8 312 résultats
réf. 2160TOME 1:La magie blanche dévoilée, ou explication des tours surprenants qui font depuis peu l'admiration de la capitale et de la province. Avec des réflexions sur la baguette divinatoire, les automates joueurs d'échecs, etc, etc.TOME 2: SUPPLEMENT A LA MAGIE BLANCHE DEVOILEE, contenant l'explication de plusieurs tours nouveaux, joués depuis peu a Londres. Avec les eclaircissemens sur les artifices des joueurs de processions, les cadrans sympatiques, le mouvement perpetuel, les chevaux savans, les poupées parlantes, les automates dansans, les ventriloques, les sabots elastiques, etc, etc .. Paris, DESOER 1789. 2 volumes in-8, [dimension: 200 x 120 mm] de XXIV, 120 et 270 pp. Demi- Veau brun, dos orné, étiquette de titre brune, (Reliure de l'époque.)
2009Fiel Jareño, Emilio Cabalgando al dragón del vientre. , Mandala Ediciones 2009-12-01, Ottimo (Fine) . Copertina flessibile 250 9788483521960
réf. 104504Leipzig, 1588, 1 volume in-12 de 198x155 mm environ, 1 f. blanc, titre en rouge et noir avec vignette gravée,3ff. ( paitre, table), 629 pages, 10 ff., il manque 9 pages de table), (2) ff., reliure parchemin crème avec plats à recouvrements, titre manuscrit sur le dos, tranches mouchetées. Manque de cuir sur le premier plat (avec restauration ancienne), quelques rousseurs et mouillures, quelques petits trous de ver qui ne gênent pas la compréhension du texte, sinon bon état.
1800réf. 95388Paris, P., à la Librairie, rue S. André-des-Arts 1800 3 volumes In-12, plein veau havane marbré de l’époque, dos lisses ornés de roulettes encadrés de fers dorés, pièces de titre maroquin havane et vert, XVI- 375- VII- 410- 408 pp., 102 planches gravées hors texte. Découpe marginale sans atteinte à une planche. Reliures légèrement frottées, intérieur très frais.
réf. CZC-2193EUPHORMIO SATYRICI AVGVSTISSIMO REGI Jacobo Primo Evphomionis Lvsinini Satyricon Pars I, II : Euphormionis Lusinini Satyricon Pars III; Euphormionis Satyrici Apologia pro se. Pars IV : Euphormionis Satyrici Icon Animorum Pars V: Alithophili veritatis lacrymae sive euphorm lusini continvatio Henrico Borbonio Galliarum Protoprincipi vol, in-16, 12,5 x7,5, relié pleine basane époque, accrocs, toutes tranches dorées, 717pp, très bel état intérieur, rare ! Bien complet de ses 5 parties Volume XVIIe (1616) Bibliothèque du Comte de Boussay
réf. CZC-2193EUPHORMIO SATYRICI AVGVSTISSIMO REGI Jacobo Primo Evphomionis Lvsinini Satyricon Pars I, II : Euphormionis Lusinini Satyricon Pars III; Euphormionis Satyrici Apologia pro se. Pars IV : Euphormionis Satyrici Icon Animorum Pars V: Alithophili veritatis lacrymae sive euphorm lusini continvatio Henrico Borbonio Galliarum Protoprincipi vol, in-16, 12,5 x7,5, relié pleine basane époque, accrocs, toutes tranches dorées, 717pp, très bel état intérieur, rare ! Bien complet de ses 5 parties Volume XVIIe (1616) Bibliothèque du Comte de Boussay
1916réf. YRG-415Deux forts in-8, broché reliure de l’époque, 573 et 847 pages.Complet. Jauni dans l'ensemble, quelques manques de papier au dos et traces d'usage sur la couverture et la 4ème de couverture. Chez Durville, Paris.
1679In 16° (155x105). Pagg. 16 (compresa l'antiporta allegorica in rame), 156, (32). Testatine in legno e iniziali ornate. Dedica di Johann Scheffer a Benedetto Skytte, nobile svedese. Obsequens, vissuto nel IV sec. d.C., attingendo da varie fonti, in particolare da Tito Livio, creò un "Prodigiorum liber" in cui narra molti fenomeni curiosi, di cui alcuni erano stati interpretati come avvistamenti di UFO. Piena pelle marmorizzata coeva con dorso a nervi e titolo in oro. Tagli a spruzzo. Ottimo esemplare fresco, legatura un po' sciupata. Edizione rara. La prima edizione fu stampata a cura di Lycosthenes nel 1552, a cui fece seguito il celebre Prodigiorum ac ostentorum chronicon..nel 1557. Dorbon, 3299 in nota; Casanatense biblioteca magica, 914.
1905réf. 0041551905 Paris, Hachette, sans date [1905]. Grand in-quarto (270 X 328 mm) reliure à la Bradel cartonnage papier crème illustré en couleurs, tête dorée (reliure de l'éditeur); (2) ff. blancs, (2) ff. de faux-titre et titre illustré imprimé en rouge et noir, 380 pages, 41 planches sous serpente, (2) ff. blancs.
