21 602 résultats
réf. 51-4180Paris: L'Artiste 1834. 4to. 27 x 20.5 cm. 2 vols. Elaborate contemporary Romantic binding with gilt and blind stamping. 308 308 pp. about 108 of 110 original graphic works. Missing appear to be 1834-1 Clerget and 1834-68 Alophe. Among the other works is the original lithograph by Delacroix: Le jeune Clifford trouvant le corps de son père 1834-104; Delteil no. 99 first state of 3; Young Clifford Finding the Body of his Father image of Shakespeare King Henry VI Part IICatalogued in "Les Estampes de L'Artiste 1831-1904" by Pierre Sanchez and Xavier Seydoux nos. 1834- 2 to 1834-110. Textes des grands écrivains romantique tel que Gérard de Nerval Théophile Gautier qui est rédacteur en chef de 1856 à 1859 Jules Janin Étienne Eggis Théodore de Banville Henri Murger Charles Monselet Champfleury Charles Baudelaire Joseph Méry Eugène Sue Alphonse Esquiros Hector de Callias entre autres.Illustrés de lithographies et de gravures sur bois des plus grands artistes de l'époque puisque le fondateur Hector Brame fut l'associé de Durand-Ruel et que le repreneur de la revue n'est autre qu'Armand Houssaye qui a voulu faire de cette revue un véritable musée de la gravure. Nos volumes comptent des gravures de :Thomas Gavarni Prout Deveria Alophe Préault Dessain Deroy Beaume Noël Johannot Debacq Roqueplan Gsell Livet Champin Perrières Perlet Champmartin Bellange Dreux Charlot Boulanger Guët Delaroche Raffet Brume Scheffer Carrier Newton Peroy Vernet Decamps Leroy Grenier pour le premier volume et Giraud Alophe Noël Roqueplan Debacq Lerac Grenier Decamps Lebreton Pingret Leroy Francis Dauzat Cattemole Gavarni Provost Jaime Frey Gigoux Gintrac Delacroix Leclerc Boulanger Bourge Charlier Wilkie. Le second volume est incomplet d'une gravure page 48. Par contre il contient deux gravures d'Eugène Delacroix. .Fondée en 1831 aux plus beaux jours de la révolution romantique la revueL'Artiste connut une longue vie se transformant et se renouvelant plusieurs fois au cours du XIXe siècle pour ne s'éteindre définitivement que dans les toutes premièresannées du XXe siècle. C'est dire que durant ses soixante-quatorze ans d'existence cetterevue porte un témoignage direct sur l'évolution des mouvements artistiques etlittéraires ayant joué souvent un rôle actif soit dans la légitimation de la modernité et de l'innovation soit au contraire dans la défense des principes proclamés et propagés par les organes officiels de l'Institut et du gouvernement. Paris: L'Artiste, 1834. unknown
1888réf. g5899London: Vizetelly & Co. G: in Good condition without dust jacket. Boards lightly rubbed and bumped with slight lean to spine. Tissue guard missing from frontispiece. Rear endpaper missing. 1888. Reprint unexpergated edition. Brown decorated hardback cloth cover with gilt titles. 190mm x 130mm 7" x 5". 392pp. This seemingly insignificant book is from the Mermaid Series of Best Plays of the Old Dramatists belonged to Aubrey Beardsley. On the ffep a hand drawn bookplate by Aubrey Beardsley is pasted dated Xmas 1888. On the half title page there is the signature A V Beardsley Xmas 1888. On the reverse of the frontispiece in the top corner is an ink stamp BEARDSLEY. . Vizetelly & Co hardcover
1920réf. 6825Paris GRASSET 1920 1 20 dessins originaux de Bernard Boutet de Monvel, à la mine de plomb, préparatoires au livre "Le Général Bramble" de André Maurois, 1920, montés sur papier fort dans un étui, in-4, aux motifs Art Déco.
1823réf. 175771London: John Murray 1823. Byron was everything that Clare himself was not Presented by John Clare to his patron Eliza Emmerson inscribed by the poet on the half-title: "To Mrs. E. L. Emmerson from one who admires her Talents & values her Friendship These Works of an Immortal Genius are affectionately presented by John Clare". Clare had an obsessive interest in Byron beginning in intense literary admiration and imitation and as his mental health deteriorated culminating in the delusion that he was himself Byron. He identified particularly closely with Childe Harold composing additional stanzas for the poem from his asylum bed in 1841. Byron's poem forms the contents of the present book a single volume from a collected edition of his works. Clare and Emmerson maintained a long correspondence. Although the poet's letters to her are lost Emmerson's letters to Clare provide an important record of their friendship. Clare's gift may have been occasioned by Byron's funeral: in a July 1824 journal entry Clare recalled how as he "wandered up Street on my way to Mrs Emmerson's" in Mayfair he was distracted by the large crowd accompanying Byron's cortege. "The train of a funeral suddenly appeared on which a young girl that stood beside me gave a deep sigh & uttered 'Poor Lord Byron' I looked up at the young girl's face it was dark & beautiful & I could almost feel in love with her for the sigh she had uttered for the poet." The second blank is inscribed with three of the five stanzas suppressed in all early editions and unpublished until 1824; a note by Emmerson on p. 35 suggests that they may have been written out by Clare himself. Emmerson has also inscribed the first blank twice first with her name and address "Stratford Place London" and again when she presented the volume to a nephew "Bequeathed to Tom Collison Dec. 1869". Vol. I of IV only octavo 219 x 142 mm. Engraved portrait frontispiece by C. Warren after T. Phillips. Late 20th-century quarter calf spine lettered in gilt marbled sides. Spine sunned foxing to outer leaves marginal marks to final three gatherings occasional pencil annotations possibly in Emmerson's hand. A very good copy. unknown
1943réf. 122334455741A 2 Vols. set : Both books are First UK printings and published by William Heinemann London in 1943. The books are signed by Noel Coward and all the cast : Joyce Carey and Judy Campbell on the initial blank and on the half-title: Gerald Case Beryl Measor Molly Johnson Billy Thatcher James Donald Dennis Price Gwen Floyd Meg Titheradge and also that of the Peggie Dear the stage manager. Loosely inserted is a rare advertising handbill flyer promoting the original West End production of these plays at the Theatre Royal Haymarket in London. Following a Provincial Tour 'Present Laughter' opened April 29th 1943 and 'This Happy Breed' opened April 30th 1943. Both productions played just over five months at the Haymarket Theatre. Both BOOKS are in Very Good or better condition. The wrapper has adhered in a very small area to the lower edge of the rear cover of 'Present Laughter'. A little toning and spotting to the text-blocks. Light offsetting to the blank end-papers with a little toning to the page edges due to the cheap quality of the war-time paper stock used. The WRAPPERS are in Very Good condition with a little edge-wear and some age related markings but are remarkable survivors. Both wrappers are protected in removable Brodart archival covers. Provenance: Matthew Bell 'Matt' props master whom the books were inscribed to by the author. In 2019 there was a revival stage production of 'Present Laughter at 'The Old Vic Theatre' for which Andrew Scott won the 'Laurence Olivier Award for Best Actor in a Leading Role in a Play'. A wonderful two volume set with such unique attributes. More images available on request. Ashton Rare Books welcomes direct contact. William Heinemann, London hardcover
réf. 19985Strasbourg, Hagemann et Cie, 1880. In-4, 211 pp., maroquin bordeaux de Popelin, frises et filets dorés en encadrement sur les plats cantonnés d'arabesques, fleurons et faisceaux de licteur surmontés de bonnets phrygiens dorés, dos à nerfs orné de caissons dorés, importante bordure intérieure ornée de dentelles dorées, tête dorée sur témoins, couverture conservée (habiles restaurations des mors, minuscules épidermures en marge du 2nd plat, quelques petites rousseurs et taches).
