570 résultats
1864564j1976Bruxelles: Imprimerie de A. Mertens et Fils. Fair with No dust jacket as issued. 1864. First Edition. Hardcover. Is this book the plagiarized source of The Protocols of the Learned Elders of Zion "In his 1870 autobiography Maurice Joly 1829-1878 described how he conceived the idea of a dialogue between Montesquieu and Machiavelli. At that time it was forbidden to openly criticize the regime of Napoleon III but in this way it would be possible through the mouth of Machiavelli to expose the Emperor's motives and methods stripped of the usual camouflage. Thus this book was printed in Belgium and smuggled into France but was immediately seized by the police banned and Joly arrested. Thus few copies survive. Joly's reflections on the despotism of Napoleon III provide insights applicable to authoritarian regimes of today. Moreover something of Joly's insights even survived when his book was transformed into The Protocols of the Elders of Zion thus The Protocols often seem to forecast twentieth-century authoritarianism." - pages 73-76 of Warrant for Genocide by Norman Cohn in which he claims over 160 passages in the Protocols are clearly based on passages in Joly. "The Protocols of the Wise Men of Zion were first circulated in Russia in the early years of the twentieth century purportedly an account of a meeting between Jewish leaders in the fall of 1897. A horrible plot to undermine society overthrow governments and destroy Christianity is revealed. The 'minutes' are copied verbatim from A Dialogue in Hades Between Machiavelli and Montesquiou written by Maurice Joly. The 'Protocols' merely substituted the word 'Jew' for Joly's own devils." - Footnotes to pages 423-424 of Mein Kampf Reynal & Hitchcock 1939. Others argue that Joly's work was not the source of The Protocols. We leave it to the reader to decide. 4 i-iii iv 337 1 1 errata p. 18.0 x 12.4 cm. Text in French. Tight maroon quarter leather binding with new leather spine and leather title label. Wear to periphery of older marbled boards which are probably not original. Bookplate of Dr. J.A. Van Praag 1895-1969 inside front board. Van Praag was a lecturer at the University of Amsterdam when he acquired this book in 1931 and wrote his name atop the first blank leaf along with a comment about the purported connection of the book to The Protocols. He also wrote Joly's name on the title page. Pencil notes on pages 47 80 and 94. Evidence of moisture exposure to endpapers and more moderately to contents. Negligible if any waviness to contents. All text clearly legible with pages intact. Includes new custom acid-free clamshell with leather title label upon spine. A rare first edition example of this most contentious work. Provenance: Acquired from an Israeli dealer who purchased it at an Israeli auction which only sells books offered by Israelis. Our research indicates that at least some of Van Praag's books were looted by the Nazis in 1941. Apparently he retired in 1966 and attempted to rebuild his library. However after a fire in his widow's home in 1970 part of the library was destroyed or damaged and she sold the remaining books. We have no definitive way of knowing if this book was looted from Van Praag or if it was if he ever re-acquired it. Perhaps he did re-acquire it only to have it exposed to moisture per our description by firefighting efforts in his widow's home; 12mo . Imprimerie de A. Mertens et Fils hardcover
18962430Boston 1896. Manuscript book. In original black leather by Frank J. Barnard signed on the recto of the last leaf with clasp gilt title on front panel gilt edges gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. Moiré detached from the flyleaves discolored at the rear. Some of the tracing paper leaves are creased few with closed tears. Stains to the gutter at the rear no effect on text. Binding slightly rubbed with three small barely visible holes. Overall in very good condition. Calligraphed manuscript in ink by H. C. Kendall signed on the verso of the first leaf. Each page written in different calligraphy style. Text in English. With a mounted portrait transferred on porcelain of Baron Hirsch on the second leaf. Calligraphed manuscript in ink by H. C. Kendall signed on the verso of the first leaf. Each page written in different calligraphy style. Text in English. With a mounted portrait transferred on porcelain of Baron Hirsch on the second leaf. Manuscript book. In original black leather by Frank J. Barnard signed on the recto of the last leaf with clasp gilt title on front panel gilt edges gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. <p><br /> A memorial album commemorating the death of the greatest Jewish philanthropist of the nineteenth century Baron Maurice de Hirsch offered by the Jews of Boston to his widow and family.