DEVILLE, Edouard-Gaston Daniel.Livre Rare Book
1,841 results
ref. 83400Ottawa, Lithographed at the Survey Office, 1889, 1 volume in-4 de 265x185 mm environ, 324 pages, demi reliure à coins en cuir noir, dos à 5 nerfs portant titres dorés, orné de filets dorés qui soulignent les nerfs, contient des figures dans le texte et 5 planches hors texte, 1 carte d'envoi de l'auteur. Légères rousseurs sur les pages de garde, petite trace blanche sur le dernier plat, sinon bon état. Un des 50 exemplaires de cette première édition, publiée au sein des Services d'arpentage (Canada), à l'usage des employés de l'équipe. Hommage de l'auteur sous forme de carte. (Nous laissons une enveloppe jointe contenant quelques photographies anciennes sans rapport avec l'ouvrage).
1723ref. 21655Paris, Jean-Baptiste-Christophe Ballard, 1723 ; relié ensuite, du même auteur : Lamentationes Jeremiae prophetae, quarum modulatio correcta et concinnata. (même éditeur et même date).Soit deux ouvrages reliés en un volume in-quarto, reliure de deuil en veau brun, fer des instruments de la Passion poussés à froid au centre des plats, fer à la tête de mort et tibias croisés poussés à froid dans les coins et sur les caissons du dos (reliure de l’époque) ; [4], 122 pp., [1] f. de Privilège ; [2] Titre et Privilège, 22 pp.
1769ref. 15528Lausanne, François Grasset, 1769 ; in-12, broché ; 42 pp., (6) pp. de catalogue des ouvrages de Haller, Boerhaave et Tissot, 1 grande planche dépliante d'instruments gravée par Chovin.
1769ref. 31219ABLausanne, François Grasset, 1769. 8°. 42, (6) S. Mit einer gefalteten Tafel. Späterer Halbleinenband. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, A
ref. 183645 tomes in-8, veau marbré, dos à nerfs décoré et doré (reliure de l’époque) ; 24, LXXVI, 515, [11] pp., X planches dépliantes ; 676, [6] pp. pl-XI-XVIII ; 782, [8], pl. XIX-XXXII ; 480 pp., [64] pp., pl. XXXIII-XXXX ; XLVIII, 672 pp., [1] pl. dépliante gravée par Marie Dauvergne.
1769ref. 31219ABLausanne, François Grasset, 1769. 8°. 42, (6) S. Mit einer gefalteten Tafel. Späterer Halbleinenband.
1774ref. 8122P., Didot, 1774, 3 VOLUMES in 8 reliés en plein veau marbré, dos ornés de fers dorés, tranches rouges (reliures de l'époque), T.1 : 1 PORTRAIT DE PETIT, (5), 104pp., 407pp., T.2 : (1), 8pp., 560pp., T.3 : (1), 8pp., 343pp., 142pp. (SUPPLEMENT par LESNE), 90 PLANCHES DEPLIANTES REPRESENTANT DES INSTRUMENTS DE CHIRURGIE
ref. 578P., Jombert, 1752, un volume in 4 relié en plein veau marbré, dos orné de fers dorés, tranches rouges (reliure de l'époque),(habiles restaurations aux coiffes et aux coins, 2 noms partiellement grattés sur la page de titre), UN FRONTISPICE, UN PORTRAIT, (4), 448pp.., (6), 37 PLANCHES dépliantes
1768ref. 8518A Paris, l'Auteur... chez Mr. Levinville, luthier ; gravé par Mme Vendôme, imprimé par Montuhai, sans date (circa 1768) ; in-folio ; plein vélin vert, grande pièce de titre de maroquin grenat entourée d'un large décor doré sur le premier plat (reliure de l'époque) ; (2) ff. (titre-frontispice, titre, dédicace au duc de Chartres, planche représentant une mandoline), 67 pp., imprimé sur vergé fort. Ouvrage entièrement gravé.
1712ref. 9402Lyon, Léonard De La Roche, 1712 ; in-4 ; plein veau havane, dos à nerfs richement décoré et doré, pièce de titre grenat, tranches mouchetées rouges (reliure de l'époque) ; (16) y compris le frontispice gravé, titre en rouge et noir, Dédicace aux médecins et chirurgiens de Lyon, table, 369, (3), 138, (22) pp. de tables ; 46 planches numérotées plus 4 non chiffrées soit 50 planches gravées hors-texte au total, certaines dépliantes, représentant de très nombreux outils et appareils, des opérations et 3 planches de monstres.
