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Tablettes dramatiques

Tablettes dramatiques, contenant l’abrégé de l’Histoire du Théâtre François, L’établissement des Théâtres à Paris, un Dictionnaire des Pièces et l’abrégé de l’Histoire des Auteurs & Acteurs. Paris, Sébastien Jorry, 1752. [bound with:] Supplément aux Tablettes dramatiques pour les Années 1752 & 1753. Paris, Pissot, Jorry, Duchesne, 1753. [bound with:] Supplément. pour 1753 & 1754. Paris, Jorry, Duchesne, 1754. [bound with:] Supplément. pour 1754 & 1755. Paris, Jorry, Lambert et Duchesne, 1755. [bound with:] Supplément. pour 1755 & 1756. Paris, Jorry, Lambert et Duchesne, 1756. [bound with:] Supplément. pour 1756 & 1757. Paris, Jorry, Lambert et Duchesne, 1757. [bound with:] Supplément. pour 1757 & 1758. Paris, Jorry, Lambert et Duchesne, 175

THEATRE - MOUHY, Charles de Fieux, chevalier de. 8vo in 4s, pp. [ii] (series title dated 1763), xxii, [ii], 244, 88; 48 (the pagination of the six supplements is continuous); text printed within woodcut border; partly uncut, finely bound in late nineteenth century crushed blue morocco, spine in compartments, gilt-lettering directly to spine, tooled with theatrical mask to spine and to all four corners of upper and lower board, upper edge gilt, gilt dentelles; a fine copy. First edition, very rare with all six supplements present, of this detailed account of French theatre up to the middle of the eighteenth century. The supplements, which were published separately over the course of six years, are very rarely present. Here they are collected with a general title page, dated 1763, published 'at the expense of the author', and bound in a fine 'theatrical' binding. The Tablettes dramatiques are a most valuable source for the history of French theatre, covering first the history of the theatre, the history of the foundation of specific theatres, an inventory of plays performed or printed for the period 1552 to 1752, with critical commentary, and finally a biographical dictionary of authors and actors. The supplements generally follow the same format and give information on new plays, a performance calendar for the period in question, details of ballets, and biographical information on new emerging actors. A fascinating overview of French or more specifically Parisian theatre history, documenting the transition from medieval theatre to the highly organised and politicised drama up to the middle of the eighteenth century. The chevalier de Mouhy (1701-84), was a playwright and prolific author on the theatre, he also published an Histoire du theatre français depuit son origine jusqu'en 1780. Grand-Carteret (Almanachs Français) 192; Dufour, Bibliographie de Paris, p. 395; Soleinne, IV, 283; OCLC locates a number of copies of the main work, but only Dutch Royal Library, Lyon and Bibliotheque Nationale for the full complement of supplements.
  • $2,648
  • $2,648
The American Baptist Missionary Union. Copyright

The American Baptist Missionary Union. Copyright, 1885, by Fred T. Bailey. No place (about 1885).

[MISSIONARY GAME]. The game consists of twelve books with four cards each. Size: 6.2 x 10.6 cm. An extra card with information about the Missionary Union and a folded sheet with instructions about the game (reinforced at folds). Each card indicates the name among whom the mission started, the location, the year and the name of the Pioneer missionary. Including four from Burma, four from India, one from Siam, one from Macao, one from Japan and one from Congo. With text in English and on the back of the card is "The Lord's Prayer" printed in Burmese characters. Some staining to thecards. "The American Baptist Missionary Union was first founded in 1814. Missionary work started among the Burmese in Rangoon and gradually extended to other tribes and nations. At this time (1885) there were fourteen stations in Burma: six in Assam, twelve among the Telugus, five among the Chinese, and four in Japan", according to the introduction. Comprises: 1. Burmese, Rangoon, Adoniram Judson 1814. 2. Karens, Tavoy, Geo D. Boardman 1828. 3. Shans, Toungoo, Moses H. Bixy 1861. 4. Ka-Chins, Bhamo (Burma), W.H, Roberts 1877. 5. Assamese, Sadiya, Nathan Brown 1836. 6. Garos, Gowalpara (Assam), I.J. Stoddard 1863. 7. Nagas, Haimoung (Assam), E.W. Clark 1876. 8. Telugus, Chicacole (Andhra Pradesh), Samuel S. Day 1836. 9. Chinese in Siam, Bangkok, William Dean 1833. 10. Chinese in China, Macao, J.L. Shuck 1836. 11. Japanese, Yokohama, Nathan Brown 1872. 12. Congo, Palaballa, Henry Craven 1878. The game is complete and housed in a specially made cloth box. Some staining but a very good copy of this fascinating game, which must be extremely rare to find complete.
  • $3,197
  • $3,197
Rutherford's Compleat Collection of one hundred & twelve of the most celebrated Minuets with their Basses both old & new
  • $1,553
Le Soleil Au Signe du Lyon d'ou quelques paralleles sont tirez

Le Soleil Au Signe du Lyon d’ou quelques paralleles sont tirez, avec les tres-Chrestien, tres-Iuste, & tres-Victorieux Monarque Louys XIII. Roy de France & de Navarre, en son Entrée triomphante dans sa Ville de Lyon. Ensemble Un sommaire recit de tout ce qui s’est passé de remarquable en ladite Entrée de sa Majesté, & de la plus Illustre Princesse de la terre, Anne d’Austriche, Royne de France & de Navarre, dans ladite Ville de Lyon le 11. Decembre 1622