2017réf. 2-0470659637Blackwell Pub 2017. Hardcover. New. 8217 pages. 11.50x11.00x17.75 inches. Blackwell Pub hardcover
1815réf. 180958But London: Chiswick Press 1815. With gilt foil endpapers First Chiswick Press edition one of 100 copies this copy in a charming pastiche Duodo binding. The intricate design of leafy ovals and flowers pays homage to the Parisian bindings made for Pietro Duodo 1554-1611 the Venetian ambassador to France from 1594 to 1597. The gilt foil endpapers are a lavish addition to the style and a generally uncommon feature. Duodo's library was uniformly bound in fanfare style each binding colour-coded by subject: literature works in olive morocco as here theology philosophy and history in red and medical titles in citron. Unexpectedly recalled to Venice in 1597 Duodo left the books in Paris where they remained untouched until rediscovered during the French Revolution. The collection was brought to England and dispersed; Charles Lewis was the first British binder to produce imitations to meet the demand for Duodo's charming style. This is the only known example by Charles Smith likely the London bookbinder Samuel Charles Smith active between 1813 and around 1828. Baliverneries is a collection of rustic tales in Rabelais's style published in 1548 describing country life in Renaissance Brittany through the adventures of the impertinent protagonist Eutrapel. Provenance: offered by Maggs Bookbinding in the British Isles cat. 1212 vol. II no. 214 - Stephen C. Massey. Small octavo 128 x 76 mm pp. x 1 xii 100 2. Contemporary olive morocco by Charles Smith smooth spine elaborately tooled in gilt red morocco label panels tooled in gilt with border of palm fronds branches leaves and stars central panel with all-over pattern of ovals formed by laurel branches each enclosing different flowers board edges tooled in gilt blue morocco doublures ruled in gilt gold foil free endpapers edges gilt brown silk bookmarker. Gilt vibrant near-mirror shine to gilt foil endpapers contents clean. A handsomely bound copy. Maggs Bookbinding in the British Isles 1212 II 214. On Samuel Charles Smith see Howe London Bookbinders p. 87. unknown
1937réf. 98019London: Arthur Barker Ltd 1937. First edition first impression. The first edition was split into a small and large paper issue with variant dust jackets with this being the latter more desirable format. A scarce title especially so in the dust jacket. Quarto. Colour illustrations throughout by the author. Original green cloth spine lettered in gilt. With dust jacket. Spine rolled rubbing to cloth at lower edges and corners light occasional spotting. A very good copy in a slightly soiled jacket with light chipping to spine ends light spotting to rear panel and reinforcement paper to edges at verso. hardcover
1936réf. 23843London: Dent 1936. First editions first printings. Original publisher's cloth Ballet Shoes in green cloth lettered and illustrated in white to the spine and Tennis Shoes in orange cloth lettered and illustrated in green. Neither volume is in dust wrapper. Both volumes are inscribed to the front endpaper by Noel Streatfeild to Rosalind. Ballet Shoes is inscribed: "To Rosalind from the person who wrote this book Noel Streatfeild 1940." Tennis Shoes is inscribed: "To Rosalind when she holds her own. Noel Streatfeild. Feb. 1940." A very good pair with rubbing marking and wear to the cloth. Ballet Shoes shows fading and soiling to the boards and spine with notable wear fraying and splitting to the spine ends and hinges. Tennis Shoes is rubbed and marked to the cloth with wear to the spine ends and corners and some darkening and soiling to the page edges. Contents toned with some spotting and handling marks. A charming association pair: the first two "Shoes" titles both first printings and both warmly inscribed by Streatfeild to the same recipient in 1940. Ballet Shoes the author's best-known and most enduring work is especially desirable signed and the presence here of a similarly inscribed copy of Tennis Shoes makes for a very appealing Streatfeild pairing. Dent hardcover
1964réf. 48570Hengelo Netherlands Copenhagen Paris: The Situationist Times 1964. First edition. Softcover. Near fine condition. Quartos. Original illustrated stiff wraps with lettering in variant colors on covers protected by modern mylar. The Situationist International SI was formed by a group of international social revolutionaries from a variety of fields including avant-garde artists intellectuals and political theorists in 1957. The theoretical foundation was derived from so-called libertarian Marxism and avant-garde art movements like Dada and Surrealism. Its theoretical underpinnings relate to the concept of the spectacle as it was developed by Guy Debord in his book "The Society of the Spectacle." Jacqueline de Jong a Dutch artist and graphic designer had joined the movement in 1960 and advanced quickly into its Central Committee. She decided to start "a completely free magazine based on the most creative of the Situationist ideas" and published the first issue in 1962 a broad representation of the movement and its efforts to synthesize the diverse fields and theoretical disciplines into a comprehensive critique of advanced capitalism. Six issues of the magazine were published until 1967 before the student uprising of May 1968 leaving the seventh issue compiled but unpublished. The first two issues were co-edited by the French pataphysician Noël Arnaud. The magazines contained literary contributions artwork found objects and used quotations relating to such issues as topology politics and "spectacle culture." It was originally released in offset print and starting with issue # 4 switching to full color lithography printed to different quality paper of variant color and weight with text in English French and German. Issue one: 30 leaves. Includes an essay by Noel Arnaud an extensive certified transcript of the Criminal Court in Munich relating to accusations of production and distribution of lewd writings in the magazine "Spur" and public slander against Dieter Kunzelmann Helmut Sturm Heimrad Prem and Hans-Peter Zimmer including facts of the case and