JAILLOT (Jean-Baptiste Renou de Chauvigné);Livre Rare Book
51 578 résultats
1772réf. 15588Auteur, Lottin Paris 1772-75 5 vol. 5 vol. in-8 de 2 ff.n.ch. XXIV 216 pp. 79 pp. 56 pp. 58 pp. et 94 pp., 2 ff.n.ch. 64 pp. 2 ff.n.ch. 51 pp. 1 f.n.ch. 40 pp. 2 ff.n.ch. 94 pp. et 2 ff.n.ch. 94 pp., 3 ff.n.ch. 56 pp. 1 f.n.ch. 36 pp. 1 f.n.ch. 40 pp. 1 f.n.ch. 48 pp. et 1 f.n.ch. 138 pp., 3 ff.n.ch. 181 pp. 1 f.n.ch. et 1 f.n.ch. 234 pp. 1 f.n.ch., 3 ff.n.ch. 150 pp. 1 f.n.ch. 1 f.n.ch. 120 pp. 1 f.n.ch. 88 pp. et 92 pp. (table), plein veau fauve marbré de l'époque, dos lisse orné, pièces de titre et de tomaison, tranches rouges (accroc à la coiffe supérieure du tome V).
1862réf. 6478Paris, Librairie Maritime et scientifique Arthus Bertrand, 1862. In-plano (600 x 464 mm), 1 f. de titre illustré du plan du Saint-Sépulcre, 2 ff. de texte et 14 planches lithographiées (dont 12 en couleurs) par Hubert Clerget, Bachelier, Jules Gaildrau et Fichot. Sous un boîtier moderne en toile, le premier plat illustré d'une photocopie de la page de titre, page de titre salie en marge avec traces de déchirures, il est entièrement doublé, les feuillets de texte ont probablement été lavés, les planches sont dans un état parfait. Bel exemplaire parfaitement complet.
1949AN EXCEPTIONAL COPY OF THIS IMPORTANT LIVRE D'ARTISTE, WITH PENCIL-SIGNED ETCHINGS BY MAURICE UTRILLO AND HIS WIFE, LUCIE VALORE, AND UNSIGNED ETCHINGS BY PICASSO AND BERNARD LAMOTTE. This book is a collection of poems about Montmartre by Vertex (there is even a poem dedicated to Utrillo and Valore!), illustrated with reproductions of drawings by many artists associated with Montmartre, including Marie Laurencin, Dunoyer de Segonzac, Dignimont, Laprade, Charles GuÈrin, Roger Wild. and Vertex himself. Also illustrated with FOUR LOOSE HORS-TEXTE ETCHINGS, one each by Utrillo, Valore, Picasso, and Bernard Lamotte.. All four etchings are signed in the plate. THIS IS AN OUTSTANDING ASSOCIATION COPY printed for Robert Conchon. On the verso of the title-page is a fine presentation inscription to Conchon underneath the reproduced drawing by Vertex, which he has colored by hand in this copy. Furthermore, THE ETCHINGS BY UTRILLO AND VALORE ARE SIGNED IN PENCIL BY THE ARTISTS. Maurice Utrillo (1883-1955), among the greatest of modern artists, married his fellow artist (and former patron) Lucie Valore (1878-1967) in 1935, after she had been widowed. Utrillo made very few original prints, and signed impressions are of the utmost rarity. From a total edition of 110 numbered copies, this is ONE OF ONLY 15 BEAUTIFULLY PRINTED ON FINE MARAIS WOVE PAPER. From the private collection of Sylvan Cole (1918-2005), the leading American print dealer. Large folio. Loose as issued in wraps. UNCUT AND UNOPENED. A few creases to extreme margin of half-title, else FINE AND BRIGHT. In the original (somewhat worn) board chemise and slipcase. Utrillo was surely Montmartre's most emblematic artist, and the signed etchings by him and his wife make this a truly wonderful book. Since these etchings are loose (as issued), they are ready for framing.