SPLENDID CEREMONIES. GRAND ENTRIES bound with Reception de tres-chrestien, tres-iuste, et tres-victorieux monarque Louys XIII. Roy de France & de Navarre, premier Comte & Chanoine de l'Eglise de Lyon: et De Tres-chrestienne, Tres-auguste, & Tres-vertueuse Royne Anne d'Austriche: Par Messieurs les Doyen, Chanoines, & Comtes de Lyon, en leur Cloistre & Eglise, le XI. Decembre, M. D. XXII. Lyon: Par Jaques Roussin, 1623 FIRST EDITION OF BOTH WORKS Folio in 4s: 29 x 20 cm. Soleil: Ï1(=A1?) *4 Î'4(-Î'1) B-R4 (R3 blank) S-X4 Y6 [$3 signed; -*2, *3, D1, G1, H2, K1, L1, M3, P1]. 94 leaves, pp. [10] (title printed in red-and black, blank, 4pp. dedication, 3pp. to the reader, imprimatur) 3-180. [=x, 178] With 12 engraved plates (11 integral with the text), of which 1 is folding (not integral). "Reception": A-G4 H6 [$3 signed; -A1, E2, E3]. 34 leaves, pp. 1-2 (title, blank) 3-67, blank. With 7 engraved plates (3 integral with the text), of which 4 are folding (not integral). Collated complete against the BnF copies. Bound in contemporary parchment (mild soiling and wear, a little rumpled.) On the spine, title in ink manuscript ("L'entrée/ De Louys/ XIII a/ Lione"). Text in fine condition with some very mild toning, occasional spotting, and a few minor stains. A few lvs. (C1/4 second work) lightly browned. A few clean tears repaired, no loss. Small marginal tears to a few lvs., far from the text. Bookplate of Paul and Marianne Gourary to the front paste-down. Ownership signature of "d. Rubto Galilei" to the front paste-down. Two works describing and illustrating the entry of Louis XIII (1601-1643, r. 1610) and his Queen consort Anne of Austria (1601-1666, m. 1615) into Lyon on 11 December 1622. Richly illustrated with engravings by Charles Audran, G. Autgers, Pierre Faber, Grégoire Huret, Philippe de Malley and David van Velchem. This royal tour marked the end of the first Huguenot rebellion, which was resolved by the Treaty of Montpellier, signed 18 October 1622. With scarcely six weeks to prepare, Lyon welcomed the triumphant king and queen - the titles' emphasis (very Christian, very just, very victorious) is telling - and celebrated their reign with pomp and spectacle. Louis XIII is here compared to the sun, a title more usually applied to his son Louis XIV, le roi soleil. The royal entry at Lyon was one of a number of celebratory stops made by the royal couple on the way from Montpellier (where the king had just signed the treaty.) Other regal celebrations were held in Arles (October 30, 1622), Aix (November 3 and 10, 1622), Marseille (November 7, 1622) and Avignon (November 16, 1622). These two related two works describe the entry, the monuments, ceremonies, and festivities. The "Sun in the sign of Lyon" describes the different monuments, composed of triumphal arches, columns, fountains, etc. erected for the occasion. It is illustrated with a vignette on the title with the arms of Lyon, drawn and engraved by Pierre Faber, and with 12 figures, including 11 full page and one folded out of text, by Faber, D. de Mallery, Grégoire Huret, Van Velkhem and G. Autguere; they represent the different monuments described in the work. One of the engravings shows the magnificent fireworks display over the river Saône. The present volume belonged to Ruberto Galilei (Roberto, born 1595), a Lyon-based cousin (fifth, once removed; nevertheless Favaro describes him as "sinceramente affezionato a Galileo") of the renowned scientist Galileo Galilei (1564-1642). Ruberto acted as an intermediary for Galileo's foreign correspondence - with Diodati, Peiresc, Mersenne et al. - after his inquisitorial trial in 1633. The cousins also corresponded, especially concerning the movement and publication of books. Ruberto moved from Florence to Lyon as a young man, and so possibly witnessed this joyeuse entrée. [1] An earlier issue of the Reception with a 1622 date (surely a nicety rather than a sign that the work was conceived and published in 20 days) is recorded, but is otherwise identical. [2] Fa
  • $15,000
  • $15,000
A great Fleming letter - the author gets influence for a Bond plotline!

A great Fleming letter – the author gets influence for a Bond plotline!