an answer of the court comics by R. Gasché and others a Proclamation for L'Internationale Situationiste! and other contributions. Small strip of sunning along top and foredge. Issue two: 32 leaves two folding. Includes a declaration concerning the conviction and imprisonment of the Situationist Uwe Lausen various contributions relating to the trial mentioned in issue one including the verdict and a reaction to the trial by Rodolphe Gasché artwork by Gail Singer and others a musical concept on two folding pages poetry by Marcel and Gabriel Piqueray among other contributions. Issue three International British Edition: 48 leaves. Includes an essay by Anton Ehrenzweig "Meditations on the Future of Art" artwork by Ann Hagen an extensive contribution on the patterns of Situological Aspects found in a the "Early Christian monuments in Scotland and b the "Principles of topological psychology" by Kurt Lewin with a mathematical analysis situs introduction by Max Brucaille and other contributions. Some light staining on front cover. Issue four: 184pp. Focusing on labyrinths this issue includes contributions Lech Tomaszewski by Italian artist Piero Simondo the Max Bucaille W. Lietzmann H. L. C. Jaffé the Dutch architect Aldo van Eyck Lars-Ivar Ringbom Julius Schwabe Gaston Bachelard Kalevalla A Finnish Myth and Franz Kafka An Imperial Message and James Joyce among other contributions. Profusely illustrated with drawings and photographs throughout. Issue five: 110 leaves. Articles by Asger Jorn "Mind and sense" and "Art and Orders" various contributions by Max Bucaille excerpts from the opera "The Labyrinth" by Jim Ryan "Kreisen Kreissegmenten und Wellenlinien etc." by F. van der Waals "Some mathematical aspects" by H. C. Doets drawings and poems by Karl Pelgrom and Jim Ryan and many other contributions. Editor's note at rear: "In this No. of the Situationist Times 5 do we try to open up the problem of the ring interlaced rings and consequently chains. Half an inch chip on edge of back cover. Issue six: 32 card stock leaves: Contains thirty-three full page original lithographs including cover in color and b/w by Pierre Alechinsky René Bertholo Martin Engelmann Maurice Henry Jacqueline de Jong Asger Jorn Peter Klasen Wilfredo Lam Lea Lublin Milvia Maglione Roberto Matta Lucio del Pezzo Antonio Saura Yasse Tabuchi and others. Cover by Ulf Trotzig. The Situationist Times unknown
1964réf. 48570Hengelo Netherlands Copenhagen Paris: The Situationist Times 1964. First edition. Softcover. Near fine condition. Quartos. Original illustrated stiff wraps with lettering in variant colors on covers protected by modern mylar. The Situationist International SI was formed by a group of international social revolutionaries from a variety of fields including avant-garde artists intellectuals and political theorists in 1957. The theoretical foundation was derived from so-called libertarian Marxism and avant-garde art movements like Dada and Surrealism. Its theoretical underpinnings relate to the concept of the spectacle as it was developed by Guy Debord in his book "The Society of the Spectacle." Jacqueline de Jong a Dutch artist and graphic designer had joined the movement in 1960 and advanced quickly into its Central Committee. She decided to start "a completely free magazine based on the most creative of the Situationist ideas" and published the first issue in 1962 a broad representation of the movement and its efforts to synthesize the diverse fields and theoretical disciplines into a comprehensive critique of advanced capitalism. Six issues of the magazine were published until 1967 before the student uprising of May 1968 leaving the seventh issue compiled but unpublished. The first two issues were co-edited by the French pataphysician Noël Arnaud. The magazines contained literary contributions artwork found objects and used quotations relating to such issues as topology politics and "spectacle culture." It was originally released in offset print and starting with issue # 4 switching to full color lithography printed to different quality paper of variant color and weight with text in English French and German. Issue one: 30 leaves. Includes an essay by Noel Arnaud an extensive certified transcript of the Criminal Court in Munich relating to accusations of production and distribution of lewd writings in the magazine "Spur" and public slander against Dieter Kunzelmann Helmut Sturm Heimrad Prem and Hans-Peter Zimmer including facts of the case and an answer of the court comics by R. Gasché and others a Proclamation for L'Internationale Situationiste! and other contributions. Small strip of sunning along top and foredge. Issue two: 32 leaves two folding. Includes a declaration concerning the conviction and imprisonment of the Situationist Uwe Lausen various contributions relating to the trial mentioned in issue one including the verdict and a reaction to the trial by Rodolphe Gasché artwork by Gail Singer and others a musical concept on two folding pages poetry by Marcel and Gabriel Piqueray among other contributions. Issue three International British Edition: 48 leaves. Includes an essay by Anton Ehrenzweig "Meditations on the Future of Art" artwork by Ann Hagen an extensive contribution on the patterns of Situological Aspects found in a the "Early Christian monuments in Scotland and b the "Principles of topological psychology" by Kurt Lewin with a mathematical analysis situs introduction by Max Brucaille and other contributions. Some light staining on front cover. Issue four: 184pp. Focusing on labyrinths this issue includes contributions Lech Tomaszewski by Italian artist Piero Simondo the Max Bucaille W. Lietzmann H. L. C. Jaffé the Dutch architect Aldo van Eyck Lars-Ivar Ringbom Julius Schwabe Gaston Bachelard Kalevalla A Finnish Myth and Franz Kafka An Imperial Message and James Joyce among other contributions. Profusely illustrated with drawings and photographs throughout. Issue five: 110 leaves. Articles by Asger Jorn "Mind and sense" and "Art and Orders" various contributions by Max Bucaille excerpts from the opera "The Labyrinth" by Jim Ryan "Kreisen Kreissegmenten und Wellenlinien etc." by F. van der Waals "Some mathematical aspects" by H. C. Doets drawings and poems by Karl Pelgrom and Jim Ryan and many other contributions. Editor's note at rear: "In this No. of the Situationist Times 5 do we try to open up the problem of the ring interlaced rings and consequently chains. Half an inch chip on edge of back cover. Issue six: 32 card stock leaves: Contains thirty-three full page original lithographs including cover in color and b/w by Pierre Alechinsky René Bertholo Martin Engelmann Maurice Henry Jacqueline de Jong Asger Jorn Peter Klasen Wilfredo Lam Lea Lublin Milvia Maglione Roberto Matta Lucio del Pezzo Antonio Saura Yasse Tabuchi and others. Cover by Ulf Trotzig. The Situationist Times unknown books
