4 265 résultats
1988réf. 223381988. Armstrong Jr. Toni L. ed. Hot Wire: The Journal of Women's Music and Culture 1988-1994 documents lesbian feminist cultural production through coverage of music performance publishing and community organizing during the late twentieth century. Produced in Chicago the periodical established a platform for lesbian artists activists and writers at a time when independent feminist media sustained networks of communication outside mainstream publishing. The journal includes interviews essays and reports on women's music festivals lesbian performance and feminist enterprises supporting research into LGBTQ history women's liberation and the development of alternative media infrastructures. 1 Hot Wire:Volume 4 Number 2 March 1988. Featuring an interview with Robin Tyler one of the first openly lesbian comedians alongside Cheryl Miller's "Lesbians of Color: Celebrating Common Bonds and Differences." Includes coverage of the 1987 March on Washington "Transistor Sisters: The Girl Groups" by Jorjet Harper and a "Mothers & Daughters" feature. 2 Hot Wire:Volume 6 Number 2 May 1990. Highlights include interviews with Heather Bishop and the legendary keyboardist Laura Post. Barbara Smith and Kitchen Table Women of Color Press are profiled reflecting Hot Wire's ongoing commitment to women-of-color feminism. "Twenty Years of Making Music" by Helen Hooke and "White Courtesys Monogamy and Other Reflections" by Monica Grant offer critical insight into lesbian relationship politics and musical trajectories. 3 Hot Wire:Volume 6 Number 3 September 1990. Includes Holly Near's interview and excerpts from her performance alongside pieces on Michelle Shocked Yasmín Jiwani and Rosetta Reitz. The "I Was There" section captures first-person festival memories while Cathy Andrews reports on "Doing the Festivals." This issue gives special attention to Black lesbian performers and visual artists and reflects the multicultural reach of Hot Wire. 4 Hot Wire:Volume 7 Number 3 September 1991. A deeply insightful issue this volume features Karen Williams the Indigo Girls and Rhiannon & Phamie on performing in women's music spaces. Paula E. Languth's essay "Fade In - Fade Out" continues Hot Wire's tradition of integrating popular culture and feminist critique. Feminist cartoonist Alison Bechdel contributes work anchoring this issue's broader theme of lesbian humor and community satire. 5 Hot Wire:Volume 8 Number 1 January 1992. Lead features include interviews with Margie Adam and Lisa Dietrich alongside Judith Sloan's "Is She or Isn't She.An Outrageous Feminist" and performance reviews from Michigan Womyn's Music Festival. "All Women Radio" and "Singing for Our Lives" foreground the growing importance of radio and choral expression in the lesbian music movement. 6 Hot Wire:Volume 8 Number 2 May 1992. This issue focuses on "Women and Humor" spotlighting comedians Ronnie Gilbert and Dykes to Watch Out For's Alison Bechdel. Julia Willis's "Who Wears The Tux" unpacks gender norms in performance culture. The issue includes a crossword puzzle and a section on lesbian films underscoring the playful and subversive tone that Hot Wire helped cultivate. 7 Hot Wire:Volume 8 Number 3 September 1992. Covering Jamie Anderson and "Big Mamas" by Rosetta Reitz this issue features Cheryl Miller on Black lesbian filmmakers and Laura Post on lesbian guitarists. "Gulf Coast Women's Festival" and "OutWrite '92" offer field reports on lesbian literary and musical organizing. The inclusion of fitness sobriety and motherhood themes reflects a broadening scope of lesbian lifestyle concerns. 8 Hot Wire:Volume 9 Number 2 May 1993. Sherry Hicks discusses "The Queen of Coda Cool" while Laura Love and Seriah Carol offer pieces on mixed-race identity and folk music. "Washington Anthem Revisited" revisits a decade of protest music. Cathy Winter and Gayle Scott anchor a section on "New Artists & Old Favorites" showing the cyclical nature of talent within the lesbian music world. 