Ian Fleming Fleming, Ian (1908 – 1964) 'James Bond must emulate that exploit' A fine typed letter signed by Ian Fleming ('Yours ever, Ian'), Kemsley House letterhead, May 2nd 1957. Fleming writes to fellow author R. W. Thompson. In full: 'What an extraordinary kind thought to have written such a warm and splendid letter. I couldn't have been more pleased, although there is surely a touch of the old Thompson hyperbole in your praise. Anyway it was intoxicating stuff to find on my same old desk in W.C.l. on a dull Thursday morning. I do hope all goes well with you and that being a writer in your own time and not a hireling has proved the right choice. I am sure it was. Your wine is far too new for the aged fiascos of Fleet Street. I shall never forget that bed of roses story about you — in Belgium I think it was — at the end of the war. One day James Bond must emulate that exploit. Again a thousand thanks for the wonderful letter.' Fleming adds the salutation in his own hand: 'My dear Tommy'. In fine condition, with a short tear, and paper loss, to the upper right corner. A warm letter of reply from Fleming, who, true to his word, would revisit 'that bed of roses story' in From A View To A Kill, one of five short stories published in the 1960 book For Your Eyes Only. The referenced passages read as follows: '…there was a low mound, perhaps a tumulus, covered with brier roses…' (p. 34), '…inside the mound, deep down in the earth, was the most professional spy unit that had ever been devised…a shiver of excitement and anticipation, almost of fear ran down Bond's spine…' (p. 38), and 'Instead of the periscope, a rose-stalk aerial would rise up from the bush… deep down under the earth off would go the high-speed cipher' (p. 40). Fleming letters referencing his iconic James Bond character are especially scarce, with this particular example all the more desirable given its creative connection to a well-known 007 short story. Reginald William Thompson (1904-1977) was an Army officer, journalist, author and friend of Ian Fleming. He served in World War II and was promoted to Captain before being transferred to the Intelligence Corps for training. After demobilization, Thompson joined the Kemsley Newspaper Group, attending and reporting on the Nuremberg trials. He travelled extensively as a war correspondent for the Sunday Times. In 1951, Thompson settled in Suffolk to write full-time on military subjects.
  • $9,964
  • $9,964
A fine

A fine, early content autograph letter signed by Debussy

Claude Debussy Debussy, Claude (1862 – 1918) 'I haven't the least intention of disconcerting my contemporaries with insomnious harmonies.' A fine three-page autograph letter signed by Claude Debussy ('Cl. Debussy'). Written on October 5th 1890 (according to postal stamp on accompanying envelope) in fountain pen ink on a single folded sheet of paper, and addressed to his friend, the composer Raymond Bonheur (1861 – 1939). Debussy opens with a flourish: 'I've wanted to write to you for days and days; some annoyances of revolting banality have prevented me from doing so. I don't dare tell you that the rare and fine incense launched by you over the melodies rises deliciously to my nostrils, for then I would immediately have to behave like an exalted idol and be obliged to accomplish miracles and assume a posture that is pretty tiring in an age of upheaval.' He goes on, 'Besides, I haven't the least intention of disconcerting my contemporaries with insomnious harmonies. I simply want the assent of people like yourself, who are disinterested in easy programmes and are truly willing to believe in music devoid of impure mixtures. Why look first at the label, and put oneself on the level of things that are sold in the bazaars? Let us make music that contains our whole lives and not merely small corners of it fit only for those who gape and engage in small talk and who never create it [he adds an asterisk, adding a comment below, '*And indeed for those who do create it!'] and that way we will not get in the way of literature or philosophy. With that, I shall expect you one of these days, and am yours very cordially and amicably, Cl. Debussy'. In very fine condition, and together with the original hand-addressed envelope. An interesting and early letter from the composer on the cusp of a new style (a style later known as 'impressionism'), written as it is during a period of flux and inspiration. An ardent follower of Wagner in the 1890s, Debussy had recently concluded that to imitate his style would not be the way forward; he famously described the German composer as 'a beautiful sunset that was mistaken for a dawn'. In 1889, he had first heard Gamelan music at the Paris Exposition, and his friendship with Satie began in 1890; in Satie, he found a kindred spirit. Debussy's subsequent output in the 1890s included celebrated works such as Pelleas et Mellisande, his String Quartet, Prélude à l'après-midi d'un faune and many important piano works; of particular note is his piano piece Rêverie, written in 1890, which employs impressionistic techniques accompanied by late romantic harmony, creating a dreamlike and ambiguous musical landscape — a style he would carry forward into some of his most important works of the period.
  • $4,982
  • $4,982
A fine content signed letter by Mandela