1856réf. R66464Parisiis [Paris] / Petit-Montrouge, apud Ludovicum Vivès / J.-P. Migne 1856-1878 (1963) / 1858 'Opera omnia' complete in 28 volumes: 26 volumes + 2 volumes of indices, text in latin, original 1856-1878-edition (except 'Indices'), Editio nova (second edition, the first of which was printed in 1740-1751 in Venice), 27cm., text printed in 2 columns, all vols. including the compendium are uniformely bound (cart.cover with marbled plates, gilt lettering & decorations on leather spines, marbled endpapers) except for the indices (vols.27-28, anastatic reprint of the Paris 1878-edition: Bruxelles, Culture et civilisation, 1963, 29cm., full cloth), few foxing, small library stamp at titlepages, nice set in a beautiful binding, to which is added: 'Summa seu Compendium' by Fr.Noel (complete in 2 volumes, original Migne-edition of 1858), [Opera omnia: cfr. De Backer & Sommervogel, VII col.1680 no.24, Suarez Franciscus S.J., Grenada 1548 - Lisbon 1617 / Compendium: cfr. De Backer & Sommervogel V col.1793 no.12, Franciscus Noel, Hestrud 1651 -Lille 1729], R66464
1981réf. 864ROGNER & BERNHARD 1981-85. Schweiz!. softcover. Per Anhalter durch die Galaxis 171192205211 ROGNER & BERNHARD paperback
réf. 8681P., Imprimerie royale, 1694 (LA HIRE), 1692 (observatons physiques et mathématiques envoyées des INDES et de la CHINE), 1694 (Observations faites à la CHINE), un volume in 4 (20cm x 26cm) relié en plein veau marbré, dos orné de fers dorés (fleurs de lys), ARMES DE LOUIS XIV sur les plats, tranches rouges (reliure de l'époque), 8pp., 202pp. (mal chiffrés 302), figures dans le texte (LA HIRE) ; (3), 113pp. (observations physiques et mathématiques envoyées des INDES et de la CHINE ; 20pp. (observations faites à la CHINE)
1586réf. 208"Un text en prose de la force de Villon" Sainte-Beuve 8vo 159x92 mm. 2 223 recte 219 1 leaves. Collation: 2 A-Z8 Aa-Dd8 Ee4. Typographic ornament on the title page. Full burgundy morocco gilt spine with five raised bands double blind-ruled fillet on the panels inside gilt dentelle gilt edges Pagnant. A very good copy. Original edition second issue first: 1585 of the author's final collection of stories. This second issue is identical to the first including in the pagination errors but for the title page that was reset. Noël Du Fail contributed to what literary historians termed the Golden Age of French Renaissance narrative fiction. In this respect he is part of a trio including Marguerite de Navarre and Bonaventure Des Périers. Du Fail might be regarded as a Renaissance sociologist then the Contes d'Eutrapel throws considerable light on the manners and general life of the day and there is frequent mention of contemporaries e.g. Girolamo Cardano's visit to the Paris medical faculty. The fantasies of Rabelais' stories and the psychology of Marguerite's characterizations have been replaced in Du Fail by a kind of Balzacian observation and recording of detail. If one views Du Fail's work as a whole it is clear that he wanted to unshackle himself from the conventions of narrative fiction especially the constraints of a sustained plot in order to criticize more directly contemporary socio-political developments. That he straddles two social backgrounds as country gentleman and lawyer gives us an inside to the thematic tensions that characterize his work: past and present city and country decadence and utopia Catholic and Protestant conservatism and social criticism cf. M.-C. Bichard-Thomine Noël Du Fail conteur Paris 2001 pp. 161-184. Noël Du Fail born at the Manoir de Chateau-Létard near Rennes in Brittany studied law in Paris and saw military service in Italy in the army of François I participating in the battle of Cérisolle in 1544. He then lectures law at various French universities: Angers Poitiers Bourges and others. Beginning in 1547 he published a series of miscellaneous stories Propos rustiques some fictional others drawn from life incorporating into them wider reflections on society in the manner of Rabelais and Montaigne. Estienne Pasquier writing to Ronsard in 1555 speaks of him as a 'singe de Rabelais'. This is a completely uncritical remark for though Du Fail is an evident admirer of Rabelais and frequently refers to him in his books his style is his own and only resembles that of his master in a few peculiarities. His second collection of stories was published in 1548 under the title of Baliverneries. At that time he started his career as a lawyer judge and politician. He became councillor to the Parlement de Bretagne but was excluded from it in 1573 for his Protestant faith. Reinstate in 1576 he resumed his career and retired a year after the publication of Eutrapel cf. A J Krailsheimer Three sixteenth-century conteurs Oxford 1966 pp. 137-49. That the name of the printer on the title page Noël Glamet and the place of printing Rennes were fictitious was clearly shown by L. Loviot L'imprimeur des 'Contes d'Eutrapel' in: "Revue des livres anciens" II 1917 pp. 312-313 who assigned the first and all subsequent sixteenth-century editions of the Contes d'Eutrapel to the Parisian press of Jean Richer. "Né vers 1520 Noël Du Fail assez gros gentilhomme terrien a quelque soixante-cinq ans lorsqu'il donne les Contes et Discours d'Eutrapel. Voilà plus de trente-cinq années qu'il est sagement fixé après une jeunesse peut-être mouvementée dans la Haute-Bretagne où il est né. Voilà presque le même temps qu'il est marié; le même encore qu'il exerce à Rennes des fonctions de conseiller d'abord au Présidial puis au Parlement: en cette année 1585 il est sur le point de prendre sa retraite. Les Contes et Discours d'Eutrapel sont l'œuvre d'un homme qui a vécu: 'le feu seigneur de la Hérissaye.'