9 Hot Wire:Volume 10 Number 3 September 1994. Final Issue. Suzanne Westenhoefer is interviewed and a ten-year retrospective looks at all 30 Hot Wire cover girls. Highlights include "Vampire Lovers by Moonlight" "Drumming Circle" by Naomi Pallas and "Women and Children" by Michal Brody. It documents the decline of women's cultural institutions due to funding and shifting community priorities. Published during a period when lesbian feminist media operated through independent print networks Hot Wire documented the growth and challenges of women's music and cultural institutions across the United States. The inclusion of performers writers and organizers reflects the interconnected nature of artistic production and activism while coverage of festivals and presses demonstrates the infrastructure supporting lesbian cultural expression. The final issue addresses the decline of some of these institutions in the 1990s marking a shift in funding and community organization. Minor edge wear and rubbing to covers with occasional sticker residue and light pencil marks; interiors clean and unmarked; overall very good to near fine condition. This archive provides sustained documentation of lesbian feminist publishing and the women's music movement in late twentieth century America. unknown
1988réf. 223381988. Armstrong Jr. Toni L. ed. Hot Wire: The Journal of Women's Music and Culture 1988-1994 documents lesbian feminist cultural production through coverage of music performance publishing and community organizing during the late twentieth century. Produced in Chicago the periodical established a platform for lesbian artists activists and writers at a time when independent feminist media sustained networks of communication outside mainstream publishing. The journal includes interviews essays and reports on women's music festivals lesbian performance and feminist enterprises supporting research into LGBTQ history women's liberation and the development of alternative media infrastructures. 1 Hot Wire:Volume 4 Number 2 March 1988. Featuring an interview with Robin Tyler one of the first openly lesbian comedians alongside Cheryl Miller's "Lesbians of Color: Celebrating Common Bonds and Differences." Includes coverage of the 1987 March on Washington "Transistor Sisters: The Girl Groups" by Jorjet Harper and a "Mothers & Daughters" feature. 2 Hot Wire:Volume 6 Number 2 May 1990. Highlights include interviews with Heather Bishop and the legendary keyboardist Laura Post. Barbara Smith and Kitchen Table Women of Color Press are profiled reflecting Hot Wire's ongoing commitment to women-of-color feminism. "Twenty Years of Making Music" by Helen Hooke and "White Courtesys Monogamy and Other Reflections" by Monica Grant offer critical insight into lesbian relationship politics and musical trajectories. 3 Hot Wire:Volume 6 Number 3 September 1990. Includes Holly Near's interview and excerpts from her performance alongside pieces on Michelle Shocked Yasmín Jiwani and Rosetta Reitz. The "I Was There" section captures first-person festival memories while Cathy Andrews reports on "Doing the Festivals." This issue gives special attention to Black lesbian performers and visual artists and reflects the multicultural reach of Hot Wire. 4 Hot Wire:Volume 7 Number 3 September 1991. A deeply insightful issue this volume features Karen Williams the Indigo Girls and Rhiannon & Phamie on performing in women's music spaces. Paula E. Languth's essay "Fade In - Fade Out" continues Hot Wire's tradition of integrating popular culture and feminist critique. Feminist cartoonist Alison Bechdel contributes work anchoring this issue's broader theme of lesbian humor and community satire. 5 Hot Wire:Volume 8 Number 1 January 1992. Lead features include interviews with Margie Adam and Lisa Dietrich alongside Judith Sloan's "Is She or Isn't She.An Outrageous Feminist" and performance reviews from Michigan Womyn's Music Festival. "All Women Radio" and "Singing for Our Lives" foreground the growing importance of radio and choral expression in the lesbian music movement. 6 Hot Wire:Volume 8 Number 2 May 1992. This issue focuses on "Women and Humor" spotlighting comedians Ronnie Gilbert and Dykes to Watch Out For's Alison Bechdel. Julia Willis's "Who Wears The Tux" unpacks gender norms in performance culture. The issue includes a crossword puzzle and a section on lesbian films underscoring the playful and subversive tone that Hot Wire helped cultivate. 7 Hot Wire:Volume 8 Number 3 September 1992. Covering Jamie Anderson and "Big Mamas" by Rosetta Reitz this issue features Cheryl Miller on Black lesbian filmmakers and Laura Post on lesbian guitarists. "Gulf Coast Women's Festival" and "OutWrite '92" offer field reports on lesbian literary and musical organizing. The inclusion of fitness sobriety and motherhood themes reflects a broadening scope of lesbian lifestyle concerns. 