734 Ergebnisse
1978Best.-Nr. 91971Paris: Jean-Michel Place 1978. Fine. Jean-Michel Place Paris 1978 18.8 x 25.2 cm En feuilles First edition of this work devoted to the oeuvre of Ania Staritsky.Illustrated with an original work by Ania Staritsky on the cover.A rare and very attractive copy spine plain and unlettered boards slightly and marginally sunned without seriousness.Copy enriched with an artists proof engraving justified and signed by Ania Staritsky in pencil Jean-Michel Place hardcover
1858Best.-Nr. 39166Paris Leibert et Commelin ; Marseille, Camoin frères 1858 2 tomes en 1 vol. in-8 demi-chagrin havane, dos à nerfs, tranches jaspées [Rel. moderne], dos lég. insolé
Best.-Nr. 101985Paris, Le Clere, an VIII [1800], in-8, X-LX-581-[2] pp, 6 pl. dépl, Demi-basane à petits coins de l'époque, dos lisse et fleuronné, plats de papier à la cuve rose, tranches jonquille, Six planches dépliantes représentant huit tableaux qui peuvent servir à l'instruction d'un sourd-muet; l'un d'eux représente l'alphabet de dactylologie. Sicard (1742-1822) devint directeur de l'école de sourds-muets de Bordeaux en 1786 et, en 1789, à la mort de l'abbé de l'Épée, il lui succéda à Paris. Ce cours, composé de 25 leçons, est précédé d'un long discours préliminaire qui traite tout d'abord de la nécessité d'instruire les sourds-muets, puis de l'origine de cet enseignement et notamment de l'abbé de L'Epée. Pour convaincre du bien-fondé de cette instruction, Sicard se réfère à l'Essai sur les facultés de l'âme de Charles Bonnet et au Traité des sensations de Condillac, comparant le sourd-muet de naissance à une statue "dont il faut ouvrir, l'un après l'autre, et diriger tous les sens, et suppléer à celui dont il est malheureusement privé". Cet ouvrage participe ainsi de l'histoire des progrès de l'entendement humain. Ex-libris armorié gravé du Baron de Nervo. Bel exemplaire, très bon état du texte et des planches. Blake 417. Wellcome V, 108. Couverture rigide
Best.-Nr. 55878France presumably 1859 or 1860. Stiff card boards with wooden strips glued between measuring 27 × 21 cm. Three strings visible on the back move the hand-labeled parts containin days months and years. Front with architectural decoration in straw marquetry. Except for a few minor missing parts and wear to rear part about very good. The front cardboard covered in black paper with marquetry architectural and ornamental framing has been cut away in several places to allow the days of the week months and years beginning with 1860 to be made visible by sliding paper strips. The paper strips can be moved by means of ribbons attached to the back of the calendar. At the end of the strip for the months is the name of the maker: "Hré Jph A. Sicard fecit" presumably Honoré Joseph A. Sicard. Unfortunately we were unable to find any further information about him. The "perpetual calendar" developed from the so-called "computistical tables" which were used to calculate the date of Easter. Its invention is said to have been by the Benedictine monk Abbo of Fleury in the Early Middle Ages Engelen Eva-Maria. Zeit Zahl und Bild Berlin and Boston 1993. With the increasingly artful mechanisms of clockworks and calculating machines Schickard Pascal Leibniz the "perpetual calendar" became a field for demonstrating mathematical and mechanical programming. An outstanding example is the astronomical clock made at the end of the sixteenth century and located at Strasbourg Cathedral whose "perpetual calendar" also precisely indicates an unusually long period of time including all leap years. The manually operated calendar presented here by contrast extends only to the year 1872. These twelve years however encompass a turbulent period in French history. unknown
1783Best.-Nr. 599191783. Paris 17.V.1783 bis 24.I.1818. 30 Seiten 4°. Teilweise mit Siegelspur und Adresse. Gedruckter Briefkopf. Teilweises leicht fleckig ganz vereinzelt Randläsuren der letzte mit minimalen Buchstabenverlust. Roch-Ambroise Cucurron Sicard gen. Abbé Sicard 1742-1822 französischer Geistlicher und Taubstummenlehrer. - Biographisch aufschlussreiche Briefreihe an den Kaufmann und Gelehrten Jean Péry l'ainé 1751-1825 seinen Kollegen in der ehrenamtlichen Verwaltung des Museums von Bordeaux. In den ersten drei Briefen vom 30. April bis zum 9. August 1785 schildert Sicard seine Eindrücke während eines mehrwöchigen Studienaufenthalts in Paris wo ihn gleich zu Anfang die Offenheit überrascht hatte in der literarische Fragen diskutiert wurden. Er