. Notre homme est alors tourmenté par la goutte. Il est en relations difficiles avec nombre de ses voisins pour des motifs d' 'opinions' religeuses. L'état de la France et notamment de la noblesse française le préoccupe très fort. Les Contes et Discours ne sont pas exempts de traces de désarroi. Si l'homme a de l'expérience l'écrivain non plus n'en manque pas. Les Contes et Discours d'Eutrapel apparaissent comme une 'rentrée' près de quarante ans après deux livrets facétieux Propos rustiques and Baliverneries … Œuvre d'un vieillard qui recrée à sa table le monde où il a vécu - et souvent aussi un monde plus ancien plus ou moins mythique dont il aime à vanter l'innocence - les Contes et Discours d'Eutrapel sont essentiellement un livre descriptif. On peut même parfois déplorer chez Du Fail une tendance a épuiser le réel: ce désir de rivaliser avec le foisonnement des choses par le foisonnement des mots est une de ses façons çà ou là un peu scolaires d'être 'rabelaisien'. Mais quelques excès n'ôtent rien au fait qu'il est excellent observateur et peintre … Le theme qu'il aime d'abord c'est celui de la vie domestique. Les Contes et Discours présentent donc une riche galerie de femmes - car la femme incarne la maison. Du Fail insinue qu'elle se complaît fort à cet empire. Voyez plutôt ce guerrier si brave pourtant sur les champs de bataille gêné chez lui dans ses plaisirs par une épouse 'la plus avaricieuse et chiche qui fust au pays n'osant manger son soûl de peur que la terre ne luy defaillist' et prompte même à lui infliger des coups de bâton. Le ton d'une maison est donné par les dames de céans: leurs petites jalousies dès qu'il s'agit par exemple de parures ou de préséances le banc à l'église sont assez pour allumer la guerre avec les voisins car le malheureux époux ne peut qu'épouser la querelle de sa femme voudrait-elle faire battre ciel et terre - comme il arrive. Si l'on veut réconcilier les maris il faut commencer par apaiser ces dames. Mais la femme est bien excusable de s'identifier à la maison et d'y faire ainsi sentir son règne. Car c'est elle qui assure la vie de tous soigne les malades accomplit les rites du voisinage et de l'hospitalité donne les ordres aux domestiques veille aux 'buees' et au 'menu mesnage'. Plus: les temmes et elles seules 'gaignent leur vie' par leur continuel travail à la quenouille - dans toutes les classes de la société - et sans doute ce détail importe … Les données concernant l'alimentation sont bien plus nombreuses. Elles permettent d'abord d'admirer la belle unité des pays français dès le XVIe siècle en ce domaine de base. Tout comme à Metz ou aux bords du Rhône s'opposent ici les viandes au 'pot' - qui sont l'ordinaire - et les viandes friandes: 'pièce tremblante' de bœuf ou bien sûr volailles rôties à la broche dans les grandes occasions. Le fond de l'alimentation est là encore le pain tenu pour sacré en tout cas pour toujours précieux et que le maître veille à ne pas laisser gas-Bretagne comme ailleurs la maison a ses provisions de 'chair': 'andouille à la cheminee' 'jambon au charnier'; il semble que ces provisions soient plus ou moins considérées comme la propriété de la femme et que lorsque le mari se rue en cuisine cela soit jugé comme un larcin à son épouse. Du Fail confirme aussi en cette fin de siècle la généralisation de l'usage du vin objet d'un culte quasi mystique: c'étaient les anciens qui buvaient du cidre; aujourd'hui même les Bretons ont leurs crus - diversement appréciés - et ainsi l'habitude du 'vin de coucher' qu'on a vue partout répandue transparaît même dans les locutions courantes. Sur ce chapitre du régime les Contes et Discours d'Eutrapel apportent toutefois deux notations plus originales. C'est ainsi qu'Eutrapel est décidé à appliquer le conseil du Gargantua et à 'souper' le soir plus copieusement qu'il ne 'disne' sur les dix ou onze heures du matin: l'habitude devait donc être à l'inverse. Surtout Du Fail insiste à plusieurs reprises sur la nécessité de solidement manger. Habitant une terre déjà septentrionale les Français ne peuvent pas sans grande imprudence se contenter de nourritures légères … Le noble auteur des Contes et Discours d'Eutrapel est qu'il le veuille ou non un lettré - comme Tahureau comme Montaigne. En art il mêle aux goûts du gentilhomme breton ceux que l'humaniste a contractés dans sa jeunesse. Il prend parti dans les débats de son époque se montrant partisan résolu des modernes dont il ne réprouve que les excès. Comme tant d'hommes de son temps il aime à se poser des 'questions de nature' à élucider patiemment les choses par le 'discours'. Si au long de sa vie de Conseiller à Rennes il a surtout lu des livres de jurisprudence outre bien entendu tous nos recueils de 'contes' le vieil homme qu'il est maintenant prend goût de plus en plus aux ouvrages de 'curiositez'. Mais son 'encyclopédisme' n'a nullement le caractère parcellaire parfois ludique qu'il revêt chez un Cholières ou un G. Bouchet. Ceux-ci - le second surtout - emploient souvent le discours à des élucubrations très théoriques étrangères à leur expérience d'hommes. Esprit profondément sérieux convaincu de la mission éclairante et si l'on ose dire récapitulatrice de la raison humaine Du Fail lui ne s'intéresse en fin de compte qu'à la conduite de la vie à la morale . La structure même des Contes et Discours d'Eutrapel le montre bien: leur dernier chapitre annonce et décrit 'la retraite d'Eutrapel' de sorte que tous les propos viennent confluer dans la définition d'un art de vivre - art de vivre sur lequel il n'y a pas grand chose à dire puisqu'il se résume à suivre gaîment nature et à accomplir les devoirs de son état on vient de dire ceux du gentilhomme mais chaque situation a les siens dans une 'médiocrité' à l'antique qu'éclaire la lumière de l'Evangile … Ainsi bien des contradictions latentes dans les Contes et Discours d'Eutrapel montrent que nous sommes parvenus à une limite. Si un écrivain veut débattre de sciences ou d'idées commenter les expériences de sa vie pourquoi ne rompt-il pas franchement les liens avec le genre narratif Qu'il supprime la rencontre des devisants l'accréditation globale ou successive des propos. Du même coup l'obligation de plus en plus artificielle d'être 'facétieux' s'évanouira pour lui. Il aura quitté le vieux genre narratif. Et il aura inventé l' 'essai'. A moins de cent lieues de Du Fail et exactement dans les mêmes années Montaigne - ou bientôt même Le Poulchre - aura eu cette simple audace tirant les conséquences logiques de l'évolution du genre. C'est sans doute parce que Du Fail est déjà un vieil homme attaché depuis sa jeunesse à la tradition des 'contes' qu'il n'a pas franchi le pas …" G.