<br /> <p><p><br /> This delicate memorial album signed by twenty-two representatives of Jewish associations of Boston was prepared by the commission of the Boston Jews under the auspices of the American Committee here Society for Ameliorating the Condition of Russian Refugees an umbrella organization of various groups concerned with the welfare of the immigrants co-founded by the Hirsch Fund and was offered to the widow and the family of Baron de Hirsch. The album is a piece of very fine craftsmanship calligraphed by H. C. Kendall an "artist penman" and Principal of the Normal Writing Institute in Boston and bound by Frank J. Barnard the industry leader bookbinder in Massachusetts. The text consists of profound quotes about human greatness from William Dean Howells and Julia C. R. Dorr and the eulogy delivered at Temple Ohabei Shalom.<br /> <p><p><br /> Baron Maurice de Hirsch 1831-1896 was a German Jewish financier and philanthropist born into a wealthy landowner and banker family in Bavaria. In 1855 Hirsch married Clara Bischoffsheim daughter of a Belgian banker and became associated with his father-in-law's banking house. He amassed a large fortune and became one of the top five richest individuals in Europe at the time. Baron de Hirsch set up charitable foundations promoting Jewish education especially in Russia and after an unsuccessful offer of 50000000 francs to the Russian government to be used for purposes of Jewish education in 1891 he founded the Jewish Colonization Association the greatest charitable trust in the world to provide the funds for extensive Jewish immigration to Argentina. In the same year he established the Hirsch Fund to help the Russian Jewish immigrants in the States and provided the finances for agricultural colonies and trades schools in the US. Through his Galician Foundation he realized the establishment of primary and technical schools for Jewish pupils in Galicia and the Bukowina. "It is impossible to form an accurate estimate of the amount of money Baron de Hirsch devoted to benevolent purposes. That including the large legacy amounting to $45000000 left to the Jewish Colonization Association it exceeded $100000000 is an estimate justified by the amounts given by him from time to time to the foundations already referred to. There were besides many gifts to individuals of which there is no record." Jewish Encyclopedia Baron Maurice de Hirsch died suddenly presumably of a heart attack at the age of 64 on 21 April 1896 at the country house of a friend near his own recently purchased estate of Ógyalla in Hungary now part of Slovakia. His widow continued the Baron's charitable work. Clara died in Paris in 1899 and left the remaining family assets to her adopted son Maurice Arnold de Forest. <br /> <p>. unknown
18931704391893. DENIS Maurice. Le Voyage d'Urien. By André Gide. 110 pp. illustrated with 29 lithographs in 2 colors by Maurice Denis. 4to 200 x 192 mm. original wrappers in a new cloth folding box. Paris: Librairie de l'Art Indépendant 1893. A fine copy of one of the few Nabis illustrated books preserved in the original wrappers as issued and not rebound as is almost always the case. It is also free from the foxing that plagues many copies. It is interesting that Denis illustrated this book at the express invitation of Gide who had seen his drawings for Sagesse. One of 300 copies. The Artist and the Book No.76. Freches-Thory. The Nabis pp. 216 - 217. Cailler Maurice Denis: Catalogue Raisonné de l'Oeuvre Gravé et Lithographié Nos. 37 - 67. hardcover
