Patin, Charles Carlo PattinoBiblio.com
Callot, Jacques (1592 - 1635)Antiquariat.de
Antiquariat Weber · DE - Neuendorf450,00 €
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16730009013Venetia: Gio. Giacomo Herz 1673. First edition. Hardcover. Good. 12mo xxiv 168 pages 19th century quarter calf marbled boards inked name and stamp of Novaria Giuseppe. <br/><br/>Charles Patin was a French physician devout numismatist and smuggler of books prohibited on the Index. Caught and sentenced to life as a galley slave Patin fled France eventually settling in Italy as chief of the medical faculty at the University of Padua. Gio. Giacomo Herz hardcover
1700229131700. Cross-DressingWomen Military Joan of Arc engraving archive depicting the French military leader and martyr Jeanne d'Arc in iconic images of battle persecution and faith ca. 1770-1850s. The prints focus on Joan's leadership during the Hundred Years' War and on the gender-bending aspects of her identity and dress that contributed to her 1431 trial for heresy. Particular attention is given to her appearance in armor while directing troops or appearing before political authorities. These visual depictions emphasize Joan's adoption of male military clothing an attribute which has lead modern scholars of LGBTQ history to celebrate the saint as a queer and proto-transgender figure.<br /> <br /> Archive of eight engravings and proof impressions executed primarily in copperplate and steel engraving processes during the eighteenth and nineteenth centuries. The images depict several key episodes associated with Joan of Arc's historical narrative including portraits showing her wearing armor and holding a sword scenes of military command in which she appears mounted or directing troops and representations of her recognition by Charles VII and entry into the city of Orléans. A prison scene portrays Joan during captivity prior to her execution in 1431 emphasizing the moment when her continued cross-dressing became a major point of contention during her heresy trial. Several engravings were produced for historical publications and illustrated histories circulating in the eighteenth and nineteenth centuries including editions associated with François Guizot's History of France reflecting the renewed interest in Joan of Arc as a figure of national history. Archives includes:<br /> <br /> 1 Engraved for J. Sydney's History of England. The Maid of Orleans Receiving the Sword of St. Catherine. England c.1770-1820. A fine copper engraving framed within an elaborate Rococo border showing Joan receiving the sacred sword of St. Catherine an episode derived from medieval hagiography rather than strict historical documentation. Joan is mounted on horseback surrounded by armed men and clergy with a fortified tower rising behind her. The ornamental border and English publication context reveal the 18th-century Protestant fascination with Joan as a paradoxical figure: a warrior-prophetess both admired and viewed with suspicion.<br /> <br /> 2 Anonymous Artist. Va va fille de Dieu; délivre la France! Vision Scene. France c.1820-1850. A preparatory hand panciled engraving proof depicting Joan of Arc's divine revelation framed within penciled border guidelines. An angel descends from the clouds carrying a banner while pointing downward toward Joan who kneels in astonishment as cherubs hover above. The inscription "VA VA / FILLE DE DIEU / DELIVRE LA FRANCE!" anchors the scene as an allegory of Joan's heavenly mandate.<br /> <br /> 3 Henry Richter after. Joan of Arc Recognizes the King. London: The London Printing and Publishing Co. mid-19th century. A steel engraving portraying Joan's revelation of Charles VII at Chinon the pivotal moment when she identifies him despite his attempt at disguise. The richly detailed crowd scene and Gothic architectural setting emphasize both spectacle and legitimacy visualizing Joan as divinely guided rather than politically manipulated. <br /> <br /> 4 G. Greatbach engraver; after a painting by J. Opie R.A. Joan of Arc Declaring Her Mission. London: The London Printing and Publishing Co. Ltd. mid-19th century. Joan is shown making a dramatic gesture as she proclaims her mission before astounded soldiers and clergy. The engraving captures the tension between gender expectations and prophetic authority: Joan's outstretched arm determined expression and illuminated figure contrast with the skeptical figures behind her. <br /> <br /> 5 E. Scriven engraver. Joan D'Arc. London: H. Moore Sons & Co. mid-19th century.An engraving presenting a romanticized half-length portrait of Joan of Arc in armor holding a sword upright while gazing serenely into the distance. Behind her appear faint bystanders rendering her both an individual and an emblem of national deliverance. <br /> <br /> 6 Entry of Joan of Arc into Orléans. From Guizot's History of France. Paris/London c.1840s. A sweeping steel engraving of Joan riding triumphantly into Orléans accompanied by monks soldiers and citizens. The composition foregrounds her as a mounted military leader sword raised while crowds kneel and look upward in awe. Johannot's design visualizes Joan as a unifying national leader.