1690In 12° (15,4x9,6 cm); (24), 480 pp. e una c. di tav. più volte ripiegata (nella maggior parte degli esemplari, la grande tavola contenete i due “Quarré Naturele” e i due “Quarré Magique”, si trova ritagliata in quattro parti). Bella legatura coeva in piena pergamena con titolo, autore e stemma nobiliare araldico, abilmente chiosati al dorso. Tagli spruzzati in rosso. Esemplare in ottime condizioni di conservazione. Terza rara edizione (più rara sia della prima che della seconda ed altrettanto ricercata) di questo importante studio, del grande matematico, teologo e filosofo giansenista, acerrimo nemico dei gesuiti, Antoine Arnauld, soprannominato dai contemporanei “Le Grand Arnauld”, per distinguerlo da suo padre (Parigi, 5 febbraio 1612 – Bruxelles, 8 agosto 1694). Nel 1656 venne espulso dalla Sorbona per le questioni espresse nei suoi scritti “Lettre à une personne de condition” e nella “Lettre à un duc et pair” editi nel 1655. Questi scritti fornirono a Blasile Pascal, suo grande amico, materiali per le sue “Lettres provinciales”. Arnauld fino al 1668, quando si addivenne alla "pace della Chiesa", diresse la cosiddetta, resistenza di Port-Royal. Fra i primi ad adottare la filosofia di Cartesio, seppur con qualche riserva legata alle sue profonde credenze religiose, fu impegnato in diverse celebri dispute filosofiche. Da ricordare quella con Malebranche sui rapporti fra teologia e metafisica che si protrasse dal 1683 al 1685. Insieme a Pierre Nicole, fu autore di “La Logique ou l'art de penser” uno dei testi basi della Logica fino agli inizi del XX° secolo, conosciuta anche come “Port-Royale Logic”. Considerato uno dei più grandi matematici del suo tempo, la sua fama in questa materia, scemò nei secoli successivi a favore dei suoi scritti di logica e filosofici, per essere poi recuperato come matematico di primissimo piano, nel XX° secolo. “The Elements undertakes a reworking and reordering of the Euclidean theorems in the light of the contemporary literature and Pascal's influence. It bases its claim to originality and influence on the new order in which the theorems, many of them adapted from contemporary sources, are arranged. As mathematics, it is characterized by the mastery of the contemporary literature and by its clear and fresh exposition... It is interesting to compare Arnauld's order of theorems with such recent ones as that of Hilbert and Forder, whose aims are quite different...”. (DSB I p. 292). L’opera qui presentata è conosciuta anche come la “Geometrie de Port-Royale”. Le illustrazioni poste alla fine che vedono presenti 4 tavole con quadrati magici, sono usate per spiegare il trattato di Pascal, pubblicato alla fine dell’opera e spiegre la soluzione di uno dei problemi più famosi e più difficili dell'aritmetica, comunemente chiamato “les quarrez magiques”. Fermat e Pascal furono i primi matematici a interessarsi al problema dei quadrati magici. Pascal descrisse i risultati dei suoi studi all'amico Arnauld che li pubblicò in quest’opera. La geometrie di Arnauld è il frutto del lavoro in comune con l’amico Pascal, tanto che l’opera qui presentata, viene, comunemente, attribuita anche a Pascal. Nella lunga prefazione di Pierre Nicole si parla di Pascal senza nominarlo, come una delle grandi menti di questo secolo e di uno dei più geniali matematici per la sua apertura mentale. Nicole spiega come Arnauld sia partito da un piccolo saggio in cui Pascal, si era accontentato di sostituire le classiche dimostrazioni di alcuni problemi matematici di Euclide, sostituendole con dimostrazioni più acute e naturali. Come ci racconta Nicole, Arnould letto lo scritto dell’amico Pascal decise di presentare seguendo lo stesso spirito dell’amico ma con più metodo, tutto il corpo del pensiero pascaliano. J. Itard, nel suo famoso articolo dedicato alla “La Géométrie de Port-Royal”, nella rivista “L'enseignement mathématique” del marzo 1940, esaminando in dettaglio il contenuto del libro di Arnould, osserva che l'insegnamento della geometria in Francia, fu permanentemente influenzato, almeno fino a Legendre, dalle opinioni e dimostrazioni matematiche espresse da Arnould in questo libro. Rarissima terza edizione in buone-ottime condizioni di conservazione. Rif. Bibl.: Bibliotheae Casanatensis catalogus librorum, Tomus Primus, Romae, Salvioni, 1761, pag. 277; Klaas Hoogendoorn, Bibliography of the Exact Sciences in the Low Countries ca. 1470 to the Golden Age (1700), Brill, London, pag. 50 “First edition: Paris 1667; Second Edition: Paris 1683. So this is the third edition. There is a reissue of 1711”; ICCU IT\ICCU\BVEE\023016.