18030002561Good. 1803. On offer is a superb original 1803 - 1805 manuscript cypher and navigation book handwritten by a young midshipman James Maurice Shipton aboard the noted HMS Thunderer a ship forever in the history books as the ship that spotted the emerging Spanish fleet and thusly began the Battle of Trafalgar and the demise of Britain's enemies and sadly the hero of the day Lord Horatio Nelson. Notably Thunderer also took part in the Glorious 1st of June Battle against the French in 1794. James Maurice Shipton who would one day captain his own ship and reap accolades created this book while theThunderer worked blockade duty along the French coast. Mere months later the ship would engage in the Battle of Trafalgar and the decisive engagement by the British would end the rule of the French despot and dictator Napoleon Bonaparte. Included are a number of letters from archivists and historians providing background info on Shipton. The book is in wonderful condition the vellum save for some soiling is better than good and the interior as well. Overall G.; Manuscript; Folio - over 12" - 15" tall; KEYWORDS: HISTORY OF JAMES MAURICE SHIPTON HMS THUNDERER TRAFALGAR MIDSHIPMAN GEORGE III NAVIGATION CYPHER SAILING AGE OF SAIL CHANNEL SQUADRON BLOCKADE DUTY LORD HORATIO NELSON MARITIME MARINE NAUTICAL NAVAL OCEAN TRAVEL BARGE SCHOONER NAVAL ACTIONS THE ROYAL NAVY NAVAL MARINE NAUTICAL NAUTICAL LOGBOOK SPANISH FLEET CYPHERING CIPHER COMPLEX MATHEMATICS BRITISH ROYAL NAVY BRITANNICA EARLY 19TH CENTURY HANDWRITTEN MANUSCRIPT DOCUMENT LETTER AUTOGRAPH WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS HISTORICAL HOLOGRAPH WRITERS AUTOGRAPHS PERSONAL MEMOIR MEMORIAL AMERICANA ANTIQUITÉ CONTRAT VÉLIN DOCUMENT MANUSCRIT PAPIER ANTIKE BRIEF PERGAMENT DOKUMENT MANUSKRIPT PAPIER OGGETTO D'ANTIQUARIATO ATTO VELINA DOCUMENTO MANOSCRITTO CARTA ANTIGÜEDAD HECHO VITELA DOCUMENTO MANUSCRITO PAPEL . hardcover
187275733Nohant Nohant-Vic 1872. Fine. Nohant Nohant-Vic 19 semptembre 1872 13.20 x 20.60 cm 20 pages 1/2 sur 21 feuillets Autograph manuscript signed by George Sand written in black ink on 21 leaves of white paper. Deletions and corrections. One page of the manuscript appears to have been lost. The final version of this chronicle whose text conforms to the manuscript we offer was published in Impressions et souvenirs Paris M. Lévy 1873. George Sand would devote another article to her son's novel in Questions d'art et de littérature in 1878. The first edition of Maurice Sand's Coq aux cheveux d'or was published by Lacroix and Verboeckhoven in 1867. unknown
188671943Paris: H. Launette & Cie 1886. Fine. H. Launette & Cie Paris 1886 18.50 x 28.50 cm relié Illustrated edition with 10 etchings as well as about a hundred vignettes by Maurice Leloir one of 50 numbered copies on Japan paper. Full navy blue morocco binding spine with five raised bands set with gilt fillets decorated with triple gilt compartments embellished with floral motifs stamped in blind gilt roulettes on headcaps frames of quintuple gilt fillets on marbled paper boards boards also decorated with a floral frieze stamped in blind marbled endpapers and pastedowns frame of gilt dentelle on pastedowns double gilt fillets on leading edges covers and spine preserved all edges gilt superb binding signed Chambolle-Duru. Our copy contains a triple state of the etchings a separate suite of in-text vignettes on Japan paper having been bound at the end as well as an original wash drawing signed by Maurice Leloir as stipulated in the justification page. Very handsome copy expanded with an original drawing and perfectly executed by Chambolle-Duru. H. Launette & Cie hardcover