8 Hot Wire:Volume 9 Number 2 May 1993. Sherry Hicks discusses "The Queen of Coda Cool" while Laura Love and Seriah Carol offer pieces on mixed-race identity and folk music. "Washington Anthem Revisited" revisits a decade of protest music. Cathy Winter and Gayle Scott anchor a section on "New Artists & Old Favorites" showing the cyclical nature of talent within the lesbian music world. 9 Hot Wire:Volume 10 Number 3 September 1994. Final Issue. Suzanne Westenhoefer is interviewed and a ten-year retrospective looks at all 30 Hot Wire cover girls. Highlights include "Vampire Lovers by Moonlight" "Drumming Circle" by Naomi Pallas and "Women and Children" by Michal Brody. It documents the decline of women's cultural institutions due to funding and shifting community priorities. Published during a period when lesbian feminist media operated through independent print networks Hot Wire documented the growth and challenges of women's music and cultural institutions across the United States. The inclusion of performers writers and organizers reflects the interconnected nature of artistic production and activism while coverage of festivals and presses demonstrates the infrastructure supporting lesbian cultural expression. The final issue addresses the decline of some of these institutions in the 1990s marking a shift in funding and community organization. Minor edge wear and rubbing to covers with occasional sticker residue and light pencil marks; interiors clean and unmarked; overall very good to near fine condition. This archive provides sustained documentation of lesbian feminist publishing and the women's music movement in late twentieth century America. unknown books
réf. 39345In-8 (203 x 140 mm), demi-maroquin havane à grands coins, dos 5 nerfs filetés, auteur et titre dorés, tête dorée. 579 p., (1) f. d'achevé d'imprimer, non rogné, couvertures et dos conservés. Paris, Gallimard, (4 octobre 1954).
réf. 39348In-8 (216 x 147 mm), broché, couverture rempliée, (6), 248, (8) pages. Paris, Gallimard, collection NRF, 1979.
réf. 38986In-4 (240 x 185 mm), plein maroquin acajou, dos à 5 nerfs orné de compartiments richement garnis de fleurons et volutes dorés, triple filet d'encadrement sur les plats, filets sur les coupes, large dentelle intérieure, tranche supérieure dorée (reliure de l'époque signée de Lemardeley), (4), vii, (1), 223, (4) p., portrait gravé, vignette, fac-similé de lettre, texte imprimé dans une riche large encadrement floral. Paris, E. Dentu, 1877.
réf. AMA-915Moulins, P.-A. Desrosiers, Paris, Chamerot, Marc-Aurel, 1845. In 8°, demi-veau bleu, dos à nerfs orné, quelques rousseurs, ex-libris (Reliure de Lebrun). [2 ff.], XII, 392 pp.
18681st edition, first printing, of Authors only book. Original Publishers Cloth, Brown cloth cover stamped in gold, 16mo, 7-124 pages; 15 cm. Singerman 2085 (for the 126 page edition) . Singerman notes as well that he, the "compiler[, ] saw the rarer 124 page edition without the publisher's statement [about Dickens]. " Poems. The true first edition, first printing, dedicated to Charles Dickens but without his warm letter thanking her reproduced, as appeared in later printings. The success of this book meant that later editions appeared the same year in London as well as in the US (published by Lippincott) but with more pages (141 & 126, respectively) and the Dickens letter reproduced. Includes some poems with Jewish themes, such as Judith (Oh forget not that I am Judith! /And I know where sleeps Holofernes) , Hear, O Israel (The God of Jacob is our Shield) , etc. Menken (1835-1868) was Internationally famous for her starring role in the equestrian melodrama Mazeppa, in which she was stripped on stage to a flesh-colored body stocking, lashed to the back of the wild horse of Tartary, and sent flying on a narrow ramp above the theater, Adah Isaacs Menken consistently defied social mores. She cropped her black hair and smoked cigarettes, and publicly disparaged conventional married life. Menken represented an early example of the cult of personality, blurring her private life with her public persona. She married four times in the course of seven years. Her second marriage, in 1859, was to the heavyweight boxing champion of the world, John C. Heenan . One of the most glamorous celebrities of the 1860s, Menken also cultivated a literary following. She wrote poetry and developed relationships with the likes of Walt Whitman, Charles Dickens, Dante Gabriel Rossetti, Alexandre Dumas, and Algernon Swinburne. George Sand was a close friend to the actor and was godmother to