1686réf. 4982Toulouse: Chez Jean Boude 1686. Soft cover. Very Good. 4to - over 9¾ - 12" tall. 8 pp. Bound in marbled wrappers and housed in a fine red morocco case. $3850 Extremely rare first and only edition of this detailed popular newsletter concerning the contemporary reception of three Siamese ambassadors in Paris in September of 1686. The report gives a full description of their entrance their itinerary and the names and qualities of the individual ambassadors - whose 9-month stay in northern France between 1686 and 1687 must have provoked enormous interest. Providing the reader with some background the work notes that the King of Siam having been only recently convinced of the greatness of Louis XIV and the French nation has decided to send three more mandarins as envoys. "Ces Mandarins sont tres-honnestes les meilleures gens du monde doux civils & complaisans de tres-bonne & agreeable humeur .". According to this account they arrived at Brest on the 18th of June and reached Paris only on the 12th August. On the 'first day of this month of September' the delegation was officially presented to Louis XIV. Its centerpiece was the King of Siam's letter to Louis written on a blade of gold encased in a golden boëte bottle and poised atop a golden chalice all of which was carried aloft on a machine by 12 Swiss guards. The ambassadors themselves it is recorded took care to cover the machine with their parasols. Upon meeting the king "ils firent une profonde reverence en leur maniere se prosterant & mettant leurs mains sur leur vissage". The gifts presented by the envoys are notable for their overwhelming Japanese provenance a closed center of trade to the French and are accompanied here by occasional offhand remarks. Two vases of tombac a flexible alloy similar to brass are thought "presque aussi précieux que l'or" and are imputed to be "what the ancients called electrum"; two samurai swords presented by the King of Japan to the King of Siam are accompanied by the remark "they say that those who know how to handle these swords properly can cut a man's body in half; it's this that makes them beyond price"; etc. An antique marble sculpture apparently depicts a Chinese man whom the Siamese call To inghoing; "we belivee that this is the same as he whom we call Confuscius". The writer of the newsletter seems surprisingly well-informed and is certainly aware of the plans of the official retinue suggesting a source perhaps close to the court. "They are presently busy seeing the beauties and the riches of the Capital of our Kingdom. Around February after they have had their final royal audience they will return and recount all that they have seen and assuredly they will not forget what they have learned and understood of the suprising reunion of Protestants to the Roman religion for the King of Siam having proposed Louis le Grand as a model in all things and desiring to be able to make his entire kingdom French.has demanded that the King send him missionaries persons experienced in warfare wise men and men learned in many arts." Following this account of the ambassadors' visit is a brief 'Description du Royaume de Siam' - with much reference to Arab and Moorish settlements to the Siamese love of music to their 'superbly-dressed women' etc. Thanks to royal decree Siam enjoys public schools in which laws and religion are taught in the vernacular but the sciences are reserved for a learned tongue. Inspired no doubt by the Chinese rites controversty the commentator notes that despite their plural deities the Siamese do believe in one Creator of the Earth and the Heavens and they do maintain that the world will end in fire. The final leaf of the work is occupied with a discussion of the 'names and qualities' of the amabassadors. OCLC records only the copy at Cornell. OCLC 64004509 Chez Jean Boude paperback