A fine content signed letter by Mandela

Nelson Mandela Mandela, Nelson (1918 – 2013) 'A younger generation… guiding the country towards a secure and prosperous future' An excellent typed letter signed by Nelson Mandela ('N. Mandela'), on his personal letterhead, April 17th 2004. A lengthy letter to Dr. Ivan May. In full: 'There could have been no more appropriate way for South Africans to celebrate the first decade of democracy than going to the polls in this period. Nothing else symbolised the birth of our non-racial democracy so vividly as those wonderful election days in April 1994. The nation came together in the physical act of voting on those days; it is proper that we marked a decade in the life of democratic South Africa by once more coming out voting for our national and provincial legislatures.' 'We had many challenges and obstacles in our national life over this past decade and the problems ahead remain large and daunting. Too many people in our country are still suffering the hardships and deprivations of poverty. One of the root causes of that poverty is the absence of jobs; nothing can be more of an assault on a person's dignity than the inability to find work and gainful employment. Accompanying poverty are myriads of social ills — illiteracy, homelessness, exposure to preventable diseases, general penury and social vulnerability. And the threat of HIV/AIDS looms large in virtually all aspects of our national life.' 'What we can say, though, is that we now have the weapon and the protection of democracy to face and tackle those problems and challenges. The simplest, but therefore also most fundamental, gain of our democracy is that the people govern. There may be shortcomings in delivery; government departments and officials may in some cases be under-performing; certain interest groups may feel that they are not sufficiently catered for; there are certainly many areas of legitimate and valid complaint and dissatisfaction. All of this, however, is played out, contested, debated and accounted for within the secure framework of a multi-party pluralist democracy.' 'Because of our democracy—non-racial, non-sexist, accommodating of diversity—we have managed over this decade to cement the unity of our nation. Whatever differences we may have and tensions that may exist, our democratic constitutional order is not threatened. We are solidly one nation, united in our diversity, held together by our common commitment to the constitution. We have indeed put our racially divided past firmly behind us and face the future with the confidence of a united, non-racial, democratic country.' 'That future lies in the hands of people and it has been a particular source of satisfaction to observe, especially over these last five years, a younger generation of leaders guiding the country towards a secure and prosperous future. President Thabo Mbeki is a shining and inspiring example of this. His firm leadership and clear vision had manifested not only in the remarkable progress South Africa has made, but also in continental and international affairs. The steady regeneration of Africa and the regard with which South Africa is held internationally are in no small measure due to his work and efforts.' 'The growth, consolidation and sustained health of our democracy are the responsibilities not only of leaders, but also of each and every citizen. We may not take our liberty and our democracy for granted. Too many people in all walks of life and over many years and decades suffered and sacrificed for its achievement. The almost miraculous triumph of reason and compassion over prejudice and fear at the time of our peaceful transition is too precious.' 'Every political party and organisation has a responsibility to keep our democracy alive, our people united and our country progressing towards peace and prosperity. Every individual in every sector of society has the responsibility to remain a caring South African, never indifferent to the affairs and well-being of our c
  • $1,993
  • $1,993
A ccount of the ancient rolls of papyrus
OEUVRES DE GRESSET. [with] LE PARRAIN MAGNIFIQUE

OEUVRES DE GRESSET. [with] LE PARRAIN MAGNIFIQUE

(FRENCH ILLUSTRATED BOOKS). (BINDINGS - BRANY). [GRESSET, JEAN-BAPTISTE-LOUIS] 212 x 130 mm. (8 1/4 x 5 1/4"). Two volumes. LOVELY LATE 19TH CENTURY DARK BLUE MOROCCO, VERY ELABORATELY GILT, BY BRANY (stamp-signed on front turn-ins), covers with large, lacy central lozenge formed by floral tools, shells, volutes, stars, and other small tools, cornerpieces of similar style, raised bands, spine compartments with central quatrefoil containing a bird in flight, gilt lettering, turn-ins with floral gilt roll, marbled endpapers, all edges gilt. WITH A TOTAL OF 28 FINE ENGRAVINGS: three engraved portraits, EIGHT ENGRAVED PLATES BY MOREAU LE JEUNE, BEFORE LETTERS, EACH PRESENT IN TWO STATES, and EXTRA-ILLUSTRATED WITH NINE PLATES from another edition showing different versions of the scenes, seven by Moreau le jeune (six, plus one in two states), one by Marillier, and one unsigned. A Large Paper Copy. Cohen-de Ricci 463; Vicaire III, 1131. âSpines just slightly (and evenly) darkened, barely perceptible wear (that is expertly retouched) along front joints, trivial imperfections internally, otherwise quite a fine and handsome copy--clean, fresh, and bright internally, in lustrous bindings shining with gilt. Produced by a bibliophile for bibliophiles, this is, in Brunet's opinion, the best and most complete edition of the works of Gresset, and our copy is offered with illustrations by Moreau le jeune in two states before letters, with additional engravings from two other editions of Gresset, and in elegant bindings. Jesuit poet Jean-Baptiste-Louis Gresset (1709-77) is best known for the first work here, the mock-heroic poem "Ver-Vert," which tells the story of a talented parrot, the pet of a convent who has learned to repeat prayers and other pious phrases. Its owners take the pet to another convent to show off the bird's prowess, but during the journey, the parrot picks up startling new vocabulary and arrives cursing and swearing, much to the consternation of the nuns who brought it. The accompanying illustrations by Moreau le jeune illustrate with considerable charm the parrot's fall from grace. We have the opportunity here to see two corresponding interpretations of the episodes by Moreau, as additional--sometimes quite different--plates by him from a 1794 Didot edition have been inserted in our copy. A book collector turned publisher, bookseller, and bibliographer, Antoine-Augustin Renouard (1765-1853) was known for his collaborations with Moreau le jeune and other talented illustrators, and for issuing his books in varying levels of luxury. According to Vicaire, the present work was offered with or without engravings, on "papier vélin satiné" with engravings, or, as here, on that smooth, satiny paper with the plates before letters--at four times the price of the basic edition. Jean-Michel Moreau, known as Moreau le Jeune (1741-1814), provided illustrations for Diderot's encyclopedia and engraved works for François Boucher, in addition to illustrating the works of Rousseau and Voltaire. According to the Getty Museum, "publishers sought him out for his powers of observation and ability to capture nuances of gesture, pose, and light." Ray says that the best work by Moreau "showed him to be the equal of the established rococo masters Boucher, Eisen, and Gravelot," and that in his heyday, "he carried all before him." Our set was bound by the Parisian artisan Brany, who was, according to Flety, active in the last third of the 19th century. The bindings here, featuring very elaborate, precise finishing, are exceptionally accomplished.
  • $2,496
  • $2,496
Album of Kindergarten Work – Paper Cutting and Paper Folding

