Renard

Renard — marelibri

1745Best.-Nr. 91BDAE01U79OAmsterdam: Reinier & Josua Ottens 1745. Contemporary calf gold-tooled spine in nine compartments with a stamp of an armillary sphere in gold and a red sheepskin title label lettered in gold decorated "marbled" edges. Large folio 55 x 36.5 cm. With an engraved title page a letterpress title page printed in red and black an engraved dedication 4 large folding maps ca. 52 x 90-150 cm and 28 double page maps the majority with striking allegorical cartouches and all beautifully contemporary hand coloured in outline and with additional gouache washes. First Dutch and only enlarged and corrected edition of this beautiful and authoritative maritime atlas that set the standards of 18th-century Dutch map making. The present first Dutch edition of this sea atlas was published by Reinier and Josua Ottens after a careful correction of the original plates obtained from Louis Renard. The name of Louis Renard was removed from the plates and replaced by the names of R. and J. Ottens. Apart from that nearly all the plates were corrected by adding place names altering coastlines shoals and soundings. This continuous revision proves that the atlas was intended for use at sea and not only for the consultation on shore to enable the relatives of the Dutch sailors to follow the routes of their beloved family members and friends at sea. The descriptions were translated edited and expanded by Jan van den Bosch Melchiorsz.This edition also contains six new maps not previously published in Renard's sea atlas. These include a world map in two hemispheres Delisle's northern hemisphere map Delisle's southern hemisphere map Edmund Halley's large folding world map depicting isogonals a map showing European postal routes and a double page map of the Shetland Islands. A special feature of the maps in the present work are the beautifully engraved allegorical cartouches.A complete list of contents is available upon request.The first edition in French of Renard's sea atlas was published in 1715 in Amsterdam with the title Atlas de la navigation et du commerce qui se fait dans toutes les parties du monde. This atlas has an interesting history. The maps were printed from the plates used by Frederik de Wit for his sea atlas. But Renard thoroughly corrected them and substituted De Wit's name with his own. In the introduction Renard states that he based his atlas on the maps of De Wit. They were virtually obsolete at the time and required heavy corrections for which the charts published by Van Keulen stood as a model. The traces of the old lines are still visible here and there on the corrected plates.This first edition was followed by another French edition dated 1739 published by Reinier and Josua Ottens. The maps in the 1739-edition still bear the name of Renard contrary to our edition of 1745. The new world map in two hemispheres has been added and a few alterations have been carried out. The last French edition seems to have been published in 1802 by the widow of G. Hulst van Keulen.The binding has been skilfully restored the leather on the boards is slightly scratched along the edges the top edge of the leaves is very slightly browned never affecting the maps. Overall a magnificent copy.l Koeman Atlantes Neerlandici IV Maritime atlases pp. 434-5 Ren 3; STCN 305216937 6 copies; Tiele 911; Cat. Nederlands Scheepvaart Museum I pp. 55-6; Phillips List 601. Reinier & Josua Ottens, unknown