<br /> <br /> 7 G. Stodart engraver; after H. E. Selous. Joan of Arc and Charles. London: Virtue & Co. mid-19th century.A dramatic steel engraving showing Joan standing beside Charles VII directing his attention toward the field of battle. The caption references their military collaboration. The interplay of armor banners and a stormy sky underscores Joan'smilitary might. <br /> <br /> 8 T. Brown engraver; after E. Corbould. Joan of Arc in Prison. London: The London Printing and Publishing Co. mid-19th century. A somber interior scene depicting Joan in captivity clasping her hands as guards and clergy surround her. Corbould emphasizes her steadfastness and the emotional gravity of her final days. Produced for an illustrated royal history King Henry the Sixth the image cast Joan as a martyr of conscience.<br /> <br /> In recent decades scholars in LGBTQ history and gender studies have increasingly examined Joan of Arc as a proto-queer icon who challenged traditional ideas of gender identity and expression. Medieval trial records document that Joan consistently wore male military clothing during her campaigns and continued to wear such clothing during imprisonment a choice that became a central accusation in the charges brought against her in 1431. Some historians and queer theorists have interpreted Joan's refusal to abandon male dress even under threat of execution as evidence of a personal gender identity that did not conform to contemporary expectations for women. Joan of Arc has been cited as an example in Medieval history of an individual navigating queer identity long before the modern understanding of terms like trans non-binary or genderfluid. <br /> <br /> Light toning and mild foxing to some edgewear and staining present to some margins. Prints are clear and paper crisp. Overall very good condition. A compelling and diverse archive of eight Joan of Arc engravings and artistic proofs representing two centuries of European historical illustration and devotional imagery. The collection captures Joan's transformation from medieval visionary to modern nationalist and feminist icon. unknown
168214300De la série non finie "Opera Selectiora". Gravé d'après Domenico Campagnola En feuille Très bon Venise Jacobus Van CAMPEN 1682 24 x 46 cm
168214302De la série non finie "Opera Selectiora". En feuille; Pli vertical au centre Très bon Venise Jacobus Van CAMPEN 1682 35 x 73 cm
166842902Bruxeelis Brussels: Balthazaris Vivien 1668. First edition. Hardcover. g to g. Folio 14 1/4 x 9". 1 leaf Frontispiece 12pp 586 30pp. Vol. 1; 4 174 8pp. Vol. 2. Modern half dark brown calf over marbled paper covered boards with gold lettering to spine. Raised bands. Allegorical frontispiece engraved by Pieter Danoot after Er. Quellinius Erasmus Quellin. Engraved vignette on title. Title page in red and black lettering. Decorative head- tailpieces and initials. <br /> <br /> First edition of this remarkable work on the Belgian nobility its history and legislation splendidly illustrated throughout with 126 in-text engravings of armorial shields including 14 double-leaved plates of coats of arms and 5 full-page engravings depicting dignitaries fully dressed in the costume of their order. <br /> <br /> Binding partly rubbed along spine. Contemporary previous owner's inscription in ink on half-title and at upper margin of frontispiece not affecting the image. Sporadic age-toning and foxing throughout. Some closed tears at verso of six double-leaved plates were repaired with tape. Minor and sporadic previous owner's underlining in blue ink throughout. Fore-edge of a few pages in second part are partly water-stained never affecting lettering. Text in Latin with some French. Binding in overall good interior in good to good condition. About the author: Jean-Baptiste Christyn 1622-1690 baron of Meerbeek was a jurist and diplomat in the Spanish Netherlands and Chancellor of Brabant from 1687 to 1690. Balthazaris Vivien hardcover
1629103866Straßburg, Zetzner, 1629. 4to. 12 Bl., 771 S., 34 Bl. (d.l.w.). Pergament d. Zeit (fleckig u. verstaubt). [2 Warenabbildungen]
162414362D'après Bassano. De la collection Jules Renouvier, avec son tampon. Épreuve contrecollée, pliure centrale, coupée à la marque du cuivre. Rare. En feuille Moyen 1624 14,5 x 28 cm
16868085CBZürich, bey David Gessner, in Verlegung Joh. Rudolf Rahnen, 1686. 8°. (20), 566, (44) S. Mit gest. Titel. Pergamentband der Zeit.