Album of Kindergarten Work – Paper Cutting and Paper Folding

Doyle, Agnes Oblong quarto, undated, likely late 19th early 20th century, 31 examples of paper cutting mounted on cardboard leaves, which fold accordion style into a brown cloth album, with string tie, "Kindergarten Work" stamped in gilt on front board, in very good, clean condition. This album contains the paper cutting and folding work done by Agnes Doyle for two of Froebel's "Occupations" in this case paper cutting and folding. The materials in this occupation were scissors and papers, squares, triangles, and circles of white or colored paper. The papers were first folded and then cut according to either geometric progression or fancy, the pieces subsequently arranged in a design by the child. The child also cut flowers, fruit, animals or any complete form from the paper without folding, and the work subsequently mounted on cardboard. This album is a particularly nice example of its kind. The present album grew out of the series of "gifts" and "occupations" devised by Friedrich Wilhelm Fröbel as part of his Kindergarten system of early childhood education. "Kindergarten has been around so long, and is so thoroughly familiar, that it is natural to assume personal expertise on the subject. But kindergarten for us, and for most of the generations born in this century, is a distortion, a diluted version of what Friedrich Wilhelm Fröbel (1782–1852) originated as a radical and highly spiritual system of abstract design activities developed to teach the recognition and appreciation of natural harmony. Kindergarten has always included singing and dancing, as well as observation of the workings of nature—the growth of plants, the symmetries of crystals and seashells. One's teacher was usually a woman and she led the class in activities that would have been considered play outside the school. But long abandoned, and thus hardly known today, is the practical and philosophical heart of the system—Fröbel's interconnected series of twenty play "gifts" using sticks, colored paper, mosaic tiles, sewing cards, as well as building blocks, drawing equipment, and the gridded tables at which the children sat." – Norman Brosterman, See also: Brosterman, Norman, Inventing Kindergarten (New York: Abrams, 1997)
  • $500
Description historique de la Ville de Paris et de ses environs. Nouvelle édition revue

Description historique de la Ville de Paris et de ses environs. Nouvelle édition revue, corrigée et considérablement augmentée. Avec des figures en taille-douce.

PIGANIOL DE LA FORCE (Jean-Aimar). 10 vol. in-12 de : tome I, XLIV-466 pp., 8 planches ; II. (4)-496 pp., 17 planches ; III. (4)-501 pp., avec 12 planches ; IV. (4)-482 pp., 19 planches ; V. (4)-487 pp., 10 planches ; VI. (4)-445 pp., 9 planches ; VII. (4)-422 pp., 7 planches ; VIII. (4)-466 pp., puis pp. chiffrées (345)-(340), 8 planches ; IX. [Environs de Paris]. VIII-536 pp., 4 planches ; X. Contenant la liste des rues, &c., la table générale des matières (4)-564 pp., veau marbré, dos orné à nerfs, pièces de titre et de tomaison en maroquin rouge et verte (reliure de l'époque). Dernière édition revue et augmentée par l'abbé Pérau, la plus complète. Elle est illustrée d'un grand plan dépliant par le géographe F. Baillieul et de 93 planches gravées dont 22 plans de quartiers (deux pour celui de la Cité et deux pour celui de St-Antoine) gravées par Scotin et 71 planches (la plupart dépliantes) par Hérisset, Lucas ou Aveline.Le neuvième volume est constitué d'une description des environs de Paris ; le dixième volume comprend un index des rues et la table générale.« Cette édition constitue la dernière description complète de Paris que nous ait léguée le XVIIIe siècle » (Dumolin).Très bon exemplaire complet ; quelques coiffes et coins usés.Dumolin, Notes sur les vieux guides de Paris, 66-67 ; Catalogue Lacombe, 917 ; Cohen-De Ricci, 800.
  • $2,580
  • $2,580
Nicolai Klimii iter subterraneum

Nicolai Klimii iter subterraneum, novam telluris theoriam ac historiam quintae monarchiae adhuc nobis incognitae exhibens e bibliotheca B. Abelini.

Ludwig Holberg Copenhagen & Leipzig, Jacob Preuss, 1741. First edition, first impression. Hardback. A very good copy. An early classic of underworld science fiction by the father of modern Danish-Norwegian literature. This novel was a major inspiration for Verne, and the first work of fiction to use Halley's theory that planets comprise concentric spheres surrounding a small central sun. Set in the year 1665, the story is told by Niels Klim, who comes back to his native town Bergen after receiving his degree from the University of Copenhagen. While climbing a mountain with a group of friends, he falls into a pit to emerge - after fifteen minutes - in the hollow interior of the Earth. This space is a small cosmos with planets orbiting around a miniature sun. After floating for a while, he eventually lands on a planet named Nazar, in the kingdom of Potu (which echoes "utopia" spelled backwards), and discovers a species of intelligent anthropomorphic tree-men. Holberg's work "blends satire with a fantastic voyage and breathes the spirit of the eighteenth century. Other than its Latin language and passages of verse and prose adapted from classical authors, this novel is entirely modern in spirit. Its description of travel to exotic lands reminds one of his near-contemporary Jonathan Swift's Gulliver's Travels (1726), but with far more wit and humour. Rebacked with original spine laid down, engraved frontis and three smaller plates. Ownership inscriptions. Extremities and surfaces rubbed and worn, some light foxing and a couple of neat repairs to leaves. A nice copy. [11439, Hyraxia Books].
  • $2,331
  • $2,331
An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China; .Together with a relation of the Voyage undertaken on the occasion by H.M.S. The Lion

An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China; .Together with a relation of the Voyage undertaken on the occasion by H.M.S. The Lion, and the Ship Hindostan, in the East India Company’s service, to the Yellow Sea, and Gulf of Pekin; . Taken chiefly from the papers of His Excellency the Earl of Macartney, . 