Fox, RyanBiblio.com

After Love

2009Best.-Nr. 85454Charlottesville: Virginia Arts of the Book Center Press 2009. Limited Edition number 4/50 on last page. Hardcover. Very good. Jeff Pike. Format approximately 4 inches by 6.75 inches. Unpaginated 28 pages. No dust jacket present may not have been issued. Signed by both the author and illustrator on the title page. Very rare early published compendium by emerging poetic force and award-winning illustrator. Contents include: After the Party On Plenitude Metropolitan the Consolations of Philosophy After Love Charlie Chaplin and Nineteenth Symphony. Handsome and well made example of a finely produced specialty volume. This volume was printed on the letterpress and handbound at Virginia Arts of the Book Center Charlottesville in the summer of 2009. The text was set in Cambria and printed from polymer plates made by Boxcar Press of Syracuse NY. The paper used was Hahnemuhle photo rag 100% cotton smooth. Ryan Fox is a graduate of the University of Missouri and received his MFA from the University of Virginia. The poems in this volume first appears in New Orleans Review Columbia Caketrain and New Ohio Review. Jeff Pike is a Professor of Communication Design program of the College & Graduate School of art Sam Fox School of Design & Visual Arts Washington University in St. Lois. He worked in Charlottesville while on sabbatical. Ryan Fox attended St. Louis University High School where he was an editor of Sisyphus and a frequent contributor to the magazine and also features editor of the Prep News. Fox was a 2016 winner of the Discovery Poetry Context. He earned an MFA from the University of Virginia where he was poetry editor of Meridian and a JD from Fordham University School of Law where he was Editor-in-Chief of the Fordham Intellectual Property Media & Entertainment Law Journal. His poems have appeared in The New Yorker Boston Review and others. A member of the New York State bar. Jeff Pike earned a BFA degree from the Kansas City Art Institute and an MFA in Visual Communication from Syracuse University. Pike joined the faculty of the School of Art at Washington University in 1983. He has directed the Illustration program and in 1993 he was appointed Associate Dean responsible for the undergraduate programs. Pike was appointed Dean of the School of Art in 1999 a position he held through July 2008. Pike's professional work has appeared in numerous print and broadcast venues. He has worked for major advertising agencies and clients. His work has been recognized in Print Art Direction Creativity and Adweek magazines. He also has won Addy's and Flair awards for his creative work in advertising. In 2010 Pike published a boxed letterpress book of illustrations and works of fiction by two authors based upon the letters of Heloise and Abelard titled From Letters to Fictions: Heloise & Abelard. Most recently Pike's work has been accepted into the 53rd Annual New York Society of Illustrators exhibition. Pike has lectured at a number of schools and universities. He has twice been a resident at the Cité International des Arts Paris. He has led abroad programs in Belgium France and Italy. As dean he has traveled throughout Asia. Pike has been a board member for several art organizations most recently the National Association of Schools of Art and Design NASAD. Virginia Arts of the Book Center Press hardcover

Ground Zero Books · Vereinigte Staaten50.000,00 $≈ 44.670,80 €

TALBOT, William Henry FoxBiblio.com

The Process of Calotype Photogenic Drawing Communicated to the Royal Society June 10th 1841.

1841Best.-Nr. 48243London.: Printed by J. L. Cox and Sons. 1841. Loose as issued later morocco-backed portfolio. 4to. 229 x 182 mm. Leaf with drop-head title and note above opening text printed text recto and verso on following leaves folded as issued. The rare first edition of the first announcement of William Henry Fox Talbot's calotype method - the negative / positive photographic process - the most important innovation in the history of photography.Although Talbot had announced his researches and progress in the field of what was to become photography in his 1839 lecture to the Royal Society 'Some Account of the Art of Photogenic Drawing . &c.' that lecture although ground-breaking dealt largely with the achievement of an image on treated paper and only alluded briefly to the possibility of a more versatile development. It was not until his 1841 lecture to the same body the title as per the present publication is 'The Process of Calotype Photogenic Drawing . &c.' that the details of his refinements and most particularly his successes with the negative / positive process were delineated. Those successes and Talbot's development of the resultant negative / positive process for photographic reproduction and duplication remained the predominant methodology in the field for more than 150 years; all subsequent refinements whether in the chemicals used differing methods for image capture printing and so on were merely variations on Talbot's original scheme. Talbot had patented his method in secret he was awarded 'Her Majesty's Royal Letters Patent No. 8842' in February 1841 prior to his lecture to the Royal Society concerned by Arago's announcement of Daguerre's discoveries the efforts of Hippolyte Bayard and the priority of his own work.'In 1841 William Henry Fox Talbot announced an improvement of his photogenic drawing process which he named 'calotype' from the Greek meaning 'beautiful picture'. Previously he had allowed his sensitized paper to remain exposed to light until an image became visible. He now made a remarkable discovery: a much shorter exposure so changed the characteristics of the silver salts that they could be reduced to silver by chemical after-treatment. This principle of the 'development of the latent image' is basic to most subsequent photographic processes . To make a calotype negative Talbot bathed a sheet of paper in two solutions one of silver nitrate the other of potassium iodide . After exposure the paper was bathed again in this solution a mixture of gallic acid and silver nitrate which acted as a physical developer and gradually brought out the image . He printed them the resultant negative with his original silver chloride paper.' Beaumont Newhall. 'Privately printed for the author for distribution to friends and editors.' Gernsheim.'Between 1835 and 1839 Talbot and Henneman continued their experiments motivated by a desire . for reproducing images from nature. Following Arago’s announcement to the Académie des Sciences 7 January 1839 of the existence of Daguerre’s photographic process Talbot became concerned over the priority of his work; he frantically sought to improve his process prior to the disclosure of Daguerre’s . In 1840 Talbot would develop a latent image on paper and he called this new process the calotype. He patented and then disclosed the process in a paper presented to the Royal Society in June of 1841 . '. DSB.Talbot's document is scarce: COPAC locates no copies in the UK and the catalogue for the British Library reports no example; OCLC lists two copies in Germany at Marburg and Stuttgart's Staatsgalerie and four in the US at Syracuse Columbia Harvard and Princeton.The document was reprinted with an altered title 'The Process of Talbotype formerly called Calotype Photogenic Drawing . &c. in 1846.Gernsheim 655; see Beaumont Newhall's 'The Calotype: The Pencil of Nature' in 'The History of Photography' New York 1997 pg. 43. Printed by J. L. Cox and Sons. unknown