1686réf. 4982Toulouse: Chez Jean Boude 1686. Soft cover. Very Good. 4to - over 9¾ - 12" tall. 8 pp. Bound in marbled wrappers and housed in a fine red morocco case. $3850 Extremely rare first and only edition of this detailed popular newsletter concerning the contemporary reception of three Siamese ambassadors in Paris in September of 1686. The report gives a full description of their entrance their itinerary and the names and qualities of the individual ambassadors - whose 9-month stay in northern France between 1686 and 1687 must have provoked enormous interest. Providing the reader with some background the work notes that the King of Siam having been only recently convinced of the greatness of Louis XIV and the French nation has decided to send three more mandarins as envoys. "Ces Mandarins sont tres-honnestes les meilleures gens du monde doux civils & complaisans de tres-bonne & agreeable humeur .". According to this account they arrived at Brest on the 18th of June and reached Paris only on the 12th August. On the 'first day of this month of September' the delegation was officially presented to Louis XIV. Its centerpiece was the King of Siam's letter to Louis written on a blade of gold encased in a golden boëte bottle and poised atop a golden chalice all of which was carried aloft on a machine by 12 Swiss guards. The ambassadors themselves it is recorded took care to cover the machine with their parasols. Upon meeting the king "ils firent une profonde reverence en leur maniere se prosterant & mettant leurs mains sur leur vissage". The gifts presented by the envoys are notable for their overwhelming Japanese provenance a closed center of trade to the French and are accompanied here by occasional offhand remarks. Two vases of tombac a flexible alloy similar to brass are thought "presque aussi précieux que l'or" and are imputed to be "what the ancients called electrum"; two samurai swords presented by the King of Japan to the King of Siam are accompanied by the remark "they say that those who know how to handle these swords properly can cut a man's body in half; it's this that makes them beyond price"; etc. An antique marble sculpture apparently depicts a Chinese man whom the Siamese call To inghoing; "we belivee that this is the same as he whom we call Confuscius". The writer of the newsletter seems surprisingly well-informed and is certainly aware of the plans of the official retinue suggesting a source perhaps close to the court. "They are presently busy seeing the beauties and the riches of the Capital of our Kingdom. Around February after they have had their final royal audience they will return and recount all that they have seen and assuredly they will not forget what they have learned and understood of the suprising reunion of Protestants to the Roman religion for the King of Siam having proposed Louis le Grand as a model in all things and desiring to be able to make his entire kingdom French.has demanded that the King send him missionaries persons experienced in warfare wise men and men learned in many arts." Following this account of the ambassadors' visit is a brief 'Description du Royaume de Siam' - with much reference to Arab and Moorish settlements to the Siamese love of music to their 'superbly-dressed women' etc. Thanks to royal decree Siam enjoys public schools in which laws and religion are taught in the vernacular but the sciences are reserved for a learned tongue. Inspired no doubt by the Chinese rites controversty the commentator notes that despite their plural deities the Siamese do believe in one Creator of the Earth and the Heavens and they do maintain that the world will end in fire. The final leaf of the work is occupied with a discussion of the 'names and qualities' of the amabassadors. OCLC records only the copy at Cornell. OCLC 64004509 Chez Jean Boude paperback books
1871réf. 105204BBParis, ca. 1871. Quer-8° (13 x 18,5 cm.). Weinrotes blindgepr. OLdr. mit Goldschnitt.
1944réf. 013801Paris (Seghers), Editions Poésie 44 1944 In-4 Reliure Dédicacé par l'auteur
réf. 62907(Freiburg, Kilian Fischer, ca. 1490/1491). Small folio. Bound (presumably in the 18th century) in later marbled boards with a vellum spine. Binding with wear, edges of baords worn, smaller wormholes, and overall wear. The spine seems to be make up of two peices of vellum, with a small gap where they meet at the middle of the spine. The small wormholes go through the block, causing tiny loss of parts of lettering here and there. The final leaf lacking a larger piece causing partial loss of text to ca. 20 lines. The leaf is mounted from verso. First eight leaves with a damp stain to lower margin and first and last leaves with some soiling and staining. Otehwise, the block is overall clean and fresh. (58) ff. 52 lines and headline, double columns. Three-and four-line initial spaces with printed guide-letters. Initials touched in red throughout and red underlinings and markings.