1624In-folio, 57 ll., 1bl.; engraved title and 51 full-page engraved plates, giving geodetic and cosmographic instruments and measurements; woodcut ornate initials and tailpieces, large Aldus anchor woodcut device at the end. Bound in contemporary cartonnage (reliure d'attente), with weak hinges; occasional light foxing, light dampstain at the bottom of the last leaves. Despite the title the work includes 50 full-page engravings, of which the last 7 are a supplement by Scala and are especially devoted to architecture and perspective.
1790In-4°; 2 parti in 2 volumi rilegati in mezza pelle coeva con tassello e titolo in oro al dorso (del primo vol. lievemente difettosa); tagli spruzzati. Pp. 321, (1), 3 tavole f.t. a piena pagina incise su rame (una raffigura il vulcano Pambamarca nella zona di Quito in Ecuador), 2 grandi tavole ripiegate con tabelle; Pp. 400, 4 tavole a piena pagina incise su rame di cui una raffigura il, vulcano di Pichincha vicino Quito, e l’altra il vulcano Chimborazo sempre in Ecuador; 2 grandi tavole ripiegate con tabelle. Al verso dei frontespizi piccoli timbri di possesso. Interessante e poco nota opera di fisica sperimentale e sienze naturali del gesuita spagnolo Francesco Perez (1720-1807 Bologna), matematico e missionario in Ecuador, Quito, fino alla espulsione dei gesuiti dai domini spagnoli (1767); in Italia si dedicò alla scrittura di opere scientifiche che vennero pubblicate dopo la soppressione della Compagnia nel 1773. Il suo nome è legato anche all’invenzione di strumenti scientifici, tra cui uno per misurare gli angoli. Oggetto del trattato il Barometro, “istrumento in grado eminente per condurre l’intelletto alla cognizione dell’elemento dell’aria”, e il Termometro, strumenti dei quali si ricordano gli inventori, i metodi costruttivi, le evoluzioni tecniche; si esaminano le differenze tra aria e atmosfera, “l’elasticità” della materia eterea, l’atmosfera equinoziale dell’America, specialmente delle montagne e vulcani dell’Ecuador (Caraburo, Oyambaro, Pichincha Pambamarca ecc.) dove l’atmosfera fu misurata con l’aerometro, come ampiamente si descrive nella seconda parte. Un capitolo, in fine, è dedicato all’atmosfera europea.
1590ref. 30831Antwerp: Philip Galle 1590. Each plate depicts a biblical scene and incorporates an illustration of one or more musical instruments with reference in Latin text beneath each image to the musical instrument/s depicted. Each ca. 220 x 285 mm with narrow margins. Plate 5 Saul among the Prophets I Samuel x 10-11 Timbrels harp drums cornet trumpet Plate 6 David playing the harp before Saul I Samuel xvi 23 Harp Plate 9 Solomon takes the Tabernacle into the Temple the Levites singing. 2 Chronicles v 4-6 Trumpets timbrel harp horns drums flute rebec cymbals Plate 10 Elijah and the Kings. Minstrel plays before the Kings of Israel Judah and Edom 2 Kings iii 13-17 Harp Plate 11 Sacrifice of King Asa People of Judah rejoicing 2 Chronicles xv 10-15 Trumpets cornets horns timbrels flute Plate 12 Coronation of King Joas 2 Chronicles xxiii 11 Trumpets harp horn drums cymbals timbrel triangle Plate 13 Inauguration of Jerusalem's Walls by Nehemiah Nehemiah xii 27-39 Cymbals harps trumpets horns Plate 15 Rededication of the Temple by Simon Maccabaeus I Maccabaeus Apocrypha xiii 49-51 Harp timbrels trumpet horn flute Plate 18 The Glory of the Lamb Revelations v 8 and xv 7-8 Multiple harps Miknor wear; occasional foxing; laid down to mounting paper. In very good condition overall. The complete set consists of 18 plates including the title by Andreas Pevernage 1543-91 including a six-part song "Nata et grata polo" a preface in letterpress counted as plate 2 and 16 plates numbered 3-18. Complete copies are very rare. Deutsch locates 5 complete copies only at the Library of Congress; the Paris Conservatoire; the State Library in Berlin; the Paul Hirsch Library now in the British Museum; and an unlocated copy that sold at auction. See Encomium Musices No. 6 of the Harrow Replicas Cambridge: W. Heffer & Sons ca. 1950. Philip Galle unknown books