Sims Reed Rare Books · Vereinigtes Königreich27.500,00 £≈ 32.844,46 €

TOULOUSE-LAUTREC, Henri de (illus); RENARD, JulesBiblio.com

Histoires naturelles.

1899Best.-Nr. 97129Paris: Floury 1899. Toulouse-Lautrec's masterpiece of the illustrated book First edition number 84 of 100 copies only one of the most celebrated and sought-after of all livres d'artiste some of Lautrec's finest illustrations and the prototype of nearly all modern bestiairies Garvey. Lautrec and Jules Renard met first in 1894. The artist asked to illustrate some of the charming and witty portraits of animals and his first sketches were made at the Jardin d'Acclimatation and Jardin des Plantes in 1896. The last two illustrations printed were executed by Lautrec while he was a patient at the Neuilly clinic of Dr Sémalaigne. Renard's Histoire naturelles "contains some of Toulouse Lautrec's most refined draftsmanship and with Yvette Guilbert it is considered one of the masterpieces of the illustrated book. It was Lautrec who requested the pleasure of illustrating Renard's bestiary and Renard agreed hoping for descriptions that 'would please the animals themselves'. The two creative personalities clashed. Lautrec resented the book's limitation to mundane animals while Renard although paid homage to by a cover design of a fox objected to a number of Lautrec's drawings. Today we are amazed that it took Floury twenty years to sell out the edition of 100 copies" Donson/Gripp. Small folio 310 x 220 mm. With an original transfer lithograph to front wrapper on Japan paper and 22 throughout the text on vélin paper by Toulouse-Lautrec. Finely bound in 1973 by Pierre Lucien Martin 1913-1985 in olive green modelled calf titles to covers in raised lettering. Housed in a matching quarter calf chemise and slipcase. Foot of spine lightly rubbed with one small nick contents fresh; slipcase slightly sunned and rubbed. A finely bound copy. Adhémar 333-355; The Artist and the Book 304; Delteil 297-319; Donson/Gripp Great Lithographs by Toulouse-Lautrec nos. 78/79; Garvey 304 "Now one of the greatest rarities of the 19th century. Not only does it contain some of Lautrec's finest illustration but it is the prototype of nearly all modern bestiaries"; Rauch 17; Wittrock Toulouse-Lautrec I 202-224. unknown

Peter Harrington · Vereinigtes Königreich20.000,00 £≈ 23.886,88 €

TOULOUSE-LAUTREC, Henri de Renard, JulesBiblio.com

Histoires Naturelles. Edition Ornée de Vingt-Deux Lithographes Originales de H. de Toulouse-Lautrec.