169611340Belle épreuve de cette planche faisant partie de la suite de 6 planches d'après Lebrun "Les Batailles d'Alexandre". Publiée chez Nicolas Langlois en 1696. IFF XVIIè - 8 - 463. En feuille Très bon Paris 1696 139 x 169
1646D6064Paris: de l'imprimerie de Louys Sevestre et chez Pierre Daret graveur ordinaire du Roy 1646. First Edition. Hardcover. Good. Modern morocco gilt-stamped lettering in black and green leather spine labels; folio; two parts in one volume. Lacking the main title-p. and engraved plates introducing part 1 but otherwise complete with full-page engraved frontis. pp. 24 illustrated text poem author portrait then 103 large plates engraved on coppy by Pierre Daret accompanied by text comprising the substance of the work. Light stains and marginal browning to first 20 or so pages otherwise text is in excellent condition with nice bright plates and ornate chapter headings and illuminated initials. Incomplete and sold as is. <br/><br/> de l'imprimerie de Louys Sevestre (et) chez Pierre Daret graveur ordinaire du Roy hardcover
16337351Belle épreuve du tirage de Pierre Mariette, avec de grandes marges. 1633 31,7 x 21,5 cm.
16485117Signée P. Testa 1648 à droite et mention “in Roma da Vincenzo Billy” en bas au centre. Très belle épreuve du 3è état sur 4 en retirage (Bellini n° 39) Bartsch t. 20 , p. 220 n° 20 Mouillures. 1648 281 x 416 (357 x 490 avec les marges).
166014617Rare estampe d'après le Tintoret en feuille Très bon Rome Rossi 1660 27,5 x 56,5 cm
168553234München Johann Hermann Gelder 1685. 4to. Later hcalf rebound spine worn but intact. Shaved close throughout loosing pagination number mainly at end. Some leaves with repairs some loosing text. Scattered brownspots. Traces of use. Some leaves frayed in margins. 22 pp. lacking titlepage.The first part paginated 1-1506 the second part ca. 400 pp. pagination shaved and ending abruptly. 14 engraved plates mounted and some with loss and defective. With around 70 large textengravings by Leonhard Heckenauer Jeremias Renner H.G. Bodenehr et al. <br/><br/><em>Richly illustrated by estimated Baroque-engravers such as Heckenauer Renner Bodenehr and others. </em> unknown
168844481Paris, chez N. De Larmessin, 1688. In-4 de 1 titre gravé et 68 portraits, basane brune, dos orné à nerfs, pièce de titre en maroquin rouge, tranches mouchetées (reliure de l'époque).
16527374Très beau tirage sur papier vergé filigrané.Il s’agit d’une copie inversée de Bartsch n°12. 1652 17 x 24 cm.
169644496Paris, Antoine Dezallier, 1696. 2 tomes en 1 vol. in-folio, maroquin rouge, doublé de maroquin rouge, dos orné, double rangée de filet, tranches dorées (Fairbain and Armstrong).
16405012Très belles épreuves du 3è état sur 4. Le Brun n’aurait gravé que 7 planches dont cette série. Rare. Robert Dumesnil 4à7 iii/iv; IFF. Cadres bois dorés modernes sous vitre anti-uv (25,5 x 34,5 cm) Très bon 1640
1650279021650 c. 1650, Paris.- H : 138 L : 250- Faucheux : 52.0 / Baré : N° 128 - Cette image fait partie de la suite 52 : Vues de Paris.- 2 eme état; rare. de la Suite de 16 pièces et le titre. Sans numéros, publiées avant 1655. Planche montée dans papier postérieur à grandes marges.