188372680Paris: G. Charpentier 1883. Fine. G. Charpentier Paris 1883 19 x 14 cm relié First edition one of 50 numbered copies on Holland paper the only deluxe copies after ten on Japan and a few on China. With frontispiece portrait of the author engraved by F. Desmoulin. Half brown morocco with corners smooth spine with mosaic heart-shaped havana morocco title and author labels covering a long floral spray in mosaic gilt with inlaid colored morocco petals and leaves head and foot enhanced with five small circles gilt and inlaid with havana morocco gilt fillet on covers marbled paper endpapers and pastedowns original wrappers preserved top edge gilt retaining deckled edges. Binding signed by Canape. Our copy is enhanced with an autograph quatrain mounted on a stub: ""Barbey d'Aurevilly: c'est la plume effroyable la plume qui fait peur au papier frémissant. Car elle écrit les mots que lui dicte le Diable avec du Vitriol des larmes et du sang!"" ""Barbey d'Aurevilly: it is the dreadful pen the pen that frightens the trembling paper. For it writes the words dictated by the Devil with Vitriol tears and blood!"". The note mirrors a remark by Barbey d'Aurevilly his friend who also called him a devil but a ""Devil of steel"". G. Charpentier unknown
18952731<p>1895. Original lithograph printed in colors from the set AMOUR . P. Cailler 109. 15 1/4 x 11 margins 21 x 16. Deckled edge. In fine condition with full margins. signed in the plate. Prov:Candillier</p> Amboise Vollard
1819P4781Montreal: Canadian Pacific c.1918-1930. Very Good. Notes: The White Empress fleet were the Empress of Britain Empress of Asia Empress of Russia Empress of Canada Empress of Australia or the Empress of Japan.<br>Maurice Logan was a prominent commercial artist working out of Northern California. He was also a fine artist and in 1917 joined five other California painters to form the "Society of Six" a group of artists whose work was categorised first and foremost by bold colours. Logan designed one other poster for the Canadian Pacific but was primarily employed by the American Railway companies. Image Size : Platemark Size : Paper Size : 940x565 mm 37.01x22.24 Inches Coloring: Printed in Color Medium: Lithograph Categories: Posters; Transportation Ships; Canadian Pacific unknown
185253892Paris: Imprimerie Administrative de Paul Dupont/ Varnout et Galante 1852. First edition second printing. Softcover. g to vg. Small quarto. 49 1pp. Illustrated blue wrappers with black lettering on the covers. String-tied binding for the book block.<br /> <br /> A scarce illustrated catalog of early vulcanized rubber medical devices manufactured by the French company Varnout et Galante. Included here are more than 80 medical surgical and gynecological instruments designed under the supervision of physician and gynecologist Marie Maurice Gariel 1811-1878. The work includes numerous small engraved figures throughout illustrating various products. Each item is numbered for reference with a description some brief and some longer. The products include not only items related to reproductive medicine and women's health such as breast-feeding instruments vaginal douches tampons urethral probes and urinals for incontinence but also more general medical equipment such as crutches braces bandages protective gloves mattress pads for medical beds restraints compression belts and inflatable cushions. <br /> <br /> This publication is notable and intriguing in that it was produced at a time when both the modern medical field of gynecology was in it's infancy and the revolutionary process of vulcanizing rubber was a newly established industry. Only eight years earlier in 1844 American chemist and engineer Charles Goodyear had patented the groundbreaking process for manufacturing this material on an industrial scale and its wide range of potential uses was just starting to be discovered. The introductory pages extoll the virtues of the new technology of vulcanized rubber and include tables comparing vulcanize to un-vulcanized rubber under various metrics. Table of contents at the rear.<br /> <br /> Text in French.<br /> <br /> Wrappers with minor rubbing to extremities and small chips to the bottom right corners of the front cover and at a few points on the spine. Light foxing at the bottom of the back cover. Interior with a very few tiny sporadic stains but otherwise very clean. Wrappers in good interior in very good condition overall. Scarce. Protected in modern mylar. Full title: Catalogue des Appareils et Instruments de Médecine et de Chirurgie en Caoutchouc Vulcanisé Fabriqués sous la Direction Immédiate de M. Le Doctuer Gariel Par Varnout et Galante<br /> <br /> This second printing is the same in every way to the first printing of the previous year save that the printed year at the bottom of the title page has been adjusted to 1852 instead of 1851.<br /> <br /> Marie Maurice Gariel 1811-1878 was a French physician and gynecologist. He was a member of the Société anatomique de Paris Anatomical Society of Paris and a notable figure in the focus of reproductive medicine and women's health at a time when the field of gynecology was in its early stages. His son was noted French physician and medical engineer Charles-Marie Gariel 1841-1924. Imprimerie Administrative de Paul Dupont/ Varnout et Galante unknown