Menkens second child . A major bone of contention to this day is the authenticity of her Jewishness. Though scholars have some evidence that Menken was raised a Catholic and converted to Judaism only after marrying her first husband, Menken herself once publicly rebuked a journalist who labeled her a convert by announcing that she was born in that faith [Judaism], and have adhered to it through all my erratic career. Through that pure and simple religion I have found greatest comfort and blessing. Whatever her origins, it is clear that Menken was fervently Jewish in her adult life. After moving to Cincinnati with her first and only Jewish husband, Alexander Isaacs Menken, Adah learned Hebrew fluently, studied classical Jewish texts, and contributed many poems and essays to The Israelite, a weekly founded by Rabbi Isaac M. Wise. Her poems indicate a passionate temperament, deeply committed to a kind of proto-Zionism and even messianism. Many are collected in the posthumously published volume Infelicia [this volume]. Menken viewed herself as a modern Deborah, calling on Jews to rise up against persecution in Turkey and protesting the kidnapping of a six-year-old Jewish boy in Bologna by representatives of the Catholic Church. She was one of the few Jews in America to protest when Lionel Nathan was denied the seat in the English Parliament to which he had been elected. And, at the height of her acting career, she refused to perform on Jewish High Holidays. On her deathbed at age thirty-three, suffering from what may have been peritonitis or tuberculosis (or both) , and treated by the personal doctor of Napoleon III, Menken was visited by a rabbi. Adah Isaacs Menken died on August 10, 1868, in Paris. She is buried in the Jewish section of Montparnasse Cemetery (Ackerman, 2014) . The book is also cited in Podeschi, J. B. Dickens & Dickensiana, ; B295(2) ; Wolff, R. L. 19th cent. Fiction, ; 4738. OCLC lists 28 copies of this rare first printing. Light wear to cloth, stains to title and half title, otherwise a nice clean book, about Very Good- Condition. (AMR-45-45)
1960réf. 19935Monaco CLUB INTERNATIONAL BIBLIOPHIL. 1960 1 Illustrations de Léonor FINI gravées à l'eau forte. Monaco, 1960, Club International de Bibliophilie, Jaspard, Polus & Cie, in-4, en feuilles, sous couverture rempliée illustrée d'une eau-forte en couleur, sous étui cartonné toilé brun, titré sur le dos, 156 pages.
réf. 39569Petit in-8 (156 x 88 mm), veau brun moucheté de l'époque, dos à cinq nerfs orné de compartiments cloisonnés et fleuronnés, pièce de titre de maroquin havane, roulette sur les coupes, tranches mouchetées rouges. (20), 278 p., (1) f. de privilège. Paris au Palais, Medard-Michel Brunet, 1699.
1531réf. 352251531 153 + 1 pages in4 - bon état - râtures et corrections -
réf. 3522343 pages in4 - bon état - râtures et corrections -
In-8 (192 x 123 mm), demi-chagrin rouge, dos lisse orné de double filet et petits fers dorés, titre doré en long (rel. signée L. Hauser), 37 p., (1) f. blanc. Edition originale, rare, de ce réquisitoire d'une extrême violence des "Dames de la Halle", harengères, poissardes et marchandes de Paris, contre la vie chère, la noblesse et le pouvoir en place, les fermiers généraux et la fiscalité, le clergé, l'état de délabrement des hôpitaux, la spéculation, la corruption des magistrats... De longs passages sont consacrés à dénoncer la prostitution, à décrire le malheur des jeunes filles abandonnées à leur sort et jetées sur les trottoirs parisiens par la misère et l'avidité d'individus sans scrupules. "Epicentre de la politique révolutionnaire", les "Dames de la Halle" ont été à l’origine de la marche sur Versailles, les 5 et 6 octobre 1789, événement qui fit basculer la Révolution. Les autrices précisent, en tête du pamphlet (p. 3 et 4), qu'il aurait été rédigé à leur demande et diffusé par "M. Josse, écrivain à la pointe Saint-Eustache"; écrivain public, celui-ci prenait également en charge les comptes et la correspondance des "Dames de la Halle & des marchés de Paris", signataires de cet écrit. L'authenticité de ce texte a été récemment confirmée. Il est cité par les études spécialisées, aussi bien à propos de l’intervention des femmes à la veille des États Généraux que du langage populaire, des parisianismes et de l'argot de la période. (S. Blanc, 'Les femmes et la Révolution française', p.8. Tourneux, I, 978). Petites restaurations de papier au titre sans perte de texte. Quelques rousseurs éparses. Bon exemplaire.