2 voll. legati in uno in 8°, elegante legatura ottocentesca in mz pelle con nerv. e fregi in oro, timbrino alla sguardia, fioriture alle primme cc pp 2, 298; 2, 340. nella prima parte vi è una storia del magnetismo e si espongono fenomeni come guarigioni di malattie e sonnambulismo, nella seconda parte vi è una bibliografia sul magnetismo dai primi trattati del '500 fino alle opere piu recenti. " Ouvrage indispensable dans une biblioteque magnetique" Caillet, 2933. Buon esemplare.
1587réf. 20901Lyon Pillehotte 1587 in-12 plein-veau 1 volume, reliure plein veau raciné moucheté et coloré havane petit in-douze (binding full calfskin in-12) (12,5 x 8,6 cm), RELIURE D'EPOQUE, dos à nerfs (spine with raised band) décoré "or" (gilt decoration) à filets et roulettes "or" (gilt line), titre et tomaison frappés "or", pièce de titre et de tomaison (label of title and volume numbering) sur fond bordeaux avec double filet "or" en encadrement, roulette "or" en place des nerfs avec un filet"or" de part et d'autre des nerfs, entre-nerfs à fleuron "or" dans un encadrement à double filets "or" avec fleuron "fleurette" "or" aux angles, roulette "or" en tête et en pied, la coiffe inférieure manque, plats décorés "or" d'une roulette "chaînette" "or" en encadrement, toutes tranches lisses rouges, Texte en Latin, sans illustrations (no illustration) excepté une marque de l'Editeur en bas du titre gravée sur bois en noir avec la devise : "nomen domini laudabile" (le nom du Seigneur soit loué) + orné de bandeaux et lettrines historiées (and illuminated of headpieces and dropped initials) gravés sur bois en noir, [Liber I : 322 + Liber II : 150 + Liber III : 200 (de la page 151 à la page 350) + i ff. blanc + 31 ff. d'Index , privilège et errata] pages, 1587 Lugduni : apud J. Pillehotte Editeur,
1906réf. 2854Paris, K-B (Kratz-Boussac), circa 1906. 26,5 x 20 x 5 cm. Boîte recouverte de papier rouge. Titre doré sur le couvercle. La Boîte Magique est un jouet magnétique créé à l'origine par Abraham Martin, ingénieur mécanicien, qui déposa son brevet en France le 21 décembre 1894 avant de céder ses droits à Henri Kratz-Boussac en janvier 1906. Ce dernier, fondateur de la célèbre "Société des inventions brevetées" et de la marque Euréka, commercialisa alors le jouet sous sa propre marque. Malgré son nom évocateur, le principe est purement magnétique : à l'intérieur d'un boîtier en métal chromé, un mécanisme entraîne en rotation un ou plusieurs volants à axe aimanté, lequel — actionné par une crémaillère — communique son mouvement à des figurines [en chromos, en papier crépon et cure pipe, en simple fil de fer torsadé, ou encore en tôle lithographiée (train et poisson)] posées sur des patins métalliques glissant sur la surface lisse de la boîte, s'animant ainsi en va-et-vient ou en rotation. Cette version de la boîte magique de Kratz-Boussac, avec ses sept compartiments, correspond vraisemblablement à la version de luxe, bien plus généreuse en figurines et accessoires que les modèles courants à deux compartiments décrits dans les catalogues de l'époque.
1998réf. 38962New York New York U.S.A.: Scholastic Press 1998. 1st US . Hardcover. As New/As New. Grandpre Mary. 1st US Larger book fine green cloth spine dark blue boards with diamond pattern bright silver lettering on spine red inside covers and adjacent end papers 341 pages. DJ heavy paper colorful illustration of Harry with phoenix. DJ beneath mylar and book both As New. Scholastic Press hardcover
1802réf. 63050Graz, Christian Friedrich Trötscher, 1802. 8°. Mit einigen Holzschn.-Vignetten u. 2 gefalt. Tabellen. Zus. ca. 880 S., Ppbde. d. Zt. goldgepr. Rückenschildern.
1786In-8 p. (mm. 216x135), 3 volumi, brossura muta coeva (dorsi restaur.), pp. XV,375; (4),408; (4),408,(4); con complessive 102 tavole inc. in rame f.t., ciasc. con numerose figure che rappresentano gli apparecchi, gli strumenti e le esperienze curiose realizzate e descritte dall’A.: fisica, statica, elettricità, ottica, lanterna magica, ecc. L’opera contiene “ce qui a été imaginé de plus curieux dans ce genre, et ce qui se découvre journellement; auxquelles on a joint les causes, leurs effets, la manière de les construire, et l'amusement qu'on en peut tirer pour étonner et surprendre agréablement”. Alla fine dell’opera si trova la lista “des pièces de récréations contenues dans cet ouvrage qui sont vendues par l’auteur”. “.. monumentale trattato di scienza dilettevole di Edme-Gilles Guyot, che presenta numerosi giochi di prestigio - alcuni basati su trucchi matematici, altri sulla manipolazione e altri su elaborati principi che sfruttano le carte da gioco. Oltre 30 pagine sono dedicate al gioco dei bussolotti e alle sottigliezze necessarie per eseguire ciascuna mossa in modo illusivo”. Cfr. Caillet,II,4900 che cita altre edizioni di: “Edme-Gilles Guyot, géographe, philosophe et physicien, né à Paris en 1706, mort en 1780. Directeur du Bureau Général des Postes de France”. Con lievi fiorit. interc. nel t., ma certamente buon esemplare con barbe.
