 27pl., 1f. Première édition française, traduite de l'allemand par Gauthier de la Peyronie, et enrichie de notes et observations. Exemplaire complet de ses 27 planches hors-texte, dont 9 en couleurs, gravées par le peintre Cornelis Ploos van Amstel (1726-1798).
176665550Nouvelle édition, entièrement refondue , & augmentée considérablement par Charles-Antoine Jombert, 1 vol. in-12 reliure fin XVIIIe demi-basane à coins marron, Chez Arkstée & Merkus, Amsterdam et Leipsick, Chez Charles-Antoine Jombert, Paris, 1766, xx-484 pp. et 5 planches dépliantes
1799695811 vol. in-8 reliure de l'époque demi-basane marron, dos lisse orné, Essai sur les Gravures, traduit de l'anglais sur la Quatrième Edition, par le Bon de B***, De l'Imprimerie de Guillaume Théophile Korn, Breslau, 1800, 9 ff., 167 pp. [Suivi de : ] Trois Essais: Sur le Beau Pittoresque ; sur les Voyages Pittoresques ; et sur l'Art d'Esquisser le Paysage ; suivis d'un Poème sur la Peinture de Paysage. Par Mr William Gilpin, Chanoine de Salisburyn etc. etc. traduit de l'anglais par le Bon de B***, De l'Imprimerie de Guillaume Théophile Korn, Breslau, 1799, 6 ff., 154 pp. et 2 ff., avec 7 planches hors texte (dont 6 dépliantes, l'une en couleurs).
176379321763 Paris, Hérissant, 1763. Plaquette in-12 brochage du temps, couverture de papier doré à décor floral, tranches dorées. 40 pp. dont titre, avertissement et explication des peintures, sculptures, gravures et tapisserie. Quelques mouillures et quelques galeries de ver marginales dans les 20 premières pages, papier légèrement jauni.
177632185A Paris, chez Ruault, 1776. 2 vol. au format in-8 (198 x 123 mm) de 1 frontispice gravé n.fol., viiii, iv et 512 pp. ; 2 ff. n.fol., 1 frontispice gravé n.fol., 720 pp. et 2 ff. n.fol. Reliures uniformes de l'époque de pleine basane glacée et marbrée blonde, plats jansénistes, dos à nerfs ornés de filets gras à froid, jeu de petit filets obliques dorés sur les nerfs, doubles caissons d'encadrement dorés, fleurons dorés, chaînettes dorées, pièces de titre de maroquin acajou, pièces de tomaison de maroquin émeraude, titre doré, tomaison dorée, palette dorée en queue, filet doré sur les coupes, tranches jaspées.
179471006hLondon: T. Cadell Junior and W. Davies 1794. Book. Fine. Hardcover. 12mo - over 6¾ - 7¾" tall. Contemporary full gilt crimson straight-grain morocco with gilt edges and marbled endpapers. With a hidden fore-edge painting of a marine scene of the Cromer seashore. Mild scuffing and toning to covers. Contemporary and early owners' names to front fly-leaf. Otherwise clean tight and unmarked. Very neat -- a sound and handsome copy. With custom crimson quarter-morocco slip-case and chemise. T. Cadell, Junior, and W. Davies Hardcover
177255025Sous la conduite de M. Cochin, Avec un abrégé de leur Vie, par une Société de Gens de Lettres, 1 vol. in-folio cartonnage début XIXe, Chez Herissant le Fils, Paris, 1772, 15 portraits gravés avec 4 ff. de texte pour chacun