1490réf. 62907Freiburg Kilian Fischer ca. 1490/1491. Small folio. Bound presumably in the 18th century in later marbled boards with a vellum spine. Binding with wear edges of baords worn smaller wormholes and overall wear. The spine seems to be make up of two peices of vellum with a small gap where they meet at the middle of the spine. The small wormholes go through the block causing tiny loss of parts of lettering here and there. The final leaf lacking a larger piece causing partial loss of text to ca. 20 lines. The leaf is mounted from verso. First eight leaves with a damp stain to lower margin and first and last leaves with some soiling and staining. Otehwise the block is overall clean and fresh. 58 ff. 52 lines and headline double columns. Three-and four-line initial spaces with printed guide-letters. Initials touched in red throughout and red underlinings and markings. Scarce first edition thus being the second edition following the 1483-edition printed in Gand of William of Paris’ highly important work on the art of prayer and the first book printed in Freiburg. There has always been consensus about the book being printed around 1490 no later than 1491 but the printing place of the book has previously been contested. Earlier bibliographies Eg. Hain Grasse state that it was printed in Basel by Johannes Amerbach but it has later been proven after the thesis of BMC to have been printed by Kilian Fischer in Freiburg im Breisgau and is now considered the first book printed there. The scholastic philosopher Guillaume d’Auvergne ca. 1180 - 1249 also known under the names Guillermus Episcopus Parisiensis Wilhelm von Auvergne William of Paris etc. was the most prominent French philosopher-theologian of the early 13th century and one of the first Western scholars to attempt to integrate Classical Greek and Arabic philosophy with Christian doctrine. He was also a first mover in creating a new metaphysics that combines Neoplatonism with empiricism and ontology profoundly changing the face of medieval philosophy from the 13th century. “William of Auvergne or Paris ca.1180/90–1249 Bishop of Paris from 1228 until his death in 1249 was one of the first wave of thinkers in the Latin West to engage with the writings on natural philosophy and metaphysics by Greek Islamic and Jewish thinkers that had recently become available in Latin translation. William took these writings to pose errors dangerous to the Christian faith and his philosophical works are in large part aimed at combating their errors. Yet at the same time he recognized their philosophical value and though often confused about their meaning incorporated their teachings into his own thought. On many of the important issues of later medieval thought William is the first to provide in-depth discussions and his voluminous works are an important and still under-appreciated source for our understanding of the development of medieval philosophy.” Stanford Encycl. of Philosophy. “By the third decade of the thirteenth century there emerge the first signs of a new metaphysics. Alongside Neoplatonizing idealism we now see attempts to lay greater emphasis on the ontological density of the created world and to structure reality without resorting to the terms of a relation to the divine ideal… The two figures who did the most to promote the new metaphysics as well as a profoundly Aristotelianizing campaign to establish the criteria for knowledge were masters whose important work was done between 1220 and 1235 in the chools of theology at the new universities. Robert Grosseteste d. 1253… and William of Auvergne d. 1249.” John Marenbon Medieval Philosophy 1998 vol III p. 204. Making extensive use of Avicenna and Aristotle as they were just becoming known through translations in order to understand Christian faith and philosophy William as a bishop also had concerns that reflected the practical use of his teachings. The present work “Divine Rhetoric” is his instructive magnum opus. Here he seeks to explain and illustrate the art of prayer – or divine eloquence - listing seven characteristics and perfections of prayer. The work is equally famous for its application of Ciceronian rules of oratory to Christian oratory and prayer. For more on the Freiburger printer Kilian Fischer please see Hermann Baumeister’s “Der Freiburger Buchdruck in der Inkunabelzeit “Kilian Fischer Als „vermutlich erster Freiburger Druck' erscheint „nicht nach 1491 " aus der Offizin Kilian Fischers eine Predigtsammlung sechs ausgewählter Predigten von Ephrem dem Syrer 303- 373 in lateinischer Sprache die Kilian Fischer zusammen mit der „Rhetorica Divina” des Pariser Bischofs Guillelmus Alvemus herausgab.” p. 104; “Die Drucke Kilian Fischers sind reine Werkdrucke. Er verwendete drei verschiedene Grundchriften; ohne verzierende Initialen oder Abbildungen. Die entsprach auch dem rein wissenschaftlichen Charakter der Lehrbücher seiner Produktion.” p.107. Hain: 8303 Graesse: III:183; BMC III:693; GW: 11866. hardcover
1780réf. 16745Paris, Ph. D. Pierres (imp.), Eugene Onfroy, 1780. 4 volumes in-4 de [4]-5-(V-XX)-200-XX-(203-445)-59; [4]-444-178; [4]-702-59; [4]-476-27-8-LVI-59 pages, plein veau blond moucheté, dos à nerfs ornés de fleurons et petits fers dorés, pièces de titre en maroquin rouge, double filet doré aux coupes, tranches rouges.
1839réf. 7565Paris, Veith et Hauser, vers 1839 [?]. In-folio oblong, demi-percaline beige, dos muet, titre inscrit en allemand, à la plume, sur le bord du premier plat. Premier plat de couverture conservé. Quelques rousseurs.