1648in-8, pp. (128), 844, (20, le ultime 2 bianche), legatura moderna p. perg. rigida, tass. in pelle con tit. oro al dorso. Titolo a stampa rossa e nera, con impresa tipogr. Testo in car. rom. con frequenti passi in greco. Con alcune figure schematiche (a pag. 150 e segg.) e vignette silogr. assai curiose (a pag. 566 e segg.). Dedica dell'autore a Gaspare Coignet de la Thuilerie, ambasciatore di Francia a L'Aia. Prima edizione di questa dottissima opera sull'influenza, reale o supposta, dell'anno climaterico sulla vita dell'uomo. ''On entendait par climatérique chaque septième (année)..., parce que cette période était jugée nécessaire pour le renouvellement intégral de toutes les parties du corps'' (Willems). L'autore (Claude de Saumaise, erudito francese nato a Semur nel 1588 e morto a Maastricht nel 1653) nega decisamente qualsiasi influsso degli astri sulla vita degli uomini, che invece viene regolata semplicemente da leggi naturali. La salute degli individui, in particolare, dipende dalla costituzione fisica, dall'aria, dal clima, dal modo di vivere, ecc. Buon esempl. (piccoli restauri di parti bianche del foglio di titolo).. Caillet III, 9918. Bibl. Magica Casanatense n. 1087. Dorbon 4375. Willems 644. Cantamessa III, n. 7111: ''L'opera ebbe dunque successo, e non so dunque perché si limitò a questa sola edizione''..
1840réf. 9769Harrisburg Pa 1840. Third edition. Small 8vo. 84pp. Quarter calf over marbled boards with rubbing and wear spine faded pages toned and foxed attempted removal of ink writing on front pastedown very good. Early and desirable German-language printing of one of the foundational texts of American folk magic. First published in Pennsylvania in 1820 Hohman's Der Lang Verborgene Freund "The Long-Hidden Friend" became the best-known manual of Pennsylvania Dutch "pow-wow" practice - a uniquely American blend of Christian mysticism folk healing charms protective prayers and practical magic carried into rural German-speaking communities by immigrant traditions. Filled with remedies blessings occult protections and household formulas against illness witchcraft thieves and misfortune the work occupied the fascinating borderland between devotional handbook and grimoire and circulated heavily among everyday practitioners throughout the 19th century. This printing in the original German is especially appealing preserving the linguistic and cultural context from which these traditions emerged before later English-language editions popularized the text for a broader American occult audience. A cornerstone of Pennsylvania Dutch esoterica and among the most influential Christian folk grimoires produced in the United States. . unknown
1959réf. 214711959. Gloye Eugene E. Archive of Autograph letters on Magic late 1950s to mid 1960s document the working methods technical experimentation and intellectual framework of a mid twentieth century American magician engaged in both performance and psychological analysis of illusion. Written primarily to fellow magician Don Tanner these letters provide direct evidence of how tricks were conceived refined and communicated within professional networks revealing the intersection of apparatus design sleight of hand and audience perception. Gloye's dual role as performer and psychologist situates the correspondence within broader developments in performance theory and applied psychology supporting research into the history of magic entertainment culture and the study of deception. Eugene Gloye authored 23 magic books including "For Magicians Only" "Fantastic Tricks with Plastic Cups" and "Theatrical Magic" Archive of sixteen letters spanning approximately the late 1950s through the mid 1960s containing detailed discussions of trick construction performance strategy and experimentation with materials and methods.Throughout the letters Gloye discusses numerous tricks he devised or refined often providing detailed explanations of their mechanics and performance nuances. His correspondence reveals a deep engagement with magical apparatus sleight of hand and psychological deception. One of the more detailed discussions in the letters revolves around Gloye's development of Fan-Ta-Cups which evolved from an earlier trick he had devised Fan-Ta-Bill. On September 5 1961 he describes how the trick was born: "I first got the idea for this cup trick about 14 years ago when I was experimenting with a bill trick which I eventually put on the market. The bill trick also uses a celluloid gimmick and was an adaptation of Liquid Appear. Since I thought of the cup trick at the time of my Fan-Ta-Bill I decided it was fitting to call it 'Fan-Ta-Cups.'" He further explains that while the idea had been percolating in his mind for years he hadn't developed a complete routine for it until recently. Inspired by the classic three-shell game he worked out a performance structure that he believed would make it more engaging. In a letter from July 11 1961 Gloye excitedly shares his thoughts on using hollow plastic golf balls for new magic tricks: "I am convinced that this new golf ball will open up many new trick possibilities. The fact that they come in several colors is also interesting." This suggests that Gloye was experimenting with different materials for manipulation tricks possibly related to vanishing or color-changing effects. Gloye also played with magical history concocting a hoax to see how the magic community would react. In the September 5 1961 letter he reveals his plan: "Last December I got an idea for a variation on the Tip-Over Box. It's just a slightly different way of building it. At first I was going to put it in my 'New Look' series but then as we were talking about it I commented that this trick should have been in Hoffmann. This led to the devilish idea of writing it up in Hoffmann style and publishing it in Genii as a lost page from the original book." He notes that Bill Larsen and another friend were in on the plan and they wanted to see if the trick would be accepted as a legitimate discovery. Another standout trick mentioned in the letters is Gloye's adaptation of Billy McComb's routine using a flap slate and a force deck. On January 31 1961 he explains: "My version which I tried for the first time several days ago with huge success uses one deck and a flap slate. The deck is made like a peek deck but with two cards only. All faces are the same and all concealed cards are