1857462459Trenton: Printed at the Office of the True American 1857. Hardcover. Very Good. First edition. Octavo. 211pp. 11 plates plus large folding map in color. Brown cloth stamped in blind and gilt. Library of Congress duplicate stamp bottom of the front board and corners bumped very slight loss at the spine ends small tears and faint stain in the margins of the map with a minor archival repair on the verso overall very good or better. Inscribed by the author George H. Cook to Spencer F. Baird of the Smithsonian who is acknowledged on p.11 for his survey of fishes in the area: "Prof. Spencer F. Baird with the respects of Geo. H. Cook." Baird's small ownership stamp on the titlepage. Baird's comprehensive geological and natural history survey of the County with Beesley's informative and relatively early historical sketch including early mentions of sea bathing at the County resorts. A noteworthy association copy the map by Egbert L. Viele is highly prized in its own right. Printed at the Office of the True American hardcover
18982730<p>1898. Original lithograph printed in colors from the set AMOUR. P. Cailler 118. 11 x 16 margins: 16 x 21 Deckled edge. SIGNED IN PENCIL LOWER RIGHT. In fine condition with full margins.</p> Ambroise Vollard
1855140948169Paris: Depot de la Guerre 1855. Three lithograph maps one of which is in two parts dissected and mounted on linen for folding by publisher labels on verso. Typically measuring 26" x 34". Housed in a contemporary arsenical slipcase with beautiful bluish green interior. Maps Very Good toned with age and very slightly soiled with a fair amount of offsetting to linen visible through margins and verso. Depot de la Guerre blindstamp at lower right. Pencil notations to labels. All maps except Carte Hydrographique De La Moyenne Egypte have eight panels; De La Moyenne has ten panels two of which are slightly smaller than the rest. Slipcase missing a 4" chip at foot rubbed and worn. Caution is recommended in dealing with said slipcase due to its arsenical endpapers. <p>Lovely maps of Egypt credited to a French-born chief engineer of Egypt's public works and explorer. Rare. Depot de la Guerre unknown
1843AMByaCOM71Paris: L.Passard & Lavigne 1843. 1843. 4 Volumes. 8vo. pp. 367; 1 p.l. 362; 1 p.l. 379; 1 p.l. 383. large folding engraved map. A pretty set in contemporary blind-stamped chagrin all edges gilt light wear to extremities some foxing throughout. Second Edition first: 1838. Combes and Tamisier spent two years in Abyssinia and Yemen from March 1835 to March 1837 visiting Axum Adua Galla Tigré Debra-Tabor Tana Gondar Massawa &c. Combes was a former vice-consul at Scala Nova in Asia Minor and a future vice-consul at Rabat in Morocco. In 1846 he published an account of his 1841 travels in Egypt and Nubia. In addition to describing their journey the travellers provide a history of the country and comment on local manners and customs trade and commerce government &c. The last chapters are devoted to the errors made by previous Europeans who came to Abyssinia: Bruce Valentia and Salt. Gay 2616. Hardcover. Paris: L.Passard & Lavigne, 1843. Hardcover
1898253096New York: Dodd Mead & Co 1898. hardcover. fine. 19 volumes title-pages with decorative red borders. 8vo. Publisher's deluxe binding gold-decorated full blue crushed morocco ornately gilt spines and covers full finely tooled burgundy leather inside all covers top edge gilt deckled fore - and bottom edges. New York: Dodd Mead and Company 1898-1918. Near Fine.<br/> <br/> Autograph Edition limited to 150 copies. Volume 1 signed by Maeterlinck on blank leaf. Previous owners bookplates<br/> <br/> Dodd, Mead & Co unknown