16641961CBTiguri, ex Typographeo Bodmeriano, 1664. 8°. Titel, 3 Bl., 592, 160, 96 S. Mit gef. Konjugationstabelle. Pergament d. Zt. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, Einband und Titelblatt
16641961CBTiguri, ex Typographeo Bodmeriano, 1664. 8°. Titel, 3 Bl., 592, 160, 96 S. Mit gef. Konjugationstabelle. Pergament d. Zt.
169543155Amstelaedami Amsterdam: Apud Johannem Wolters 1695. Second edition. Hardcover. g to vg. Octavo 7 3/4 x 6 1/4". 58 859 49pp. Original full blind-stamped parchment with handwritten lettering to spine. Raised bands. Additional engraved title by Dutch Golden Age painter and engraver Gerard Hoet. Title page in red and black lettering. Title vignette. Decorative head- tailpieces and initials. <br /> <br /> Originally published in 1692 this work is the second edition of Hermann Witsius' compendium of religious works. It includes eight full-page engravings by Jan van den Aveelen including four double-page. Six of these appear in the text on Jewish law and ritual "de Tabernaculi Levitici mysteriis" and one includes an overflap showing the Ark of the Covenant. <br /> <br /> At the end of the Preface has been added a large engraved portrait of the author by Pieter van Gunst after a painting by Gerard Hoet. The portrait is dated 1700 and comes from a later edition of Witsius' "Miscellaneorum Sacrorum" published in Amsterdam and Utrecht in 1700 by Francisci Halmae François Halma.<br /> <br /> Also includes an extensive Index at rear.<br /> <br /> Minor foxing and darkening to binding. Ex-library bookplate on inside of front cover. Minor and sporadic clear water-staining at upper lower or outer margin of pages never affecting lettering. Slight rippling to pages due to damp exposure. Otherwise pages are extremely clean and white. Text in Latin with some Hebrew and Greek. Binding in overall good to very good interior in good to very good condition. About the author: Hermann Witsius 1636-1708 was "Professor of Divinity in the Universities of Franeker Utrecht and Leyden. A brilliant and devout student he was fluent in Latin Greek and Hebrew by the age of 15 when he entered the University of Utrecht. He was ordained at 21 and served in several pastorates filling both the pulpit and the academic chair over the course of his life" Encyclopedia Britannica. Apud Johannem Wolters hardcover
169243176Trajecti ad Rhenum Utrecht: Apud Franciscum Halmam 1692. First edition. Hardcover. g- to vg. Octavo 8 1/4 x 6 1/4". 28 859 49pp Index. Contemporary full vellum with handwritten title to spine. Additional engraved title by Dutch Golden Age painter and engraver Joseph Mulder 1658-1742 after a painting by Dutch Baroque era painter Gerard Hoet 1648-1733. Title vignette. Decorative initials and tailpieces. <br /> <br /> Scarce first edition of Hermann Witsius' compendium of religious works illustrated with eight full-page engravings by Jan van den Aveelen including four double-page. Six of these appear in the text on Jewish law and ritual "de Tabernaculi Levitici mysteriis" and one includes an overflap showing the Ark of the Covenant.<br /> <br /> Age-toning to binding. Ex-library sticker at head of spine and stamp on free front endpaper. Previous owner's gift inscription dated 1830 on fly leaf. Clear water-staining along fore-edge of the first two leaves of Dedication then sporadically along fore-edge of a few pages throughout 9not affecting lettering. Both hinges slightly starting. Sporadic foxing and age-toning throughout. Text in Latin with some Hebrew and Greek. Binding in overall good- to good interior in good- to very good condition. About the author: Hermann Witsius 1636-1708 was "Professor of Divinity in the Universities of Franeker Utrecht and Leyden. A brilliant and devout student he was fluent in Latin Greek and Hebrew by the age of 15 when he entered the University of Utrecht. He was ordained at 21 and served in several pastorates filling both the pulpit and the academic chair over the course of his life" Encyclopedia Britannica. Apud Franciscum Halmam hardcover
16447355Rognée à la cuvette.D’après Le Parmesan 1644 37,5 x 26,5 cm.