In-8, broché sous cordelette de soie verte, 15 p., (1) p. bl., entièrement non rogné, tel que paru. Edition originale et unique. Appel des femmes de la noblesse bretonne à ne pas se compromettre avec celles du Tiers États: "avec aucunes femmes, filles ou parentes [sic] de ces gens déshonorés, & les déclarer infâmes, traîtres à la Patrie indignes du nom de vrais citoyens" (p. 4-5) et à les menacer de sanctions ainsi que ceux qui leur prêteraient assistance. "Arrêté en l'Hôtel de madame Dubosq, sur le champ de bataille, A Brest, le 24 janvier 1789", signé nommément par quarante-deux femmes issues de grandes familles de la marine brestoise, comme les trois sœurs de Kerouartz, mariées au commandant de la Marine de Brest – au comte de Soulanges et à De La Porte-Vezins. D’autres familles nobles d’officiers de marine apparaissent comme les De Langle, de Rosily, de Saint-Prix, de Trémigon. Quatre hommes sont aussi nommés comme adhérant à l’arrêté : Rhedon de Beaupréau, De Linoi, Le Provost et le Comte d’Hector, tous hauts gradés de la marine à Brest. "L'arrêté" est suivi (p. 7 à la fin) d'une sorte d'utopie politique: " vision qui n'en sera pas une" qui met en scène un "bon citoyen" transporté dans le palais du "Génie des nations" qui y réside sous la garde d'un Dieu jaloux veillant à l'éloigner de tout esprit d'innovation. Endormi depuis longtemps, le Dieu "n'avait été réveillé qu'au commencement de ce siècle par les cris d'une philosophie hardie..., ennemie des abus…". L’impression conjointe des deux textes, dont le second est favorable aux idées nouvelles, suggère que l'Arrêté des dames de Brest aurait été repris et détourné par le camp des patriotes. Sur cette brochure, cf. Solenn Mabo. 'Les citoyennes, les contre-révolutionnaires (…), engagements et rapports de genre dans la Révolution en Bretagne', Thèse, Univ. de Rennes, 2019, p. 121-124. (Conlon, 'Siècle des Lumières', 89:1505. Martin et Walter, n°3716). Rare. WorldCat ne recense que deux exemplaires dans le monde: BnF et British libr. Très bon exemplaire, bien conservé, non rogné, tel que paru.
réf. 392796 volumes in-8 (200 x 125 mm), demi-veau rouge cerise, dos lisses entièrement ornés d'un grand décor rocaille en long, pièces de titre et de tomaison de veau noir en tête et pied, roulettes et jeux de filets dorés, plats de papier coquille, tranches jaspées (reliure de l'époque), 6 planches gravées en frontispice. Paris, Foucault, 1818.
1871réf. 147891871. Mott Lucretia. Autograph Quotation Signed 1871 a concise manuscript statement embodying the ethical and political philosophy that undergirded the nineteenth century women's rights and abolitionist movements. Written entirely in her hand Mott declares "Truth for authority not authority for truth" and signs "Lucretia Mott." The formulation distills a foundational principle of antebellum and Reconstruction era reform: the rejection of inherited legal ecclesiastical and political authority when divorced from moral truth and human equality. By 1871 more than two decades after the 1848 Seneca Falls Convention and the signing of the Declaration of Sentiments Mott stood as an elder stateswoman of American reform her Quaker convictions shaping a lifetime of advocacy for abolition women's legal equality and freedom of conscience. Mott Lucretia. Autograph Quotation Signed. 1871. One card approximately 4¼ x 3 inches. Composed during the post Civil War period when debates over Reconstruction citizenship and suffrage reshaped the constitutional landscape the statement reflects the continued insistence by early feminists that justice must supersede custom majority rule and patriarchal tradition. The maxim's structure directly challenges hierarchical authority aligning with arguments advanced by Mott and her contemporaries that law and governance derive legitimacy only when grounded in universal moral principles. As a signed and dated manuscript expression of this credo the card functions as a compact primary document articulating the intellectual core of American women's rights ideology. Paper clean with strong legibility and a bold well preserved signature and date. Overall condition: very good. unknown