1862006327Paris: A. Lévy Fils 1862. Half Morocco. Very Good. Sand Maurice. All the plates are here rendered in three states -- full hand-colored black and white and sepia and white! 2 volumes 4to. 28 by 20 cm. viii 356 2 384 pp. 50 hand-colored plates and 100 additional in the two other formats featuring the stock characters of the improvisational Theatre Italienne such as Harlequino Arlechino Pulcinella Colombine Pagliaccio Pierrot Pantalon L'Apothicaire Le Notaire Scaramuccia Pasquariello etc. Nowadays these characters are most familiar to opera-goers thanks to the comical works of Donizetti Mascagni Busoni Mozart etc. Most of these characters grew out of the roaming theatrical troupes that originated in Italy of the sixteenth and seventeenth centuries. The costume and basic personality of the character remained stable from one performance to the next but within those parameters the characters in a troupe usually following the broad contours of a story line would improvise bringing in buffonery perhaps relating to the events of the day the specific venue where they were appearing or whatever else might spring into their mind on the spur of the moment. In the eighteenth century the free form went into decline replaced by more scripted plays but its influence is very evident in the plays of Goldoni Moliere who worked well before the form vanished and besides the opera buffa early twentieth century Vaudeville ballet and more current comedy. Also the costume from the Theatre Italienne has never failed to excite enthusiasm and thus it is often celebrated in the decorative arts as perhaps most magnificently in porcelain beginning in the eighteenth century with Meissen Nymphenburg and many other makes. Today the style of Harlequin or Arlecchino continue to be emulated in clothes design with some regularity. This two volume celebration of the costume and characters of this theater was written by Maurice Sand who was the son of the novelist George Sand who wrote the preface. Maurice Sand 1823 -1889 was an accomplished illustrator and writer in his own right. Provenance: this copy comes from the heirs of John James Audobon. The initials "V.A." are stamped on both front boards; these initials probably refer to Victor Gifford Audubon Jr. 1847-1915 the artist's grandson. Condition: some minor scuffs and abrasions on the leather spine shelfwear on the edges. A few some light soil spots here and there but overall quite clean and bright. A. Lévy Fils unknown
190052955Elbeuf: A. MARTIN 1900. Fine. A. MARTIN Elbeuf S.d Circa 1900 10.50 x 16.50 cm une feuille Original photograph of Maurice Blanchot at about one year old seated on a pedestal surrounded by his brothers and sisters. Original photograph of Maurice Blanchot at about one year old seated on a pedestal surrounded by his brothers and sisters. Contemporary silver print. Blanchot eluded the photographers and caricaturists of the literary press for a long time. Attempts at producing an image were both rare and minimalist throughout the years. In 1962 in Express a hand holds up a book at the bottom of the page; in 1979 in Libération a blank square in the middle of the page captioned only with Blanchots name and a quotation from lEntretien infini ""a vacuum of a universe: nothing that is visible nothing that is invisible C. Bident Maurice Blanchot. In 1986 at an exhibition of writers portraits he asked that his photo be replaced with a text noting his desire to appear as little as possible not for the exaltation of his books but to avoid the presence of an author who pretends to a separate existence. A photo taken without his knowledge in the parking lot of a supermarket was the only portrait of the writer until his friend Emmanuel Lévinas made public a few rare photos from their youth. That Blanchot did not oppose this act and the fact that it was done by his closest friend can be explained by what Bident calls l'espacement de l'inquiétude the distancing of worry the outdated nature of the portraits made public carry an echo of the delayed publication of L'Idylle Le Dernier Mot L'Arrêt de mort. Only a few photographs gathered in the