1899Best.-Nr. 48805Paris.: H. Floury Editeur. 1899. Contemporary green morocco-backed marbled boards matching morocco corners spine with gilt title and elaborate decorative tooling marbled endpapers original publisher's tan printed wrappers with Lautrec's lithograph title with illustration of a fox on a wall to front cover preserved t.e.g. Small folio. 318 x 232 mm. Half-title with justification verso printed title and Renard's texts each text 'Coqs' 'La Pintade' 'La Dinde' 'Le Paon' &c. illustrated with an original full-page monochrome lithograph of the subject with Lautrec's monogram and printed title in bistre final leaf with printers' credits. One of Toulouse-Lautrec's most charming and most highly accomplished illustrated books.From the edition limited to 100 copies.Lautrec had met the well-known writer Jules Renard in 1894 and in 1895 told him he would like to do some illustrations for a book Renard was planning Histoires Naturelles. The two did not agree on the choice of illustrations or the design however and the project took a long time to materialise. The final result is a collection of rather poignant observations by Renard each accompanied by a Lautrec illustration. Lautrec's preliminary sketches were begun in 1896 and most of the lithographs executed towards the end of 1898. The pictorial title Lautrec created for the book is a notable visual pun: a fox - the French word for fox like the surname of the author is 'renard' - sits on a wall above Renard's title; Lautrec's own monogram is above the the fox's back like a full moon in a night sky.The full list of animals depicted by Lautrec and Renard are as follows: 'Coqs'; 'La Pintade'; 'La Dinde'; 'Le Paon'; 'Le Cygne'; 'Canards'; 'Les Pigeons'; 'L'Epervier'; 'La Souris'; 'L'Escargot'; 'L'Araignée'; 'Le Crapaud'; 'Le Chien'; 'Les Lapins'; 'Le Boeuf'; 'L'Ane'; 'Le Cerf'; 'Le Bouc'; 'Les Moutons'; 'Le Taureau'; 'Le Cochon'; 'Le Cheval'.Also included inserted loose is the issue of 'Les Hommes d'Aujourd'hui' for 'De Toulouse-Lautrec' 'No. 460' '9e volume' with the caricature of Lautrec by Emile Cohl coloured by hand. The caricature depicts Lautrec seated on a stool on top of another stool palette in hand painting a portrait of himself; the accompanying text is by Charles Donos.'This book one of the great rarities of the late 19th century was received very poorly when published and did not sell out till 1917. Not only does it contain some of Lautrec's finest illustrations but it is the prototype of nearly all modern bestiaries.' The Artist and the Book.Wittrock 202 - 224; The Artist and the Book 304. H. Floury, Editeur. hardcover

Sims Reed Rare Books · Vereinigtes Königreich15.000,00 £≈ 17.915,16 €

Fox, Hardy [Artist]; [The Residents]Biblio.com

Original painting that inspired the cover art of The Residents' album Not Available

Best.-Nr. 140949913San Francisco: No publisher 1974. Original reverse painting by Residents' co-founder Hardy Fox on acetate measuring 16 x 19.75". Image of Edweena variant of that used on cover of The Residents' second studio album but shelved until it was released as their fourth album overall Not Available. The back of that album credits it "based on a drawing by a Resident"-- presumably this is either the drawing or a later development of it. In this painting Edweena's skin is a normal hue not green her hair brown as opposed to bright red her eyes red her name is not written along her collar and the background is a sedate turquoise rather than Near Fine with paint loss to upper corners a few tiny flakes along sides. From the estate of Hardy Fox. Not Available is a favorite among Residents fans but also a very dark album. Not surprisingly it came from a very dark place. The fandom wiki for the group states: "Following the commercial failure of Meet The Residents which sold only forty copies in its first year of release the group's lead composer Hardy Fox was in the midst of 'a bit of depression' and simultaneously coming to terms with the growing realisation that he was gay spent a great deal of time alone in The Residents' studio writing and recording 'somber melodies' with an old piano which he later called his 'best friend' at that time . The tensions which had developed among the members of The Residents peaked in the summer of 1974 supposedly culminating in a 'horribly embarrassing' food fight in a Chinese restaurant.Instead of allowing the group to splinter The Residents isolated themselves conducting 'rehearsals' as a form of group therapy. Through these rehearsals inspired by psychodrama a psychotherapy method in which participants act out their emotions through interpersonal interaction within a stage-like setting a stylized and surreal narrative began to develop." That psychodrama informs the album an opera of sorts. Like the music its album cover is distinctively off-putting. It's cartoonish but certainly not cute or comical full of resigned frowning faces and a certain emotionally-drained surrealism. Like the Residents oeuvre it is what it is. No apologies! [No publisher] unknown