STAUNTON, SIR GEORGE 2 vols. plus Atlas. Lond: Printed by W. Bulmer, 1797. Text vols. in 4to. full diced calf, hinges repaired, Atlas folio, matching half calf over marbled sides, rebacked to match text. Spines uniformly gilt, with 2 engraved frontispieces, 26 engravings in text, and 44 plates & maps in Atlas some of which are folded. On September 21, 1792, Lord Macartney set sail from Spithead charged with Britain's first official embassy to China. The embassy was conceived on a grandiose scale for the aim was to break down the aged Emperor Chien-Lung's disdain and suspicion of Europeans; he was to be dazzled by the grandeur of the British delegation and the cargo of rich presents. Staunton, a medical doctor and friend of Dr Johnson, had already served in many diplomatic posts, some as aide-de-camp to Lord Macartney, when governor of the Caribbee Islands in the West Indies. When Macartney was appointed governor at Madras, Staunton accompanied him as secretary. After a period of retirement he was again called to serve Macartney, as secretary to the embassy to China. He compiled this book chiefly from the papers of the Ambassador and his fellow envoys. His work was remarkably successful: fifteen editions were issued in seven countries in thirty years. The account of this famous Embassy was prepared at Government expense. Apart from its Chinese importance, it is of considerable interest owing to the descriptions of the various places en route which were visited, including Madeira, Teneriff, Rio de Janeiro, St. Helena, Tristan d'Acunha, Amsterdam Island, Java, Sumatra, Cochin-China etc.
  • $11,310
  • $11,310
THEATRUM MUNDI

THEATRUM MUNDI, ET TEMPORIS. IN QUO NON SOLUM PRECIPUAE HORUM PARTES DESCRIBUNTUR.

GALLUCCI, Giovanni Paolo (1538-c.1621). Legatura coeva in piena pergamena floscia; autore e titolo manoscritti longitudinalmente al dorso. (16)-478 pagine numerate, doppia numerazione delle pagine 280 e 281 una delle quali risulta incolalta alla pagina seguente ; al fine, 1 tavola fuori testo più volte ripiegata (cm 34x36 ca,) con tabelle di numerazioni; frontespizio con titolo e marca tipografica a silografia. All`interno, 95 diagrammi silografati, di cui 44 con parti mobili (dovrebbero essere 50). In totale le parti mobili risultano essere 59 (su 70); rispetto all`esemplare presente alla Munchen Library ne risultano mancanti 11 ed esattamente; p.83 (2)-p.101 (1)-p.113 (1)-p, 131 (2)-p.155 (1)-p. 201 (2)-p.225 (1)-p. 227 (1)- Inoltre sono presenti 48 silografie delle costellazioni greche classiche, ciascuna preceduta da un catalogo delle stelle che le compongono con le loro coordinate e dimensioni, e mostra una magnifica raccolta di figure mitologiche. Le posizioni delle stelle sono prese dal catalogo di Copernico. Seconda edizione, la prima nel 1588 dello stesso editore.del Theatrum mundi di Giovanni Paolo Gallucci, considerato il primo atlante celeste moderno. Questo atlante del XVI secolo fu il primo a utilizzare le coordinate copernicane per la posizione delle stelle. In sei libri, Gallucci fornì ai suoi lettori un panorama della fisica terrestre e celeste, splendidamente illustrato con numerose xilografie. Gallucci lo dedicò a papa Sisto V, che aveva bandito tutta la letteratura astrologica nel 1586, cercando di convincerlo a concedere un osservatorio astronomico. Al suo trattato astronomico aggiunse anche note mediche, riguardanti l`influenza delle costellazioni e dei segni zodiacali sul corpo umano e quindi sulla salute umana. L`opera divenne molto popolare, probabilmente in parte a causa delle numerose illustrazioni. Ciò lo rende non solo il primo atlante celeste moderno, ma anche una delle opere astronomiche più importanti e apprezzate del XVI secolo. Esemplare in discrete condizioni, legatura con piccole lacune al dorso e tracce di consunzioni; lieve gora all`angolo inferiore esterno alle prime carte; leggera gora al margine inferiore delle ultime carte; interno fresco e bene imprresso; segnalata mancanza di 11 volvelle. Cfr. eldquo;giving the coordinates of the stars and the first atlas to use the coordinates of Copernicus.erdquo; ; eldquo;Gallucciersquo;s work is remarkable because it is the first atlas using a system of coordinates from which the latitude and longitude of the stars could be read from the margins. The very popular elsquo;Theatrum Mundiersquo; was printed again several times after the edition of 1588erdquo; (Star mapsehellip; Nick Kanas). eldquo;There are 48 woodcut maps of the Ptolemaic constellations, each of which is preceded by a catalogue of the included stars identifying position within the constellation, latitude and longitude (in degrees and minutes), magnitude, and natureehellip; The longitudes on Gallucciersquo;s catalog and on his map are those published by Copernicus in elsquo;De Revolutionibusersquo; (1543). (Warner). The constellation figures are extremely lively and original here.erdquo; ; eldquo;The elsquo;Theatrum mundiersquo; was extremely popular, and was published again in 1589 and 1603 and the Spanish translation of 1606 appeared in three subsequent editionserdquo; Contemporary full limp vellum; author and title, handwritten longitudinally on the spine. (16)-478 numbered pages, double-numbered pages 280 and 281, one of which is glued to the next page; at the end, 1 out-of-text plate folded several times (approx. 34x36 cm) with numbering plates. Inside, 95 woodcut diagrams, 44 of which have moving parts (there should be 50). In total, there are 59 moving parts (of 70); compared to the copy in the München Library, 11 are missing. In addition, there are 48 woodcuts of the classical Greek constellations. Second edition, the first in 1588 by the same publisher, of what is considered the first modern celestial atlas, the first to use Copernican coordinates for the position of stars. Copy in fair condition, binding with small gaps on the spine and traces of wear; slight waterstain at the lower outer corner of the first leaves; slight waterstain at the bottom edge of the last leaves; fresh and good impressed interior; missing 11 volvelles reported.
  • $6,506
  • $6,506
LE SEI GIORNATE DI M. SEBASTIANO ERIZZO