centre pages of the issue of les Cahiers de l'Herne dedicated Maurice Blanchot complement these unique shots of the most secretive writer of the 20 th century. In his chapter on L'indisposition du secret The indisposition of the secret Christophe Bident devotes several pages to the almost complete absence of images of this invisible partner wondering about the intellectual and psychological motivations of the writer who was nonetheless aware of the inevitable revelation to come. Everything must become public. The secret must be broken. The obscure must enter into the day and make itself clear. That which cannot be said must nonetheless make itself heard. Quidquid latet apparebit everything that is hidden must appear Maurice Blanchot L'Espace littéraire. A. MARTIN unknown
188987670Paris: H. Launette & Cie 1889. Fine. H. Launette & Cie Paris 1889 22 x 32 cm 2 volumes reliés Edition illustrated with 96 original compositions by Maurice Leloir engraved as etchings. Full red morocco bindings spine with five raised bands dates gilt at foot gilt rolls on headcaps frame of gilt dentelle on pastedowns marbled endpapers and pastedowns double gilt fillets on leading edges all edges gilt superb contemporary bindings signed by Garidel. Preface by Jules Clarétie. Fine copy perfectly established. H. Launette & Cie hardcover
188856009Paris: La librairie illustrée 1888. Fine. La librairie illustrée Paris 1888 11.50 x 18.50 cm relié First edition of the author's second work one of 10 numbered copies on Holland paper the only deluxe paper issue. Bound in yellow half morocco with corners spine with five raised bands gilt date at foot a small black spot at head of spine floral and moiré patterned paper boards pale green paper endpapers and pastedowns original wrappers preserved gilt edges bookplate of Gérard Pesme Baron de Saint-Genies pasted on a pastedown binding signed by Thomas Boichot. Half-title entirely toned. A fine copy handsomely bound. La librairie illustrée hardcover
1806Biblio 22<p><em>Indian Antiquities; or dissertations relating to the antient geographical divisions the pure system of primeval divisions the pure system of primeval theology the grand code of civil laws the original form of government the widely extended commerce and the various and profound literature of Hindoostan 7 volumes 2nd edition London: C. & W. Galabin for the author 1806 </em><em>folding engraved map 23 engraved plates only of 27 lacking Stonehenge plate called for in volume VI & the 2 plates in volume VII some spotting and offsetting Caxton Hall bookplates contemporary tree calf gilt spines lacking 3 labels a little rubbed 8vo</em></p> C. & W. Galabin for the author hardcover
190052956Elbeuf 1900. Fine. Elbeuf S.d Circa 1900 10.50 x 16.50 cm une feuille Original photograph of Maurice Blanchot seated at his desk before his library Original photograph of Maurice Blanchot smiling at his desk before his library. Contemporary silver print. Blanchot eluded the photographers and caricaturists of the literary press for a long time. Attempts at producing an image were both rare and minimalist throughout the years. In 1962 in Express a hand holds up a book at the bottom of the page; in 1979 in Libération a blank square in the middle of the page captioned only with Blanchots name and a quotation from lEntretien infini ""a vacuum of a universe: nothing that is visible nothing that is invisible C. Bident Maurice Blanchot. In 1986 at an exhibition of writers portraits he asked that his photo be replaced with a text noting his desire to appear as little as possible not for the exaltation of his books but to avoid the presence of an author who pretends to a separate existence. A photo taken without his knowledge in the parking lot of a supermarket was the only portrait of the writer until his friend Emmanuel Lévinas made public a few rare photos from their youth. That Blanchot did not oppose this act and the fact that it was done by his closest friend can be explained by what Bident calls l'espacement de l'inquiétude the distancing of worry the outdated nature of the portraits made public carry an echo of the delayed publication of L'Idylle Le Dernier Mot L'Arrêt de