Burnside Rare Books, ABAA · Vereinigte Staaten11.500,00 $≈ 10.274,28 €

Fox, Hardy [Artist]; [The Residents]ABAA

Original painting that inspired the cover art of The Residents' album Not Available

Burnside Rare Books, ABAA · Vereinigte Staaten11.500,00 $≈ 10.274,28 €

Talbot, William Henry FoxBiblio.com

THE PROCESS OF TALBOTYPE FORMERLY CALLED CALOTYPE PHOTOGENIC DRAWING COMMUNICATED TO THE ROYAL SOCIETY JUNE 10 1841

1841Best.-Nr. 52094London: Printed by J. & H. Cox Brothers 74 & 75 Great Queen Street Lincoln's-Inn Fields 1841. First edition. 4to. 4 pp. Aside from a few faint pinpoint spots of foxing this is a fine as new copy. Housed in a custom made cloth chemise and slipcase titled in gilt along the spine. Shortly after the presentation of his paper before the Royal Society on 31 January 1839 Talbot at his own expense printed the text as a pamphlet of 14 pages; "Some Account of the Art of Photogenic Drawing."became the world's first separate publication on photography. Through this process an ordinary piece of writing paper was immersed in a sensitizing solution dried placed in a camera and exposed in daylight to a subject for upwards of an hour or longer. Upon examination a tonally reversed rendering of the subject was visible. It was then soaked in a solution of salt and washed and dried then the process was essentially repeated exposing the first print to the new sensitized sheet reversing the tones to produce an image with the tonality as in nature. Through a series of further experiments over the next months Talbot discovered that a "latent" image always existed and that through chemical development it could be brought to life. This allowed for speeding the exposure in the camera to be cut to a mere 30 seconds and the enriched chemical solutions would produce a sharper and tonally richer image. This process he first called the Calotype from the Greek kalos - beautiful. On June 10 1841 Talbot presented the Calotype process at a meeting of the Royal Society and at his own expense he published a four page description of his process. Unlike his earlier publication on Photogenic Drawing here he states in detail the full process. Upon the urging of John Herschel and David Brewster he began to call his process the Talbotype rather than Calotype. His intention was to license this process and likely this printed description was printed to distributed to potential licensees. Aside from changing the name from Calotype to Talbotype in the title of this publication and the slight alteration in the printer's imprint the text of the two issue are identical - the word Calotype remains in the body of the text This is the foundation stone of the negative-positive process that has been in use since it was first published. This printing is much rarer than the Calotype variant with WorldCat locating only Harvard University - Houghton Library and Cornell University. Gernsheim Incunabula No. 655 listing only the Calotype variant. Roosens and Salu No. 10285 listing only the Calotype variant. Weaver HENRY FOX TALBOT SELECTED TEXTS AND BIBLIOGRAPHY No. 87 listing only the Calotype variant. Printed by J. & H. Cox, Brothers, 74 & 75, Great Queen Street, Lincoln's-Inn Fields unknown