1866ref. 2789Paris, L. Guérin, 1866-1871. 9 Volumes in-folio + 1 Supplément. COMPLET. In-folio - 44 x 34 cm. Reliure de l'époque en demi-chagrin rouge à coins, dos à 4 nerfs orné de caissons à filets dorés. Ouvrage orné de 750 planches lithographiées en noir d'après nature par Jacob (726 gravures + 24 gravures in Supplément). Rehauts de couleur bleu et rouge pour différencier veines et artères sur quelques planches. Cette collection se divise ainsi : Tome 1 : Anatomie descriptive et physiologique. Appareil de relation. Organes de la locomotion. Ostéologie. Syndesmologie. 191 pages + 59 planches (N°1-59) ; Tome 2 : Appareil de locomotion. Myologie. Aponévrologie. 141 pages + 100 planches (N°60-159) ; Tome 3 : Appareil de relation. Névrologie ou organes de l'innervation. 341 pages + 115 planches [100 planches (N°1-100) + 15 bis] ; Tome 4 : Appareil de nutrition. Angéiologie. 162 pages + 98 planches [91 planches (N°1-91) + 7 bis] ; Tome 5 : Appareil de nutrition. Splanchnologie. 342 pages + 96 planches [76 planches (N°1-76) + 20 bis] ; Tome 6 : Sclérotomie. Ophtalmologie. Ténotomie (1e partie). 280 pages + 93 planches [91 planches + 2 bis] ; Tome 7 : Sclérotomie. Ophtalmologie. Ténotomie (2e partie). 356 pages + 98 planches [77 planches + 5 bis + 16 lettrées de A à P] ; Tome 8 : Embryogénie. 335 pages + 67 planches [60 planches (N°1-60) + 7 bissées] ; Suppléments, par le Dr Duchaussoy : 108 pages + 24 planches (1 déchirure restaurée page 31 sans manque de texte, 1 petit manque en marge dans la page de texte de la planche 19, sans conséquence pour le texte). Claude Bernard collabora à cette somme médicale à partir de 1845, en présentant des pièces anatomiques.
1722ref. ST21075Rome: Giorgio Plancho and Gettatore de' Caratteri 1722. FIRST EDITION. 250 x 180 mm. 9 7/8 x 7 1/4". 8 p.l. 170 pp. Contemporary stiff vellum raised bands burgundy morocco label lettered in gilt all edges sprinkled. Engraved title page frontispiece and 151 PLATES DEPICTING MUSICAL INSTRUMENTS. Front pastedown with bookplates of John Smith Esquire Arthur & Charlotte Vershbow Cia Fornaroli and David R. Godine. Cicognara 1596 citing 148 plates; Brunet I 1086 citing 136 plates; Graesse I 480. A long thin red ruled line to upper cover a few small cuts at edge of front board O1 with insignificant hole trivial loss of text a few light stains isolated faint browning to plates but quite AN EXCELLENT COPY--the leaves extremely fresh and clean and the binding entirely sound and perfectly inoffensive. This is an excellent copy of a sumptuously illustrated Baroque compendium of musical instruments which has been owned by three eminent collectors. A student of Athanasias Kircher the Jesuit scholar Filippo Bonanni also Buonanni 1638-1723 produced works on wide-ranging subjects including anatomy shell-collecting and porcelain lacquer. "Gabinetto Armonico" attempts to catalogue all known musical instruments including a broad range of horns as well as other wind percussion stringed and keyboard instruments not infrequently exotic in appearance and operation from all regions including Florida and the world of Islam. Many of the instruments included here were held in the collection of the Jesuit Collegio Romano where Bonanni was teaching at the time he composed the book; other information was gleaned from various authors and ethnographical reports. The book is organized based on the use for which the music is intended e.g. for festivals funerals battle worship hunting and even navigation. The very attractive illustrations by Flemish-born painter and publisher Arnold van Westerhout 1651-1725 depict the instruments in the hands of their players in their native costumes and environs. While some of the depictions of the ancient and foreign musicians are fanciful the majority of these engravings provide genuine invaluable information on music and musical instruments up to the early 18th century. The musicians are as interesting as the instruments dressed in keeping with the original homeland of the instrument ranging from King David with his harp to fashionable rococo ladies at the keyboards of spinet and cimbalo. Our copy is from the library of Italian ballerina Cia Fornaroli 1888-1954 and her husband Walter Toscanini 1898-1971 a bookseller and choreographer. The couple whose distinguished careers were split between New York and Italy assembled a large collection of works documenting the history of dance in Italy from the Renaissance until the 20th century. The bulk of their library now resides in