-A. Pérouse Nouvelles françaises du XVIe siècles. Images de la vie du tempsGenève 1977 pp. 311-341. Index Aureliensis 157.018; A.Cioranesco Bibliographie de la littérature française du seizième siècle Paris 1959 no. 8691. J. Betz Répertoire bibliographique des livres imprimées en France au 16e siècle Rennes: Glamet liv. 19 Baden-Baden 1975 no. 2. Noël Glamet de Quinpercorentin [i.e. Jean Richert]
1586réf. 208"Un text en prose de la force de Villon" Sainte-Beuve 8vo 159x92 mm. 2 223 recte 219 1 leaves. Collation: 2 A-Z8 Aa-Dd8 Ee4. Typographic ornament on the title page. Full burgundy morocco gilt spine with five raised bands double blind-ruled fillet on the panels inside gilt dentelle gilt edges Pagnant. A very good copy. Original edition second issue first: 1585 of the author's final collection of stories. This second issue is identical to the first including in the pagination errors but for the title page that was reset. Noël Du Fail contributed to what literary historians termed the Golden Age of French Renaissance narrative fiction. In this respect he is part of a trio including Marguerite de Navarre and Bonaventure Des Périers. Du Fail might be regarded as a Renaissance sociologist then the Contes d'Eutrapel throws considerable light on the manners and general life of the day and there is frequent mention of contemporaries e.g. Girolamo Cardano's visit to the Paris medical faculty. The fantasies of Rabelais' stories and the psychology of Marguerite's characterizations have been replaced in Du Fail by a kind of Balzacian observation and recording of detail. If one views Du Fail's work as a whole it is clear that he wanted to unshackle himself from the conventions of narrative fiction especially the constraints of a sustained plot in order to criticize more directly contemporary socio-political developments. That he straddles two social backgrounds as country gentleman and lawyer gives us an inside to the thematic tensions that characterize his work: past and present city and country decadence and utopia Catholic and Protestant conservatism and social criticism cf. M.-C. Bichard-Thomine Noël Du Fail conteur Paris 2001 pp. 161-184. Noël Du Fail born at the Manoir de Chateau-Létard near Rennes in Brittany studied law in Paris and saw military service in Italy in the army of François I participating in the battle of Cérisolle in 1544. He then lectures law at various French universities: Angers Poitiers Bourges and others. Beginning in 1547 he published a series of miscellaneous stories Propos rustiques some fictional others drawn from life incorporating into them wider reflections on society in the manner of Rabelais and Montaigne. Estienne Pasquier writing to Ronsard in 1555 speaks of him as a 'singe de Rabelais'. This is a completely uncritical remark for though Du Fail is an evident admirer of Rabelais and frequently refers to him in his books his style is his own and only resembles that of his master in a few peculiarities. His second collection of stories was published in 1548 under the title of Baliverneries. At that time he started his career as a lawyer judge and politician. He became councillor to the Parlement de Bretagne but was excluded from it in 1573 for his Protestant faith. Reinstate in 1576 he resumed his career and retired a year after the publication of Eutrapel cf. A J Krailsheimer Three sixteenth-century conteurs Oxford 1966 pp. 137-49. That the name of the printer on the title page Noël Glamet and the place of printing Rennes were fictitious was clearly shown by L. Loviot L'imprimeur des 'Contes d'Eutrapel' in: "Revue des livres anciens" II 1917 pp. 312-313 who assigned the first and all subsequent sixteenth-century editions of the Contes d'Eutrapel to the Parisian press of Jean Richer. "Né vers 1520 Noël Du Fail assez gros gentilhomme terrien a quelque soixante-cinq ans lorsqu'il donne les Contes et Discours d'Eutrapel. Voilà plus de trente-cinq années qu'il est sagement fixé après une jeunesse peut-être mouvementée dans la Haute-Bretagne où il est né. Voilà presque le même temps qu'il est marié; le même encore qu'il exerce à Rennes des fonctions de conseiller d'abord au Présidial puis au Parlement: en cette année 1585 il est sur le point de prendre sa retraite. Les Contes et Discours d'Eutrapel sont l'œuvre d'un homme qui a vécu: 'le feu seigneur de la Hérissaye.'. Notre homme est alors tourmenté par la goutte. Il est en relations difficiles avec nombre de ses voisins pour des motifs d' 'opinions' religeuses. L'état de la France et notamment de la noblesse française le préoccupe très fort. Les Contes et Discours ne sont pas exempts de traces de désarroi. Si l'homme a de l'expérience l'écrivain non plus n'en manque pas. Les Contes et Discours d'Eutrapel apparaissent comme une 'rentrée' près de quarante ans après deux livrets facétieux Propos rustiques and Baliverneries … Œuvre d'un vieillard qui recrée à sa table le monde où il a vécu - et souvent aussi un monde plus ancien plus ou moins mythique dont il aime à vanter l'innocence - les Contes et Discours d'Eutrapel sont essentiellement un livre descriptif. On peut même parfois déplorer chez Du Fail une tendance a épuiser le réel: ce désir de rivaliser avec le foisonnement des choses par le foisonnement des mots est une de ses façons çà ou là un peu scolaires d'être 'rabelaisien'. Mais quelques excès n'ôtent rien au fait qu'il est excellent observateur et peintre … Le theme