Andrew Cahan: Bookseller, Ltd · Vereinigte Staaten10.000,00 $≈ 8.934,16 €

[Reynard the Fox]Biblio.com

The Most Delectable History of Reynard the Fox

1701Best.-Nr. 6399London: T. Ilive 1701. Early English editions. Bound together with: The Most Pleasant and Delightful History of Reynard the Fox. The Second Part. Containing Much Matter of Pleasure and Content. Written For the Delight of young Men Pleasure of the Aged and Profit of all. To which is added many Excellent Morals. London: Printed by A.M. and R.R. for Edward Brewster 1681. And: The Shifts of Reynardine The Son of Reynard the Fox Or a Pleasant History of His Life and Death. Full of Variety &c. And may fitly be applied to the Late Times. Now Published for the Reformation of Mens Manners. London: Printed by T.J. for Edward Brewster and Thomas Passenger 1684. Three parts in one small quarto volume 7 5/16 x 5 9/16 inches; 186 x 141 mm. 156 2 table of contents 2 publisher's advertisements; 111 1 publisher's advertisements; 8 160 pp. Mostly black letter with titles and side notes in roman letter. Sixty-two woodcuts in the first part printed from thirty-nine blocks and fifteen woodcuts in the second part five repeated all repeats from the first part. Most cuts signed "E.B." Edward Brewster. Woodcut on C1 recto Part I printed upside down. Some browning occasional light damp staining and soiling. Part I with tiny puncture marks in the lower blank margin through gathering I just touching one letter in the imprint on the title-page six small holes in I3 and one tiny hole in I4 causing loss of a couple of letters. Part III with paper flaw in the upper blank corner of A3 and A4 tiny tear 1/4 inch in the lower blank margin of F4 and paper flaw in the lower blank corner of I2 none affecting text. Contemporary sprinkled sheep. Covers ruled and decoratively tooled in blind spine decoratively tooled in gilt in compartments with two red morocco gilt lettering labels. Some expert restoration to joints and corners. Armorial bookplate of Gloucester on front free endpaper. Bookplate of Hugh Cecil Lowther 5th Earl of Lonsdale 1857-1944 on front pastedown his sale 12 July 1937 lot 445. An excellent copy. Housed in a felt-lined quarter brown morocco clamshell case spine with five raised bands decoratively tooled and lettered in gilt in compartments. Reynard the Fox "hero of several medieval European cycles of versified animal tales that satirize contemporary human society. Though Reynard is sly amoral cowardly and self-seeking he is still a sympathetic hero whose cunning is a necessity for survival. He symbolizes the triumph of craft over brute strength usually personified by Isengrim the greedy and dull-witted wolf. . The main literary tradition of Reynard the Fox descends from the extant French 'branches' of the Roman de Renart about 30 in number nearly 40000 lines of verse. The facetious portrayal of rustic life the camel as a papal legate speaking broken French the animals riding on horses and recounting elaborate dreams all suggest the atmosphere of 13th-century France" Merriam-Webster's Encyclopedia of Literature. There is some variation in chapter number within the early editions: From "Caxton's first edition 1481 to Thomas Gaultier's only edition 1550 the story is divided into 43 chapters" while the anonymous edition 1560-1585 has 58 chapters Varty. By the 17th century when the text is titled The Most Delectable History of Reynard the Fox it appears with only 25 chapters and maintains its image cycle. Early 17th century editions also maintained this "picture cycle" through Edward Brewster's 1662 edition but at this point the Wynkyn de Worde blocks were extremely worn and new set was created Varty. Forty images were used for his second edition 1671 and all contain his initials EB. "He published further illustrated editions in 1676 1681 1694 and 1701. in 1672 he grafted new life onto the old story with A Continuation Or Second Part of the Most Pleasant and Delightful History of Reynard the Fox" Varty for which he eventually created an additional 15 illustrations. In 1684 he would produce an additional sequel following the adventures of Reynard's son Reynardine. Brunet IV cols. 1228-1229. Lowndes p. 2076. Varty Appendix Three: "A Short-Title List of All Extant Illustrated Histories of Reynard the Fox from Wynkyn de Worde c. 1495 to A. Soulby c. 1800 which are kept in United Kingdom libraries based on H. Menke Bibliotheca Reinardiana" 24 18 and 21. Wing S3512 Part II and S3436 Part III. T. Ilive unknown