the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts. Our next notable owners were Arthur 1922-2012 and Charlotte Vershbow 1924-2000 who together built a large collection of prints illuminated manuscripts and printed books. Their collection sold at Christie's New York in a series of four auctions in 2013 the present volume was lot 771. Most recently our copy belonged to American publisher David R. Godine who trained as a printer at Leonard Baskin's Gehenna Press before founding his own publishing firm in 1970. His interest in the art of the book led him to build an extensive library of early printed books with a particular focus on antiquarian illustrated works. Two portions of his collection sold for more than $950000 at Bonham's New York in May 2026. The book is not particularly rare at auction but copies in desirable condition even without the distinguished provenance seen here command substantial prices. Giorgio Plancho and Gettatore de' Caratteri unknown
1539ref. ST20126Pavia: Giovanni Maria Simonetta 1539. FIRST EDITION Second Issue. 210 x 147 mm. 8 1/2 x 5 3/4". 215 leaves. Restrained 19th century crimson morocco by Trautz-Bauzonnet stamp-signed on front turn-in raised bands spine with gilt text wide turn-ins gilt marbled endpapers all edges marbled and gilt. A small leather label with the year affixed to the spine. With two woodcuts depicting the "phagotus" instrument. Title with an attractive pictorial woodcut border. Printed in black and red. Occasional early ink marginalia; early ink ownership inscription to lower margin of colophon: "Hieronymi Pinzoni Cantoris Cremonensis et praepositi." An Armenian alphabet is inscribed in ink on the rear flyleaf dated March 28 1540. Mortimer 20; Adams I 957; Brunet I 229; Graesse I 59. Spine and edges slightly darkened joints a bit rubbed but without any cracking and the wear skillfully retouched. Only scattered very minor stains and soiling--quite a clean copy internally the leaves very fresh. This volume features one of the strangest combinations of a gravely serious treatise and an oddball curiosity: it comprises a landmark study of linguistics as the first European work concerning Syriac and Armenian--along with 36 other languages; and incongruously it also describes and pictures a contemporaneous musical instrument whose design was sufficiently peculiar to limit its interest to just one person the book's dedicatee. Our work originated when Teseo Ambrogio degli Albonesi 1469-1540 a lawyer scholar and canon of the church of Saint John of the Lateran was tasked with the publication of a Syriac manuscript psalter brought by a Maronite contingent to the Fifth Lateran Council. This was not merely a minor exercise in church outreach: 16th century scholars believed Syriac as a derivative of Aramaic to be the language of Christ. While the present work is of great interest because of its Syriac and Armenian content Ambrogio did not limit himself to those tongues: the text includes in particular short studies of Samaritan Arabic Coptic Cyrillic and Ethiopic. Of these some alphabets are provided in print in types specifically designed by Ambrogio and others are supplied in manuscript in spaces left in the text for that purpose. Ambrogio's sample texts range from simple alphabets to biblical passages to a letter purportedly from the Devil! In addition to the serious work done by our volume the text here deviates to include a fascinating musical surprise. Dedicated to the author's uncle Afranio degle Albonesi ca. 1465 - ca. 1540 a fellow church canon and apparently something of an eccentric the work includes an illustrated section on the "phagotus" a musical instrument of Afranio's own invention. Described by composer John Pickard as a "remarkable monstrosity" the phagotus combined features of the bagpipe and the bassoon. It never gained widespread popularity though not for lack of trying on Afranio's part--he once even performed with it for the duke of Ferrara Alfonso d'Este at a banquet in Mantua. Our copy in a pleasing though unassuming binding by one of the foremost 19th century French workshops was owned during its early history by yet another prominent churchman--Girolamo Pinzoni d. 1554 canon of the church of San Leonardo in Cremona. Giovanni Maria Simonetta unknown