LE SEI GIORNATE DI M. SEBASTIANO ERIZZO, MANDATE IN LUCE DA M. LODOVICO DOLCE.

ERIZZO, Sebastiano (1525 - 1585) Legatura della prima metà del XIX secolo in pieno marocchino blu con impressioni a secco e filetti in oro ai piatti. Dorso a cinque nervi con impressioni a secco e titolo in oro; dentelle interne in oro. (7), 1 bianca, 93, (1) carte numerate. Impresa tipografica al titolo, belle iniziali stilogr. figurate, testo impresso in bel carattere corsivo. Dedica del Dolce a Federico Gonzaga. Passano I, 291: elaquo;Rara ed unica edizione del sec. XVI. Novelle scritte in buona lingua, sebbene vi si avvisi qualche stento per la voglia d`imitare il Boccaccioeraquo; Esemplare in discrete condizioni, le prime 4 carte leggermente rifilate al bordo inferiore di un paio di millimetri; qualche carta in lieve ossidazione, per il resto bellersquo;esemplare. XIX century full blue morocco with dry impressions and gilt fillets on the covers. Gilt impression on the spine; gilt dentelles. (7), 1 blank, 93, (1) numbered leaves. Beautiful, impressed initials. Dedication by Dolce to Federico Gonzaga. Cfr. Passano - I 291: eldquo;Rare and unique edition of the sixteenth century. Novels written in good language, although there is some difficulty due to the desire to imitate Boccaccioerdquo; Copy in fair condition, the first 4 leaves slightly trimmed at the lower edge by a couple of millimeters; some leaves in slight oxidation, otherwise a fine copy.
  • $1,346
  • $1,346
NOCTES REDDITÆ NUPER OMNI DISCUSSA CALIGINE MICANTISSIMÆ

NOCTES REDDITÆ NUPER OMNI DISCUSSA CALIGINE MICANTISSIMÆ

GELLIUS Aulus (125 ca endash; 180 ca) Pregevole legatura toscana coeva in piena pelle con impressioni a secco ai piatti ed al dorso, mancanza delle carte di guardia. Piatti ornati da vari riquadri di filetti ed una bordura floreale, due fregi centrali.(16), 64, 66-247, 275-330, carte numerate con errori di numerazione (i.e. 307). Titolo entro bella bordura xilografica, iniziali e fregi xilografici, testo in corsivo, marca in fine con alcune note di possesso manoscritte. Prima ed unica edizione giuntinadelle Notti Attiche di Aulio Gellio, stimata anche per lersquo;elaborata bordura xilografica con putti, maschere e grottesche che adorna il frontespizio (che qui porta note di antica mano) ed è descritta in Sander 3063. Esemplare nel complesso in buone condizioni dall`interno fresco, legatura con lievi restauri e abili integrazioni. Fine contemporary tuscan full calf with dry impressions on the covers and on the spine. Covers adorned with various squares of fillets and a floral border, two central decorations. (16), 64, 66-247, 275-330, numbered leaves with numbering errors (i.e. 307). Title within beautiful woodcut border, initials and woodcut decoration, printerersquo;s device at the end with some handwritten notes of possession. The first and only edition by Giunta. Overall copy in good condition with a clean interior, binding with slight restorations and skilful additions.
  • $2,131
  • $2,131
EUCLIDIS MEGARENSIS

EUCLIDIS MEGARENSIS, PHILOSOPHI ET MATHEMATICI EXCELLENTISSIMI, SEX LIBRI PRIORES, DE GEOMETRICIS PRINCIPIIS, GRAECI ET LATINI.