mort. Only a few photographs gathered in the centre pages of the issue of les Cahiers de l'Herne dedicated Maurice Blanchot complement these unique shots of the most secretive writer of the 20 th century. In his chapter on L'indisposition du secret The indisposition of the secret Christophe Bident devotes several pages to the almost complete absence of images of this invisible partner wondering about the intellectual and psychological motivations of the writer who was nonetheless aware of the inevitable revelation to come. Everything must become public. The secret must be broken. The obscure must enter into the day and make itself clear. That which cannot be said must nonetheless make itself heard. Quidquid latet apparebit everything that is hidden must appear Maurice Blanchot L'Espace littéraire. unknown
1862003597Paris: A. Levy Fils 1862. Quarter Morocco pebbled cloth boards. Very Good. Sand Maurice. 2 volumes 4to. 28 by 19 cm. viii 356 2 384 pp. 50 hand-colored plates featuring the stock characters of the improvisational Theatre Italienne such as Harlequino Arlechino Pulcinella Colombine Pagliaccio Pierrot Pantalon L'Apothicaire Le Notaire Scaramuccia Pasquariello etc. Nowadays these characters are most familiar to opera-goers thanks to the comical works of Donizetti Mascagni Busoni Mozart etc. Most of these characters grew out of the roaming theatrical troupes that originated in Italy of the sixteenth and seventeenth centuries. The costume and basic personality of the character remained stable from one performance to the next but within those parameters the characters in a troupe usually following the broad contours of a story line would improvise bringing in buffonery perhaps relating to the events of the day the specific venue where they were appearing or whatever else might spring into their mind on the spur of the moment. In the eighteenth century the free form went into decline replaced by more scripted plays but its influence is very evident in the plays of Goldoni Moliere who worked well before the form vanished and besides the opera buffa early twentieth century Vaudeville ballet and more current comedy. Also the costume from the Theatre Italienne has never failed to excite enthusiasm and thus it is often celebrated in the decorative arts as perhaps most magnificently in porcelain beginning in the eighteenth century with Meissen Nymphenburg and many other makes. Today the style of Harlequin or Arlecchino continue to be emulated in clothes design with some regularity. This two volume celebration of the costume and characters of this theater was written by Maurice Sand who was the son of the novelist George Sand who wrote the preface. Maurice Sand 1823 -1889 was an accomplished illustrator and writer in his own right. Occasional soiling sometimes toning around perimeter outside of tissue guards which have survived remarkably well. Rubbing along joints and moderate wear of boards. Very handsome marbled painting of edges. A. Levy Fils unknown
188460769New York:: J. Bouton 1884. Edition de Grand Luxe; No. 11 of 100 copies signed by publisher J. Boutin. full crushed morocco gilt; a.e.g. by Lortic. Spine evenly sunned with a few tiny scuffs near along joints; a handsome production. Folio. Illustrations by Maurice Leloir including in this special edition duplicate impressions of the photogravures in addition to an original watercolor by Leloir. With an original drawing in colors signed and dated by Maurice Leloir on the half-title page. Illustrated title page printed in red and black on silk. J. Bouton, unknown
188954806New York: William H. Sadler. As New. 1889. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - 183 pages. -- with a bonus offer-- . William H. Sadler hardcover
189251112Paris France: Me. Paul Chevallier C. -P. ; Galerie Georges Petit. As New. 1892. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Text block clean - Text in French. 203 lots catalogued; many black and white illustrations. Among the artists represented in this sale: Chardin A. Van Ostade Vigée-Le Brun Diaz Jules Dupré Francais Rousseau Gericault and others. -- with a bonus offer-- . Me. Paul Chevallier, C. -P. ; Galerie Georges Petit paperback