Whitmore Rare Books · Vereinigte Staaten9.500,00 $≈ 8.487,45 €

[Reynard the Fox]ABAA

The Most Delectable History of Reynard the Fox

Whitmore Rare Books · Vereinigte Staaten9.500,00 $≈ 8.487,45 €

Felix VALLOTTON - Jules RENARDBiblio.com

Poil de carotte Carrot Head or Carrot Top

1902Best.-Nr. 87525Paris: Flammarion 1902. Fine. Flammarion Paris s. d. 1902 11.50 x 19 cm relié sous chemise et étui Second edition with some parts in first edition with 5 added tales Félix Vallotton's illustrations in first issue one of 20 numbered copies on japon only deluxe issue. Bradel binding brown 3/4 cloth smooth spine with floral motif stamped in gilt at center twice ruled in gilt at foot slightly chafed morocco title-label marbled paper boards original covers and spine preserved contemporary binding signed Carayon. Small clear stains to the top edge of first board one corner slightly rubbed a spot of foxing at foot of the first few pages. Illustrated with 50 drawings by Félix Vallotton. Rare and handsome copy housed in a contemporary binding by Carayon. Renard and Vallotton the foreign nabi had met in the offices of La Revue Blanche a famous avant-garde journal which frequently featured Vallotton's woodcuts and published numerous contributions by Jules Renard. The writer invited Vallotton to illustrate this ""other first edition of Poil de Carotte which includes 5 previously unpublished stories: My dear Vallotton Would it amuse you to illustrate - in complete freedom - Poil de Carotte for Flammarion Renard wrote him in a letter dated June 21 1902. Vallotton was chosen ahead of Toulouse-Lautrec and Alexandre Steinlen two other great artists of the time who had shown an interest in the project. Renard's affinity with Vallotton's style is easy to understand as Vallotton's raw simplicity perfectly matches Poil de Carotte's incisive depiction of a loveless childhood: A few words a few lines are enough for these two artists. They both ruthlessly cut away the superfluous Léon Guichard L'Interprétation graphique cinématographique et musicale des uvres de Jules Renard. Flammarion hardcover

Rare Books Le Feu Follet - Edition-Originale.com · Frankreich7.820,00 €

[REYNARD THE FOX].Biblio.com

The most delectable history of Reynard the Fox. Newly corrected and purged.

1701Best.-Nr. 22642London 1701. 4to. Thomas Ilive for Edward Brewster Late-18th-century sprinkled calf sewn on 5 cords 3 attached to the boards and 2 cut short gold double fillets blind-tooled board edges red morocco spine label in 2nd of 6 compartments red sprinkled edges. With woodcut of King Lion's court on the title page 61 woodcuts in text of part 1 including 23 repeats all signed Edward Brewster and all half-page 7.5 x 10.5 cm to nearly full-page 13 x 9.5 cm and 15 woodcuts in part 2 all repeated from part 1. Further with a large woodcut decorated initial in part 3 and decorations built up from cast fleurons in parts 1 and 2. Set in textura types with incidental roman and italic including Moxon's 1669 Canon roman on the title-page of part 3. 3 parts in 1 volume. 160; 112; 4 160 pp. One of the rare sets of all 3 parts of the English Reynard the Fox the third part here in its first edition. The Reynard stories were already established as a coherent collection in the 12th century and were first printed in 1479 in a Dutch prose edition. They became especially well known when translated into English and adapted for Caxton's 1481 edition in 43 chapters. The publisher Edward Alde in London began work on an extensive revision of Caxton's text with many new additions but he published only the first part probably in 1620 the first edition of the present part 1 containing 25 chapters some corresponding with chapters in Caxton's edition and some not. Although the second part would have to wait 52 years the first part quickly became the standard English version of the Reynard the Fox stories with 8 editions from 1620 to 1671. Its language was modernized giving both a view of the stories as they were known through most of two centuries and insights into English values and culture of the time. In 1684 Brewster added the present first edition of part 3 giving the adventures of Reynard's son Reynardine.With 20th-century woodcut bookplate. The woodcut on C1 of part 1 is printed upside down. In good condition with parts 2 and 3 slightly browned. One front endleaf is detached the spine slightly damaged at the head and the front hinge cracked.l Ebert II 18879; ESTC T60836 R218371 R40614; Kirmse 15; Menke V B c note on pp. 221-222 nos. 35 29 30; Wing S3512 S3436 parts 1-2; not in Prien. hardcover

Asher Rare Books · Niederlande6.500,00 €

Renard

Renard

Jahrhundert

Sprache

Fotos

Hinzugefügt

Themen

Kataloge

Jahrhundert

Sprache

Fotos

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Themen

Kataloge

Jahrhundert

Sprache

Fotos

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Themen

Kataloge