selbst sei aufs Freundlichste empfangen worden "au musée de cette Capitalle . le viceprésident m'obligea à prendre séance dans l'assemblée . je fus surpris de voir qu'on opine sur les ouvrages des auteurs la leur présence qu'on ne dissimule aucune de leurs fautes et que l'auteur garde le plus profond silence sans chercher à la justifier aucune"; eine Frage die zwischen dem Präsidenten Cailhava und dem Vizepräsidenten Legendre kontrovers diskutiert werde sei die ob die Musik für das Museum ein Gegenstand der Beschäftigung sein solle oder nicht. Einen ganz besonderen Eindruck macht auf ihn der wiederholt erwähnte Taubstummenlehrer Abbé de l'Épée sein großes Vorbild: "Quel spectacle pour les ames sensibles que celui de ce philosophe au milieu de plus de soixante sourds-muets qui lui doivent leur esprit leur ame et les plus douces jouisances de la vie ! Ils sembloient exclus pour jamais de la société il leur en procure les plus grands avantages ." Im nächsten Jahr wird Sicard Direktor der Taubstummenschule in Bordeaux nach dem Tod des Abbé l'Épée wird er 1790 dessen Nachfolger und nimmt - der Schreckensherrschaft nur knapp entkommen - als "Directeur de l'Instution Nationale des Sourds-Muets de Naissance" gedruckter Briefkopf a.d.J. 1801 seine Berichte vom kulturellen Leben in der Hauptstadt - unter Nennung zahlreicher Akteure - wieder auf. 1801 erwähnt er seine "Grammaire"; 1802 schreibt er abfällig über "certains de mes collegues à l'institut qui composent pour le théatre" und das trotz seiner Freundschaft mit Dramatikern wie Legouvé d. Ä. und Collin d'Harleville; 1811 beklagt er den schlimmen Zustand seiner Finanzen verursacht durch "des dettes que des Brigands et mon extrême et deplorable confiance en eux me firent contracter"; im letzten Brief von 1818 rühmt er noch einmal Paris - "Notre ville a pris depuis la restauration une face nouvelle ." - Beiliegend ein eigenhändiges Schriftstück "à la salle des séances publiques de l'academie francaise ce 1er mai 1817" 1 Seite 8° sowie ein Manuskript von fremder Hand "Observations sur les études qu'exige l'éloquence". unknown
1943Best.-Nr. 53656Paris: Bureau Central de Presse 1943. First edition. Softcover. vg- to near fine. Small folio. 12 x 10 1/2". Unpaginated. 48 double-sided leaves approx. 100 pages. Illustrated lithographic cover with photo-montage and text in black and yellow. A French right-wing collaborationist and anti-Communist publication issued during the Nazi-occupation. This massive publication was quite lavishly produced for a piece of propaganda and is profusely illustrated throughout with hundreds of striking images some full-page including b/w and cyan tinted photogravure as well as drawings photo collage photo-montage reproductions of original documents and artwork and political caricatures. Also included are a few charts and statistical tables. The text is divided into more than 20 different sections or articles written by a large number of prominent French collaborationist and right-wing political figures journalists and writers of the period. These include Maurice-Ivan Sicard 1910-2000 also the director/ editor Maurice Laporte 1901-1987 Émile Bougère 1903-1964 Lt. Colonel Paul Gamory-Dubourdeau 1889-1963 Jacques Ploncard d'Assac 1910-2005 Armand Bernardini 1895-1972 artist and cartoonist Ralph Soupault 1904-1962 Cardinal Alfred Baudrillart 1859-1942 and others. Many contributors to this publication were involved in the infamous right-wing and anti-Semitic periodical Le Cahier Jaune 1941-1943 published by André Chaumet. The content throughout include tirades against the Soviets International Communism Jews and many other entities. Numerous specific figures of the Soviet State are singled for direct attack. There are constant praises for the Nazis Fascism and the Franco regime as well as discussions of the Russian Revolution and the Spanish Civil War among other related topics. Notable sections include a detailed analysis of prominent Jewish communists and Jewish Soviet figures including photo portraits and an analysis of so-called "Bolshevik Art" which in a similar way to the Nazi concept of "Degenerate art" labels works of the modern art and the 20th century avant-garde as being instruments of International Communism and the plots of nefarious Jewish art dealers to steal patrons' money. Shown are photogravure reporductions of works by Picasso Leger and others no credits. The text of the title refers to the infamous Katyn Massacre 1940 in which more than 20000 