qu'il aime d'abord c'est celui de la vie domestique. Les Contes et Discours présentent donc une riche galerie de femmes - car la femme incarne la maison. Du Fail insinue qu'elle se complaît fort à cet empire. Voyez plutôt ce guerrier si brave pourtant sur les champs de bataille gêné chez lui dans ses plaisirs par une épouse 'la plus avaricieuse et chiche qui fust au pays n'osant manger son soûl de peur que la terre ne luy defaillist' et prompte même à lui infliger des coups de bâton. Le ton d'une maison est donné par les dames de céans: leurs petites jalousies dès qu'il s'agit par exemple de parures ou de préséances le banc à l'église sont assez pour allumer la guerre avec les voisins car le malheureux époux ne peut qu'épouser la querelle de sa femme voudrait-elle faire battre ciel et terre - comme il arrive. Si l'on veut réconcilier les maris il faut commencer par apaiser ces dames. Mais la femme est bien excusable de s'identifier à la maison et d'y faire ainsi sentir son règne. Car c'est elle qui assure la vie de tous soigne les malades accomplit les rites du voisinage et de l'hospitalité donne les ordres aux domestiques veille aux 'buees' et au 'menu mesnage'. Plus: les temmes et elles seules 'gaignent leur vie' par leur continuel travail à la quenouille - dans toutes les classes de la société - et sans doute ce détail importe … Les données concernant l'alimentation sont bien plus nombreuses. Elles permettent d'abord d'admirer la belle unité des pays français dès le XVIe siècle en ce domaine de base. Tout comme à Metz ou aux bords du Rhône s'opposent ici les viandes au 'pot' - qui sont l'ordinaire - et les viandes friandes: 'pièce tremblante' de bœuf ou bien sûr volailles rôties à la broche dans les grandes occasions. Le fond de l'alimentation est là encore le pain tenu pour sacré en tout cas pour toujours précieux et que le maître veille à ne pas laisser gas-Bretagne comme ailleurs la maison a ses provisions de 'chair': 'andouille à la cheminee' 'jambon au charnier'; il semble que ces provisions soient plus ou moins considérées comme la propriété de la femme et que lorsque le mari se rue en cuisine cela soit jugé comme un larcin à son épouse. Du Fail confirme aussi en cette fin de siècle la généralisation de l'usage du vin objet d'un culte quasi mystique: c'étaient les anciens qui buvaient du cidre; aujourd'hui même les Bretons ont leurs crus - diversement appréciés - et ainsi l'habitude du 'vin de coucher' qu'on a vue partout répandue transparaît même dans les locutions courantes. Sur ce chapitre du régime les Contes et Discours d'Eutrapel apportent toutefois deux notations plus originales. C'est ainsi qu'Eutrapel est décidé à appliquer le conseil du Gargantua et à 'souper' le soir plus copieusement qu'il ne 'disne' sur les dix ou onze heures du matin: l'habitude devait donc être à l'inverse. Surtout Du Fail insiste à plusieurs reprises sur la nécessité de solidement manger. Habitant une terre déjà septentrionale les Français ne peuvent pas sans grande imprudence se contenter de nourritures légères … Le noble auteur des Contes et Discours d'Eutrapel est qu'il le veuille ou non un lettré - comme Tahureau comme Montaigne. En art il mêle aux goûts du gentilhomme breton ceux que l'humaniste a contractés dans sa jeunesse. Il prend parti dans les débats de son époque se montrant partisan résolu des modernes dont il ne réprouve que les excès. Comme tant d'hommes de son temps il aime à se poser des 'questions de nature' à élucider patiemment les choses par le 'discours'. Si au long de sa vie de Conseiller à Rennes il a surtout lu des livres de jurisprudence outre bien entendu tous nos recueils de 'contes' le vieil homme qu'il est maintenant prend goût de plus en plus aux ouvrages de 'curiositez'. Mais son 'encyclopédisme' n'a nullement le caractère parcellaire parfois ludique qu'il revêt chez un Cholières ou un G. Bouchet. Ceux-ci - le second surtout - emploient souvent le discours à des élucubrations très théoriques étrangères à leur expérience d'hommes. Esprit profondément sérieux convaincu de la mission éclairante et si l'on ose dire récapitulatrice de la raison humaine Du Fail lui ne s'intéresse en fin de compte qu'à la conduite de la vie à la morale . La structure même des Contes et Discours d'Eutrapel le montre bien: leur dernier chapitre annonce et décrit 'la retraite d'Eutrapel' de sorte que tous les propos viennent confluer dans la définition d'un art de vivre - art de vivre sur lequel il n'y a pas grand chose à dire puisqu'il se résume à suivre gaîment nature et à accomplir les devoirs de son état on vient de dire ceux du gentilhomme mais chaque situation a les siens dans une 'médiocrité' à l'antique qu'éclaire la lumière de l'Evangile … Ainsi bien des contradictions latentes dans les Contes et Discours d'Eutrapel montrent que nous sommes parvenus à une limite. Si un écrivain veut débattre de sciences ou d'idées commenter les expériences de sa vie pourquoi ne rompt-il pas franchement les liens avec le genre narratif Qu'il supprime la rencontre des devisants l'accréditation globale ou successive des propos. Du même coup l'obligation de plus en plus artificielle d'être 'facétieux' s'évanouira pour lui. Il aura quitté le vieux genre narratif. Et il aura inventé l' 'essai'. A moins de cent lieues de Du Fail et exactement dans les mêmes années Montaigne - ou bientôt même Le Poulchre - aura eu cette simple audace tirant les conséquences logiques de l'évolution du genre. C'est sans doute parce que Du Fail est déjà un vieil homme attaché depuis sa jeunesse à la tradition des 'contes' qu'il n'a pas franchi le pas …" G.-A. Pérouse Nouvelles françaises du XVIe siècles. Images de la vie du tempsGenève 1977 pp. 311-341. Index Aureliensis 157.018; A.Cioranesco Bibliographie de la littérature française du seizième siècle Paris 1959 no. 8691. J. Betz Répertoire bibliographique des livres imprimées en France au 16e siècle Rennes: Glamet liv. 19 Baden-Baden 1975 no. 2. Noël Glamet de Quinpercorentin [i.e. Jean Richert] books
1985réf. LIQ-4228Vence, Editions Chave 1985. In-plano en feuilles, plats en bois (texte inséré dans le premier plat sous plexiglas), dos et rabats de toile écrue.