the same. Cards which audience sees are trimmed and glued at one end to a second group of 26 duplicates." This approach ensured that the spectator would believe they had freely chosen a card when in fact the outcome was predetermined. Gloye describes modifications he made to a Head Chopper Illusion a prop widely used in stage magic in a February 23 1961 letter: "My version does not retain the Chinese theme. My blade is a simple black affair with a couple of brass stripes across it to make it look more solid. I spent a long time trying to figure out a good lock for the blades Abbott's want you to remove a couple of tacks which hold the blade and this is simply not workable. I ultimately did come up with a practical idea only to abandon it in my current routine." He explains that his routine involved swapping out the real blade for a fake setting up a comedic climax where "carrots fly in all directions" as the blade seemingly falls. This archive is a rare window into the intellectual and technical world of a magician who bridged academia and performance. Gloye's detailed notes on illusion mechanics reflections on the state of magic and collaboration with figures like Bill Larsen and Frances Marshall make this a significant collection for magic historians and collectors alike. Produced during a period of active exchange among professional magicians through correspondence and publications such as The Linking Ring these letters document how knowledge circulated within specialized communities and how innovation often emerged through incremental modification of established techniques. Gloye's attention to apparatus construction coded deception and audience management reflects broader mid century interest in performance psychology while his references to collaborators and publication strategies illustrate the role of print culture and informal networks in shaping the field. As a cohesive manuscript archive the letters preserve the technical language and creative process underlying stage magic offering a detailed record of mid twentieth century illusion practice. Light wear and handling consistent with age with legible manuscript throughout; overall condition very good. unknown
1959réf. 214711959. Gloye Eugene E. Archive of Autograph letters on Magic late 1950s to mid 1960s document the working methods technical experimentation and intellectual framework of a mid twentieth century American magician engaged in both performance and psychological analysis of illusion. Written primarily to fellow magician Don Tanner these letters provide direct evidence of how tricks were conceived refined and communicated within professional networks revealing the intersection of apparatus design sleight of hand and audience perception. Gloye's dual role as performer and psychologist situates the correspondence within broader developments in performance theory and applied psychology supporting research into the history of magic entertainment culture and the study of deception. Eugene Gloye authored 23 magic books including "For Magicians Only" "Fantastic Tricks with Plastic Cups" and "Theatrical Magic" Archive of sixteen letters spanning approximately the late 1950s through the mid 1960s containing detailed discussions of trick construction performance strategy and experimentation with materials and methods.Throughout the letters Gloye discusses numerous tricks he devised or refined often providing detailed explanations of their mechanics and performance nuances. His correspondence reveals a deep engagement with magical apparatus sleight of hand and psychological deception. One of the more detailed discussions in the letters revolves around Gloye's development of Fan-Ta-Cups which evolved from an earlier trick he had devised Fan-Ta-Bill. On September 5 1961 he describes how the trick was born: "I first got the idea for this cup trick about 14 years ago when I was experimenting with a bill trick which I eventually put on the market. The bill trick also uses a celluloid gimmick and was an adaptation of Liquid Appear. Since I thought of the cup trick at the time of my Fan-Ta-Bill I decided it was fitting to call it 'Fan-Ta-Cups.'" He further explains that while the idea had been percolating in his mind for years he hadn't developed a complete routine for it until recently. Inspired by the classic three-shell game he worked out a performance structure that he believed would make it more engaging. In a letter from July 11 1961 Gloye excitedly shares his thoughts on using hollow plastic golf balls for new magic tricks: "I am convinced that this new golf ball will open up many new trick possibilities. The fact that they come in several colors is also interesting." This suggests that Gloye was experimenting with different materials for manipulation tricks possibly related to vanishing or color-changing effects. Gloye also played with magical history concocting a hoax to see how the magic community would react. In the September 5 1961 letter he reveals his plan: "Last December I got an idea for a variation on the Tip-Over Box. It's just a slightly different way of building it. At first I was going to put it in my 'New Look' series but then as we were talking about it I commented that this trick should have been in Hoffmann. This led to the devilish idea of writing it up in Hoffmann style and publishing it in Genii as a lost page from the original book." He notes that Bill Larsen and another friend were in on the plan and they wanted to see if the trick would be accepted as a legitimate discovery. Another standout trick mentioned in the letters is Gloye's adaptation of Billy McComb's routine using a flap slate and a force deck. On January 31 1961 he explains: "My version which I tried for the first time several days ago with huge success uses one deck and a flap slate. The deck is made like a peek deck but with two cards only. All faces are the same and all concealed cards are the same. Cards which audience sees are trimmed and glued at one end to a second group of 26 duplicates." This approach ensured that the spectator would believe they had freely chosen a card when in fact the outcome was predetermined. Gloye describes modifications he made to a Head Chopper Illusion a prop widely used in stage magic in a February 23 1961 letter: "My version does not retain the Chinese theme. My blade is a simple black affair with a couple of brass stripes across