members of the Polish military and intelligentsia where executed by the soviet NKVD under the orders of Stalin. The dead were then buried in mass graves in the Katyn forest and later uncovered by the Nazis in 1943. News of the discovery was effectively used by the Germans as anti-Soviet propaganda in publications such as this warning against the dangers of Bolshevism. The final section of this publication addresses the massacre specifically and includes images of the mass graves. The back cover is a striking photographic image showing crosses in silhouette accompanied by a quote from French poet and essayist Charles Peguy. The interior front cover contains a full-page visual diagram showing the organization of the International Communist party inside France. Text throughout in French. Wrappers with some light rubbing creasing and chipping to extremities. Small residue from tape along the spine. Wrappers overall quite clean and vibrant. Save for the most minor age toning to the edges of the pages the interior is clean and vibrant throughout. Wrappers in very good- inteiror in near fine condition overall. Quite scarce. Protected in modern mylar. Bureau Central de Presse unknown
Best.-Nr. 23692Paris: Robert & Lydie Dutrou 1991. Folio. 15 3/8 x 10 1/2 inches. Half-title and title in red text in French and Danish printed in black with headings in red and black. 7 colored plates by Alechinsky each an "eau-forte originale sur facsimile de Flora Danica" each numbered and signed in pencil by Alechinsky. Unbound as issued in original limp paper wrappers the upper cover with etched calligraphic decorated title printed in red and silver Plexiglas slipcase. A fine copy with seven signed Alechinsky prints book signed by Sicard numbered 7 of 125 copies for sale by the publishers out of a total edition of 165. Alechinsky's excellent images reminiscent of Max Ernst's work provide a fresh view of some of the more esoteric images from Flora Danica. The literary and artistic equivalent of cloud-imagined figures and landscapes Alechinsky offers a sophisticated view which complements Sicard's poems to his daughter. Translation of the colophon: "Flore Danoise a poem by Michel Sicard - dedicated to his daughter Flora - and the Danish translation by Uffe Harder are both set by hand in 20 point Garamond type. The seven original etchings by Pierre Alechinsky are printed on facsimiles of plates from the 18th-century botanical work: Flora Danica." Alechinsky is a Belgian abstract artist who has lived in France since 1951. With Karel Appel and Asger Jorn he was a member of the art collective COBRA. He was a professor of painting at the École nationale supérieure des Beaux-Arts Paris. Alechinsky's art is represented in major institutional collections. Sicard is a French poet who teaches at Université de Paris I. Robert & Lydie Dutrou unknown
1991Best.-Nr. 23692Paris: Robert & Lydie Dutrou 1991. Folio. 15 3/8 x 10 1/2 inches. Half-title and title in red text in French and Danish printed in black with headings in red and black. 7 coloured plates by Alechinsky each an "eau-forte originale sur facsimile de Flora Danica" each numbered and signed in pencil by Alechinsky. Unbound as issued in original limp paper wrappers the upper cover with etched calligraphic decorated title printed in red and silver plexiglass slipcase. Fine copy: the edition limited to 165 copies signed by the author this copy number 7 of the 125 copies for sale by the publishers. An approximate translation of the colophon: "Flore Danoiose a poem by Michel Sicard - dedicated to his daughter Flora - and the Danish translation by Uffee Harder are both set by hand in 20 point Garamond type. The seven original etchings by Pierre Alechinsky are printed on facsimiles of plates from the 18th-century botanical work: Flora Danica." The excellent images - reminiscent of the work of Max Ernst - provide a fresh view of some of the more esoteric images from Flora Danica. The literary/artistic equivalent of cloud-imagined figures and landscapes Alechinsky offers a sophisticated view which complements Sicard's text/poems to his daughter. Robert & Lydie Dutrou unknown books
Best.-Nr. 5432Deux importants volumes contenants 29 theses medicales datant du tout debut XIX em siecle, in 4 carré , reliés demi veau dos lisses, decorés pas de pages de titres ni de tables , les theses s'enchainenet les unes aux autres : pas de pagination continue. A Paris , imprimerie Didot Jeune , pour la majorité , photos sur demande