1849réf. 4505034London: Wm. S. Orr & Co and William Smith 1849. Three volumes quarto profusely illustrated with full-page plates exquisitely hand-coloured; uniformly bound in half morocco richly gilt all edges gilt with the gilt arms of the Barons Sherborne. A very fine copy in a grand binding with excellent provenance of this remarkable collaboration an exquisite work of Victorian natural history. As one of the pre-eminent entomologists of the Victorian period John Obadiah Westwood 1805-1893 served as collaborator editor and consultant on many entomological publications. He was a prodigious author and researcher publishing some four hundred scientific papers and some twenty books as well as making numerous contributions to works by other authors. In 1833 he was one of the founding members of the Entomological Society and he became honorary life president in 1883 and a fellow of the Linnaean Society. It was for his study of Australian species that Anthony Musgrave author of the Bibliography of Australian Entomology 1775-1930 named the period 1831-1861 "The Westwoodian Period" in recognition of his great service during these years to Australian entomology Musgrave p. 345. Henry Noel Humphreys 1810-1879 was an accomplished illustrator and scholar in numerous subjects. In addition to his entomological texts Humphreys wrote works on ancient Greek and Roman coins archaeology and the art of writing and printing enriching even these simplest texts with exquisite chromolithographs printed by Owen Jones. He was inspired to embark on this ambitious planned survey of British insects following a trip to Italy. In the Preface he likened the person in the fields unacquainted with natural history to one placed in a library and unable to read. "He cannot read in the beautiful book of nature when in the summer it opens its brightest leaves". A contemporary review in The Lancet noted: The plates exquisitely drawn by Mr. Humphreys represent the insect in its three great stages-as the caterpillar the chrysalis and the butterfly or moth -all hanging side by side on the plants which furnish their ordinary food. The transformation thus seems to take place under the eye; and the metamorphoses are associated in the mind without any effort." In response to Humphreys' claim that "Entomology is a branch of knowledge more easily acquired than many imagine. The individual beauty of the insects in every stage the ease with which they are preserved and the comparative facility with which a complete collection of British species may be formed particularly of butterflies of which we number scarcely more than eighty distinct species render it a task of easy attainment" the same reviewer wryly noted "Mr. Humphreys throws out a suggestion which has perhaps a touch of the butterfly Utopia in it but which is ingenious and deserves trial." . Provenance: Each volume with the gilt arms of the Barons Sherborne with links to Australia through the Duttons of Anlaby South Australia; and the bookplate of Princess Despina Mary Karadja 1868-1943 poet writer on spiritualism founder of the White Cross Union and wife of the envoy to the Ottoman empire Jean-Constantin Karadja a distinguished diplomat and noted book collector. Wm. S. Orr & Co and William Smith unknown
1931réf. 189678Paris & New York: Harrison & Minton Balch and Company 1931. With original artwork First Rose edition extra limited issue letter C of five copies only on imperial japan vellum signed by the illustrator each containing four original colour drawings by the surrealist artist Sir Francis Cyril Rose from a limited edition of 725. Rose 1909-1979 was vigorously championed by Gertrude Stein who famously said of him "Rose is a rose is a rose". His wife Frederica Lady Rose 1910-2002 became a well known travel writer notably on Corsica under the name of Dorothy Carrington. Rose was however a noted homosexual and their marriage ended by a divorce in 1966. Quarto. With 25 illustrations of which five full-page by Sir Francis Cyril Rose printed in collotype by Daniel Jacomet most with tissue-guard and four original illustrations in gouache ink and crayon. Publisher's deluxe red morocco by Huser of Paris spine lettered in gilt triple gilt fillet to turn-ins gilt edges. Housed in a morocco-entry paper slipcase. Joints expertly restored a little rubbed internally fine. A very good copy. hardcover
1924réf. 178399London & New York: Samuel French 1924-1971. Ex Libris Noël Coward First Samuel French acting editions and one later printing of Private Lives each play with the author's elegant art deco bookplate combining the masks of comedy and tragedy into a single persona. The bookplate was designed by Gladys Calthrop 1894-1980 who worked as a set and costume designer on many of the original productions of Coward's plays including Private Lives 1931 Design for Living 1933 and Present Laughter 1943. The plays later passed into the collection of Geoffrey A. Johnson Coward's close friend and US representative with his ownership stamps. Johnson 1930-2021 cast over 100 Broadway shows including Cats The Phantom of the Opera and Les Misérables. He first met Coward in 1961 when Johnson worked as the stage manager for the Broadway production of Coward's Sail Away. The two went on to work together until Coward's death in 1973. Johnson acted as a trustee of the Noël Coward Foundation and was the Life President of the Noël Coward Archive Trust. Hands Across the Sea Family Album The Astonished Heart and Fumed Oak were part of the Tonight at 8.30 series. This was a cycle of ten one-act plays which stared Coward and Gertrude Lawrence. Each of these plays has a "Tonight at 8.30" sticker on the front cover. 8 works octavo. With 7 photographic plates. Original wrappers lettered in black. Housed in a custom black cloth flat-back box with chemise by the Chelsea Bindery. Library stamp of W & G Foyle Music & Drama Dept. to front panel of The Young Idea UK edition. Wrappers a little toned chips to spine and head of front panel of The Young Idea US edition a few closed tears faint damp stain at head of The Young Idea UK edition Hands Across the Sea and Fumed Oak slightly cockled: a very good set. hardcover
2017réf. __0470659637Blackwell Pub 2017. Hardcover. New. 8217 pages. 11.50x11.00x17.75 inches. Blackwell Pub hardcover
1854réf. ABE-1615019744224An extraordinary original autograph manuscript notebook containing extensive English translations of the core Confucian classics—The Doctrine of the Mean Zhongyong The Analects Lunyu and The Great Learning Daxue—translated by Sarah Logan Fisher Wister 1806–1886 for her father the prominent Pennsylvania Quaker Industrialist and author William Logan Fisher 1781–1862. Octavo 20.317.7 cm 186 pp. manuscript notebook. Collation: 6 blank leaves; 16 pp. "Confucius: The Chinese Moralist"; 93 pp. "The Just or Immutable Middle State" translated from Father Noel's French edition; 1 blank leaf; 4 pp. "Introduction to the Book of Sentences"; 44 pp. "The Book of Sentences" The Analects explicitly signed "Translated 1854 for my father Wm. Logan Fisher by Sarah Logan Wister"; 18 pp. "Extracts from the Grand Science" The Great Learning; and 4 concluding blank leaves. Condition: Original binding with age-appropriate wear; spine neatly reinforced with early tape binding somewhat shaken but manuscript text block remains intact legible and remarkably clean throughout. This remarkable volume represents a vital primary source for early 19th-century American reception of Chinese philosophy. Wister rendered these foundational texts from Francois Noel's landmark 18th-century French translation Les Livres Classiques De L'Empire De La Chine Paris 1784–85. PROVENANCE & ARCHIVAL REFERENCES: Sarah Logan Fisher Wister belonged to one of Pennsylvania's most distinguished Quaker intellectual families. Her literary and translation work is documented in the Thomas Fisher Collection preserved at the Dickinson College Archives & Special Collections MC 2004.01 which holds an earlier 1827 manuscript notebook of her Confucian writings. This 1854 manuscript—containing her mature comprehensive translations of the Confucian "Three Books"—stands as an irreplaceable primary document for institutional special collections historians of American Sinology and scholars of 19th-century female intellectuals. Sarah Logan Fisher Wister, 1854 hardcover
1815réf. 1717131815. GOUFFE Armand. Les jeux des jeunes garcons representes par un grand nombre d'estampes accompagnees de l'explication des regles de fables inedites et d'anecdotes. 24 engraved and coloured plates. Small oblong 4to 205 x 233 mm. red half-cloth with corners and marbled paper boards. Paris: Nepveu Libraire 1815. A delightful and complete set of twenty-four plates in exquisite contemporary hand colouring depicting young boys playing a variety of games. The plates are described in the Bibliotheque Nationale catalogue as being the work of Noel Jeune which he made to accompany the work by Armand Gouffé. In immaculate condition. Extremely rare. OCLC lists copies at NYPL and UCLA both with text. Provenance: Félicie Meunié d'Hostel 1843-1935 with her engraved bookplate. hardcover