it to make it look more solid. I spent a long time trying to figure out a good lock for the blades Abbott's want you to remove a couple of tacks which hold the blade and this is simply not workable. I ultimately did come up with a practical idea only to abandon it in my current routine." He explains that his routine involved swapping out the real blade for a fake setting up a comedic climax where "carrots fly in all directions" as the blade seemingly falls. This archive is a rare window into the intellectual and technical world of a magician who bridged academia and performance. Gloye's detailed notes on illusion mechanics reflections on the state of magic and collaboration with figures like Bill Larsen and Frances Marshall make this a significant collection for magic historians and collectors alike. Produced during a period of active exchange among professional magicians through correspondence and publications such as The Linking Ring these letters document how knowledge circulated within specialized communities and how innovation often emerged through incremental modification of established techniques. Gloye's attention to apparatus construction coded deception and audience management reflects broader mid century interest in performance psychology while his references to collaborators and publication strategies illustrate the role of print culture and informal networks in shaping the field. As a cohesive manuscript archive the letters preserve the technical language and creative process underlying stage magic offering a detailed record of mid twentieth century illusion practice. Light wear and handling consistent with age with legible manuscript throughout; overall condition very good. unknown books
1696réf. 28the forerunner of mathematical recreations and its use in the art of illusionism and magic an early manual for the first "mentalists" Ozanam Jacques. Recreations mathematiques et physiques VOL I. Amsterdam: Gallet 1696. Togheter with Ozanam Jacques. Recreations mathematiques et physiques VOL II. Paris : Jombert 1696. 2 volumes in 8vo 188x120 mm contemporary calf with gilt decorations at spine pp. 16 265 1; 266-583 25 the last is blank. Engraved title-page. Second edition of the forerunner of modern books on mathematical recreations including illusionism mentalism fireworks conjuring sundials and clocks. 84 engraved folding plates 45 first Vol. 39 second that support the solution of mathematical arithmetic geometric optical or cosmographic problems or that visualize the mechanism of a clock. Scarce second edition 1st published in 1694 of the first work on recreational mathematics. This is one of the most popular books on the subject dealing among the other subjects with fireworks conjuring and presenting in vol. 2 a translation of Domenico Martinelli's treatise on clocks printed in Venice in 1663 p. 473 The volumes are divided into 9 topics Vol 1: 1 Arithmetic 2 Geometry 3 Optics 4 Gnomonics and 5 Cosmography. Vol 2 6 Mechanics 7 Pyrotechnics 8 Physics and 9 the translation Martinelli treatise on Watches. For each topic Ozanam presents a series of problems with the various possible solutions described and often illustrated Among the problems of mechanics Ozanam describes and illustrate a form of transport that foreshadows the automobile: behind the driver who holds reins in his hands stands a valet who activates with his feet two spring-loaded boards giving the carriage its impetus playing the role of a modern engine. Most of the chapter about arithmetic is dedicated to the art of illusionism and mathematical games. A long chapter is dedicated to magic squares from pp. 36 on but many are the tricks described always in the form of a problem/solution which today are attributed to a kind of illusionism called mentalism a form of illusionism whose practitioners through techniques such as cold reading or hot reading give the illusion of being able to read others 'minds demonstrating supernatural or at least highly developed mental and intuitive ability. In their performances mentalists give the impression of being able to exercise telepathy clairvoyance divination precognition psychokinesis mediumship mind control hypnosis prodigious memory and rapid mental calculation. Among the games described in the text that can be accounted under this category we remember for example: Problem XII: Thrown two dice how to guess the values on the top two sides without looking at them. Problem XIV: Guessing a number that someone has chosen by asking him questions Problem XVI: Guessing a number someone has chosen without asking them questions problem XX: Guess how many coins a spectator hides in his hands Problem XXVIII: Given three known playing cards and three spectators guess which card each one has chosen. problem XXXI: Among different cards arranged on three decks how to guess which one the spectator has chosen and many others. Jacques Ozanam 1640 - 1718 was a French mathematician. Although his father pushed him toward an ecclesiastical career he was much more attracted by science and mathematics that continued to study as a self-taught. At the age of 15 he was able to write a treatise on mathematics but his father induced him to enroll in courses in theology despite his little inclination for the priestly life. After four years of theological studies his father died and he returned to scientific studies. In 1670 he published trigonometric and logarithmic tables more accurate than the existing Ulacq Pitiscus and Briggs works and numerous and well received mathematical publications. In particular he had great success with Dictionnaire mathématique the five volumes of the Cours de mathématiques and Récréations mathématiques et physiques ; his manuscript entitled Les six livres de l'Arithmétique de Diophante augmentés et reduits à la spécieuse received commendations from Leibnitz himself. Récréations mathématiques et physiques was also successful in the English translation and is still well known and looked after today. He was elected a member of the Académie Royale des Sciences now Académie des Sciences in 1701. The death of his wife plunged him into deep sorrow and the loss of his foreign pupils through the War of the Spanish Succession reduced him to poverty. Conditions: light marks of use at bindng in general very good condotions Provenance: Paper ex-libris pasted at title page of both volumes " Engeg. Gio Battisa Carraca.