1930A PRISTINE COPY ON JAPANESE PAPER OF ONE OF THE TRULY GREAT LIVRES D'ARTISTE, AND PERHAPS THE MOST BEAUTIFUL BOOK DEVOTED TO MARSEILLES. Illustrated with 94 original etchings by Raoul Dufy. From a total edition of 340 copies, this is ONE OF ONLY 35 COPIES ON LUMINOUS JAPON SUPERNACR… PAPER (common called "pearl Japan" in English). Folio. Loose as issued in original wraps. Cloth case. FINE AND BRIGHT, WITH NO DEFECTS. Chapon, p. 281; Erving 12; Skira 107; Rauch 47; Manet to Hockney 85; Strachan, p. 331; Garvey & Wick 15; Stern 38; Wheeler, pp. 42 and 101; The Artist & the Book 93; Jentsch 22; Johnson 185.
réf. awd-1161Paris, Atelier Julien Martial, 2011. Poème-objet constitué d’un leporello octogonal inséré à la base d’une sculpture de jambe féminine posée sur un socle de carton (diam. 25 cm, H. 80 cm).
1722réf. 81083Paris, Chez Michel Brunet et Jean-François Hérissant, 1722, in-folio (26x41cm), plein veau marbré de l'époque, dos à 6 nerfs, caissons ornés, pièce de titre et de tomaison cuir, toutes tranches rouges, gardes coquille, En 4 volumes. COMPLET de tous les plans. 2 ex-libris contre-collés ("Bibliothèque du Château de Mouchy-Noailles - 1847" (provenant du château de Mouchy (Oise) et de la famille de Noailles) et un ex-libris tamponné "Charles Fegdal" sur la page de faux-titre. Page de titre rouge et noir, ornée d'une vignette. Bandeaux, cul-de-lampe et lettrines gravées, répétées dans chaque volume. Reliures en bon état (mors et coins restaurés), texte de toute fraîcheur. Tome 1 (2nde éd. augmentée, Brunet): 1f bnc, 1f faux-titre, 1f titre, 3ff Dédicace, 10ff Préface, 4ff table, 680pp, comprenant les 8 plans de Paris, 42pp Table des Matières,1fbnc. Tome 2 (2nde éd. augm. Brunet) : 1f bnc, 1ffaux-titre, 1ftitre, 4ff table, 848pp,19pp Table des Matières, 68pp Supplément du second volume ,2ff Table,1f bnc. Tome 3 (1ere éd. 1719, Brunet): 1f bnc, 1ftitre, 3fftable, 1088 p., 5ff Table des Matières,1f bnc. Tome 4 (Jean-François Hérissant, 1738): 1f bnc,1f faux-titre,1f titre, 2ff Epîstre, 3ff Eloge de Delamare et 5ff Avertissement, 6ff Table des Titres, 1 plan dépliant des Fontaines, Canaux, Conduits, Tuyaux et Réservoirs (1735) & 1 plan de Paris, avec ses Accroissemens; ses Bornes & ses Limites (1737), 794p., Table des Matières (xxxix p.), 1fbnc.
réf. 16-4298Bruxelles: Editions du Tamanoir 1976. Large folio. 27 x 20 inches. 68 x 52cm. Qtr. morocco portfolio in a slipcase with the text and 14 full sheet silkscreens. Very heavy more than 11 kilos.A few bumps on the box.12 large format silkscreen illustrations; bound in leather and marbled paper boards signed by Waldberg and Fini in matching marbled paper portfolio are contained with the book in a sumptuous matching leather and paper box. Includes many of Fini's most beautiful images such as "Vesper Express" and "Guardian of the Wells." .Edition of 175 plus 26 Artist's Copies69 par 525 cm. 44 pages non numérotés. Demi-maroquin noir avec coins d’éditeur non rogné.Mors intérieur fendu sans incidence sur la solidité du volume sinon excellent état. Avec une boite ayant un dos en maroquin noir petits défauts à la boite.Édition illustrée de 12 sérigraphies et de deux dessins de Leonor Fini. Préface et titres rédigés par Patrick Waldberg.Tirage limité à 301 exemplaires. Un des 175 exemplaires sur vélin de Rives signé par Leonor Fini et par Patrick Waldberg.Un des recueils les plus troublants de la grande artiste Leonor FINI. Chaque leçon est malgrésa beauté une source de trouble voulue par l’artiste.Expertise by Jean-Paul Veyssière 37000 Tours France. Bruxelles: Editions du Tamanoir, 1976. hardcover
réf. 16-4299Paris: Aux dépens d'un amateur 1970. Folio. 33 x 46 cm. Original red-orange buckram slipcase and black fabric chemise. . 11 color lithograph plates and 14 original lithographs in sepia. One of 275 numbered copies signed by the artist.Paris Aux dépens d'un amateur 1970.In-folio en feuilles couverture en toile noire rempliée emboîtage orange de l’éditeur.Illustrée de 25 lithographies originales de Léonor Fini.Tirage limité à 275 exemplaires un des 190 exemplaires sur vélin d’Arches le 221. Paris: Aux dépens d'un amateur, 1970 hardcover
réf. CSP-1362À Lausanne, chez Constant Tarin, À Paris, Chez Georges Crès et Cie, Editions des Cahiers Vaudois. Imprimeries Réunies S. A. Lausanne.