1871réf. 147891871. Mott Lucretia. Autograph Quotation Signed 1871 a concise manuscript statement embodying the ethical and political philosophy that undergirded the nineteenth century women's rights and abolitionist movements. Written entirely in her hand Mott declares "Truth for authority not authority for truth" and signs "Lucretia Mott." The formulation distills a foundational principle of antebellum and Reconstruction era reform: the rejection of inherited legal ecclesiastical and political authority when divorced from moral truth and human equality. By 1871 more than two decades after the 1848 Seneca Falls Convention and the signing of the Declaration of Sentiments Mott stood as an elder stateswoman of American reform her Quaker convictions shaping a lifetime of advocacy for abolition women's legal equality and freedom of conscience. Mott Lucretia. Autograph Quotation Signed. 1871. One card approximately 4¼ x 3 inches. Composed during the post Civil War period when debates over Reconstruction citizenship and suffrage reshaped the constitutional landscape the statement reflects the continued insistence by early feminists that justice must supersede custom majority rule and patriarchal tradition. The maxim's structure directly challenges hierarchical authority aligning with arguments advanced by Mott and her contemporaries that law and governance derive legitimacy only when grounded in universal moral principles. As a signed and dated manuscript expression of this credo the card functions as a compact primary document articulating the intellectual core of American women's rights ideology. Paper clean with strong legibility and a bold well preserved signature and date. Overall condition: very good. unknown books
1931réf. 171801931 Paris, André Dantan imprimeur, 1931, in-folio, en feuilles, sous couverture rouge rempliée, titre imprimé en noir;
réf. 2822In Venegia Appreso Gabriel Giolito de Ferrari 84pp (3) Agréable exemplaire In 8 relié en vélin à l’imitation de l’ancien, traces d’annotations. Très belle marque d’imprimeur sur la page de titre et en fin d’ouvrage avec la devise de l’imprimeur vénitien «De la mia morte, eterna, vita io vivo. Semper eadem»«de ma mort, éternelle, la vie que je vis. Toujours le même»
1960réf. 22839Monaco CLUB INTERNATIONAL BIBLIOPHIL. 1960 1 Illustrations de Léonor Fini gravées à l'eau forte. Monaco, 1960, Club International de Bibliophilie, Jaspard, Polus & Cie, in-4, en feuilles, sous couverture rempliée illustrée d'une eau-forte en couleur, sous étui cartonné toilé brun, titré sur le dos, 156 pages.
1777réf. 17807La-Haie, Gosse et Pinet et se trouve à Paris chés Humblot, 1777 ; deux paries reliées en un tome in-8 ; veau fauve marbré, dos à nerfs décoré et doré, pièce de titre grenat, tranches rouges (reliure de l'époque) ; VIII, 567, (1) pp. en pagination continue.
Large A1 sheet (66 x 94 cm), original bold coloured lithograph, with folds, small closed tear hole to middle left of image. 1957 European Women's Artistic Gymnastics Championships took place in Bucharest, Romania, and it was the very first European competition for artistic gymnastics for women.
1909A stunning large-paper copy of the first edition of the definitive text of the author's most important work, one of the chief literary manifestations of Catalan modernism. The first two editions appeared in 1905, and were printed on cheap paper, and there were no large-paper copies. 135 large-paper copies of this 1909 edition were printed, of which THIS IS ONE OF 35 NUMBERED COPIES PRINTED ON FINE JAPANESE PAPER AND SIGNED IN INK BY THE AUTHOR (the remaining 100 large-paper copies were printed on laid paper, and were not signed). 8vo. A PRISTINE COPY IN THE ORIGINAL WRAPS, ADORNED WITH A BEAUTIFUL MODERNIST (i.e., Catalan art nouveau) DESIGN. UNCUT AND UNOPENED. A bit of foxing to edges (not on pages), else FINE AND BRIGHT, with no defects. Complete with prospectus, also printed on Japanese paper. A wonderful copy of perhaps the most important modern Catalan novel--very, very few copies of this deluxe issue have surivived in the original wraps.
réf. 39564Petit in-12 (140 x 82 mm), demi-maroquin vert bronze à la Bradel, dos lisse richement orné de compartiments cloisonnés et fleuronnés aux petits fers dans le goût de l'époque, titre doré, tête dorée (reliure signée de C. Honnelaître). 144 pages. Amsterdam, Pierre Schaier (à la sphère), 1700.
réf. 39219In-12 (185 x 120 mm), broché, couverture imprimée, 301, (3) pages. Paris, Julliard, 1951.
1673réf. 29231Paris Chez Jean Du Puis, à La Couronne D'or 1673 In-12 8 ff -243 ( 1 ) et un ff d'approbation et privilège , manque de cuir en coiffe de queue et coiffe de tête élimée, dos passé et lors frotté Exemplaire rare en reliure d'époque. édition originale de ce livre essentiel et précurseur qui valut beaucoup d'ennuis à son auteur