1556in-4, pp. (26), 268, (1) bianca. Al frontespizio marca tipografica, capilettera istoriati e testatine xilografici, frontespizio anticamente restaurato: la porzione superiore contenente il titolo è stata elegantemente vergata in inchiostro bruno su un foglio antico sulla cui parte inferiore fu applicata la marca di Giolito originale impressa a stampa. Legatura coeva in pergamena floscia, sul dorso liscio titolo manoscritto. Prima edizione di un'opera resa affascinante dal suo contenuto e dalla sua storia testuale. Si tratta di un trattato sullo scibile umano, i temi spaziano dall'aritmetica, alla filosofia, alla politica, all'economia fino alle arti magiche. Ma l'opera, libera traduzione della Vision deleytable de la philosophia y artes liberales dello spagnolo Alfonso de la Torre, subì accuse di vero e proprio plagio: leggenda vuole che il figlio di Delfino avrebbe trovato il manoscritto originale spagnolo e, dopo averne curato la traduzione, avrebbe attribuito l'opera al padre senza fare alcun riferimento allo scrittore quattrocentesco spagnolo. Gli stessi spagnoli dimenticarono la vera paternità del trattato, ristampando l'opera con il nome di Delfino. Testo sicuramente accattivante, "essendo steso nella forma ora affatto inusitata d'una visione, dove l'intelletto e l'ingegno, percorrono per vie generali tutto lo scibile divino ed umano; con molte altre allegorie e sogni..." (Bongi). Buon esemplare, arrossature e fioriture marginali, gore al margine superiore di alcuni ff. Sul recto del foglio di guardia ex libris mss. di Giovanni Andrea Rovetti (poeta italiano attivo tra il 1600 e il 1637, autore del Mormorio d'Elicona: poesie divise in Vaghezze amorose, Diporti pastorali, Soggetti eroici, Echo supplicante, Pompe nuziali, Teneri affetti, Duelli festini). Al titolo antica nota in inchiostro evanescente; iniziali O.S. impresse al piatto ant. della pergamena.. Bongi I, pp. 503-5. Riccardi I, 402: «Bella e rara edizione». . Smith, Rara arithmetica, p. 275. Biblioteca magica Casanatense, 1263. Olschki, Coix VI, 6429. Ebert, 23039. Cantamessa, III, n. 8059: ''prima edizione in italiano e prima edizione attribuita a Domenico Delfino''. Bongi I, pp. 503-5. Riccardi I, 402: «Bella e rara edizione». . Smith, Rara arithmetica, p. 275. Biblioteca magica Casanatense, 1263. Olschki, Coix VI, 6429. Ebert, 23039. Brunet V, 887. Cantamessa, III, n. 8059: ''prima edizione in italiano e prima edizione attribuita a Domenico Delfino''. .