1990réf. 91101Adam Biro. New. 1990. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in French. 303 pages 354 illustrations including 354 in color. Catalogue Raisonne Catalog Raisonné Complete Works La Vie et L'uvre Oeuvre Raisonnee -- with a bonus offer . Adam Biro hardcover
1755réf. 53444Amsterdam et Leipzig, Arkstée & Merkus 1755 In-folio, atlas demi-veau havane, dos à nerfs richement orné, pièce de titre de maroquin rouge, grande vignette de maroquin rouge avec titre frappé or posé sur le premier plat reliure à l'imitation. Titre et 8 plans gravés à double page et montés sur onglet par Nicolas De Fer. Mouillure au titre, lég. brunissures.
1718réf. 42544(Paris), , 1718. In-4 manuscrit de 201 pp. à 18 lignes par page, veau brun, dos à nerfs, dos restauré (reliure de l'époque).
1937réf. 64910Paris, J.-G. Daragnès, 1937. Fol. Mit 62 (31 ganzs.) Orig.-Radierungen versch. Künstler. 12 Bll. (das erste weiß), 294 S., 7 Bll. (die letzten vier weiß), Lose Bogen in illustr. OKart.-Umschlag m. transparentem OUmschlag in OPp.-Kassette.
1781réf. 60351781 Paris , Bassan et Poignant 1781, In-4 , (300 x 220 mm ) Exemplaire avec, au titre la mention "dedié à Mr le Comte d' Orsay ".Illustration : une vignette au deuxieme feuillet non chiffré et 120 planches d'apres Rubens, Veronèse, Breuguels, Le Moine.....Reliure signée Hardy : maroquin rouge , plats et dos ornés . La date au dos " 1791" est erronée. Feuillets de titre et d'avertissement . References : Cohen 116
réf. 21757formulaire imprimé et complété et signé des deux parties (1 feuillet blanc recto, 274 x 212 mm), en vue d’obtenir le brevet de pilote de l’Aéro-Club de France. L’apprentissage coutait 800 francs soit en terme de pouvoir d’achat 251 455 € d’aujourd’hui !
1686réf. 42201686 traduite par MR Cousin , A Paris chez Damien FOUCAULT , A Paris, 1686, Tome I de la traduction par Louis Cousin d'une "Histoire de l'Eglise" réunissant les textes d'Eusebe de Cesarée (t. I), Socrate le Scholastique (t. II), Hermias Sozomene (t. III), Théodoret de Cyr (t. IV) et Evagre le Scholastique (t. 5).Sig. A-X12 (f. A1 bl. mais inclus dans la pagination). Front. gr. s. c. par R. De Hooghe. Bandeau gr. s. c. en tete du texte. Marque a la sphère au titre, 5 tomes en six volumes, in-12 basane blonde , reliure signée R. Niedrée , dos à nerfs caissons largement décorés pièce de titre et auteur, datés en bas du dos ainsi que le non du relieur en tout petit , plats décorés de filets, intérieurs des plats décorés de dentelles , toutes tranches dorées
réf. 219286Paris, chez l'auteur, Lottin aîné, 1772-1775 20 parties en 5 vol. in-8, avec 25 plans dépliants par Perrier, placés en regard du début de chaque monographie de quartier (certains quartiers comptant deux ou trois cartes), veau fauve marbré, dos à nerfs cloisonnés et fleuronnés, tranches rouges (reliure de l'époque). Des coiffes rognées, coins abîmés.