1761réf. 2-0-28Frankfurt und Leipzig, o.V. (Stahel), 1761. 8°, 4 Bll., 600 S., Ldr. d. Zt
1661In folio (38×23,7 cm); (28), 746 (i. e. 742), (62) pp. Legatura in mezza pergamena del primo novecento con piatti foderati con carta a motivi viola e verdi. Titolo e anno impressi in oro su fascetta in pelle ad un tassello. Dorso a 5 nervi. Come in tutti gli esemplari, durante la stampa del volume, sono state saltate nella numerazione le p. 116-117 e 727-728. Titolo in rosso e nero. Magnifica incisione al piatto anteriore delineata dal pittore olandese della scuola fiamminga che fu uno dei migliori allievi ed assistente di Rubens, Abraham van Diepenbeke (1596–1675) ed incisa da Peter Clouwet (1629-1670), raffigurante l’ingresso del giardino d’“Elysian”, fiancheggiato a sinistra da una donna con sette seni, sotto due studiosi (uno in possesso di un rotolo) e la parola “Natura”, e sulla destra da una donna che tiene un globo, sotto due uomini che conversano e la parola “Ars”, a significare che il percorso verso l’”Elysium”, o il paradiso è attraverso la convergenza di arte e natura. Sopra l’ingresso, che sembra essere un’apertura nel terreno o la bocca di una grotta, siedono dieci donne, delle quali, due suonano strumenti. Un cavallo alato spicca il volo nell’angolo in alto a destra dell’immagine alto a destra. Testatine, iniziali e finalini xilografici. Esemplare ancora in barbe. Alcune pagine leggermente ed uniformemente brunite a causa della qualità della carta e nel complesso esemplare in buone-ottime condizioni di conservazione. Prima rara edizione (una seconda edizione venne edita nel 1670) di questo studio di interesse medico, farmacologico ed alchemico scritto dal noto medico e fisico portoghese nato ad Evorà ma che lavorò a Carmona, l’odierna Sevilla. L’opera, divisa per domande, tratta di temi differenti: Aristofane, Virgilio, Galeno, Ippocrate, Platone, corona spagnola, sul cadavere umano, “daemones morbos”, Vergine in un chiostro, urine, il termine tubercolosi e ostetricia “obstetrices”, Nudipedalia, mutazione dei genitali maschili e femminili, la sterilizzazione animale, vari tipi di occupa di febbre come “Elodes, Thyphodes [tifo], Crymoides, Tritaeophiae, querzerae, Phricodeis, Assodes, Almyrodes, Pemphigodes, [e] Tarachodeis. ” e tanti altri temi legati alla medicina, alla farmacologia, all’alchimia e alla fisica. La domanda 94 discute i poteri di una pozione basata su una miscela di latte e vino, forse in riferimento a Plinio il Vecchio. Nell’opera appare anche la parola “Abracadabra”. L’opera appare nelle bibliografie alchemiche perché tratta di vari argomenti legati alla magia, a guarigioni legate a particolari proprietà magiche di alcune piante e minerali e dei Bezoar, le pietre rinvenute negli stomaci dei alcuni animale e che si credeva avessero proprietà magiche. L’opera contiene anche la descrizione di diversi casi medici seguiti da Franco a Carmona, l’odierna Sevilla. Diôgo Barbosa Machado & Bento José de Sousa Farinha, Summario da bibliothecaluz …, Lisboa, 1786-87, v. II, p.168) scrive riguardo a quest’opera: “A remarkable example of the penchant for the bizarre in mid-seventeenth-century medical literature is the much-cited anthology of near-miraculous historiae excerpted and collected by the Portuguese physician Gaspar de los Reyes Franco” (Pomata, p. 134). In Penzer si dice “The idea of poisonous breath,” prevalent in literature in the form of the poison-damsel story, is claimed by numerous medieval medical and pseudo-medical practitioners, such as Peter of Albano, the Jesuit del Rio, Michael Bapst, Wolfgang Hildebrand and Gaspar de los Reyes” (Penzer, p. 41). Rif. Bibl.: Krivatsy, NLM, 9595; Penzer, Norman Mosley. Poison-Damsels. Manchester, NH: Ayer, 1980; Pomata, Giana. Historia: Empiricism and Erudition in Early Modern Europe. Cambridge, MA: MIT Press, 2005. Not in Wellcome. Not in Duveen, Ferguson, Partington or Thorndike.
1613In-8 p. (mm. 204x150), p. pelle coeva (lievi abras.), dorso a cordoni con titolo oro su tassello dipinto (piccole manc. alle cuffie), cc.nn. 20, pp.num. 787, ornato da grandi iniziali e finali inc. su legno. L’opera divisa in “diece appartamenti, secondo i vari & ammirabili oggetti, cioè di mostri, prodigii, prestigii, sorti, oracoli, sibille, sogni, curiosità astrologica, miracoli in genere e meraviglie, narrate da’ più celebri scrittori e descritte da’ più famosi historici e poeti, le quali talhora occorrono, considerandosi la loro probabilità, ovvero improbabilità, secondo natura.. Con tre copiosissime tavole“. "Prima edizione postuma", uscita a cura del fratello Bartolomeo, di un’opera “sorpendente e bizzarra usata a illustrare argomenti strani e inusitati e con gusti e modi che preannunciano il Seicento.. di Tommaso Garzoni da Bagnacavallo (1549-1589), uomo assai colto, avidissimo ricercatore e collezionista di dati, notizie e aneddoti del più vario genere..” (così Diz. Opere Bompiani, p. II,29). Cfr. Graesse,III,32 - Parenti p. 253 - Caillet,4352 bis. Corto di margini, con pagine brunite o arrossate interc. nel t., due macchie margin. a p. 593, ma complessivam. buon esemplare.