EUCLIDE (attivo nel 300 A.C.) - SCHEUBEL Johannes (1494-1570) Legatura di epoca settecentesca in piena pergamena rigida; al dorso, autori in oro su tassello color mattone, eleganti fregi floreali agli scomparti; tagli spruzzati di rosso; sguardie marmorizzate. (8)-315-(1) pagine numerate, compreso il frontespizio con titolo e marca tipografica, ripetuta all`ultima pagina. All`interno, numerosi capolettera abitati e diagrammi silografici. Rara edizione con il commento di Johann Scheubel, matematico tedesco. Nel 1549 Joachim Camerarius pubblica le enunciazioni di Euclide dei primi sei libri in greco e latino (Lipsia). Il libro, con prefazione, sembra essere stato compilato da Rhaeticus (1514-1576), allievo prediletto di Copernico. Un`altra edizione con le prove delle proposizioni dei primi tre Libri fu pubblicata da Moritz Steinmetz nel 1577 (Lipsia); una nota del tipografo attribuisce la prefazione allo stesso Camerarius. Nel 1550, l`edizione in esame: Iohann Scheubel pubblicò a Basilea per Ioan. Hervagium i primi sei Libri in greco e latino eldquo;insieme a prove vere e proprie delle proposizioni, senza l`uso di lettereerdquo; (cioè lettere che indicano punti nelle figure), le varie linee rette e gli angoli descritti a parole. Esemplare in discrete condizioni, consuete quanto lievi arrossature e fioriture alle pagine. XVIII century full vellum; on the spine, author and nice gilt decoration on the spine; red-sprinkled edges; marbled endpapers. (8)-315-(1) numbered pages, including title page and typographic mark, repeated on the last page. Inside, there are numerous impressed initials and woodcut diagrams. Rare edition with commentary by Johann Scheubel, German mathematician. Copy in fair condition, usual as slight redness or browning on the pages.
  • $2,244
  • $2,244
Le Moissonneur.
Les Chants de la vie. Cycle choral ou recueil de vingt-huit morceaux quatre

Les Chants de la vie. Cycle choral ou recueil de vingt-huit morceaux quatre, cinq, six et huit parties pour ténors et basses, avec accompagnement de piano ad libitum, précédés de recherches historiques et de considération générales sur le chant en choeur pour voix d’hommes.

KASTNER (Jean-Georges). 2 parties en 1 vol. in-4 de (4)-5-(2)-110 pp. (2)-III-112 pp., plat supérieur de couverture conservé, demi-chagrin noir, dos à nerfs (reliure de l'époque). Titre-frontispice en chromolithographie. Première partie : théorie ; seconde partie : 28 airs de musique gravée. Fétis : « Les chants, partie la plus importante de l'ouvrage pour les artistes, sont considérés en général comme une des productions les plus distinguées qui aient été publiées en France pour le chant en choeurs de voix d'hommes ; il y règne une grande franchise de mélodie, beaucoup de variété de caractères et de rythmes, et de plus une pureté irréprochable dans l'harmonie. Après quelques considérations générales sur les choeurs d'hommes en général, la partie littéraire de l'ouvrage renferme une histoire des sociétés chorales de ce genre, dont Jean-Georges Kastner (compositeur et musicologue alsacien né à Strasbourg en 1810 mort à Paris en 1867) trouve la première trace en 1673, dans la ville de Greiffenberg en Poméranie, mais qui n'ont eu d'existence solide qu'après que la première Liedertafel de l'Allemagne fut fondée, en 1808, à Berlin par Zelter ».Des rousseurs, coins usés. Fétis IV, 480.
  • $387
[Librairie. Réglementation du Livre].

[Librairie. Réglementation du Livre].

Ensemble 116 pièces sous chemise, pièce de titre manuscrite. Importante collection de publications éphémères (arrêts, mémoires, jugements etc.) qui offre un exemple remarquable de la réglementation des livres et son contournement aux XVIIe et XVIIIe siècles.« La librairie française est soumise au régime de la censure préalable exercée par la direction de la Librairie. Ce service dépend du chancelier qui rend compte directement au roi. La censure après parution, prononcée par le Conseil d?État ou par divers tribunaux, se manifeste par une condamnation publique et l?envoi au bûcher des livres prohibés dont la vente est interdite sous peine de lourdes sanctions. (?) La multiplication des éditions clandestines et des contrefaçons étrangères conduit à la mise en place en 1709 par l?abbé Jean-Paul Bignon ? que son oncle le chancelier Louis Phélypeaux de Pontchartrain avait nommé directeur de la Librairie en 1699 ?, du système dit de la permission tacite. (?) De 1750 à 1800, il est probable que plus de la moitié des livres français ont été publiés hors de France. Près des deux tiers des livres imprimés l?ont été sans privilège ni permission tacite, voire en violation d?une interdiction. Le pouvoir royal s?efforce de s?assurer le monopole d?une censure que revendiquent aussi la Sorbonne, l?Église catholique et les parlements. Cette rivalité gêne la politique des directeurs de la Librairie qui, en général, sont plutôt ouverts aux idées nouvelles. » (BnF, La Censure des livres et son contournement au 18e siècle par Michèle Sacquin).Citons à titre d'exemples parmi la centaine de pièces réunies : Jugement rendu par M. Hérault, lieutenant général de police, et les conseillers au présidial du Châtelet, commissaires du conseil en cette partie, qui condamne plusieurs particuliers du carcan et au bannissement, pour avoir établi une imprimerie clandestine et y avoir imprimé plusieurs ouvrages prohibés, scandaleux et contraires à la religion (Paris, Mariette, 1736) ; Arrest du conseil d'état du Roi, concernant les contrefaçons de livres, soit antérieures au présent arrêt, soit celles qui seraient faites en contravention des défenses portées audit arrêt (Lille, Péterinck-Cramé, 1777) ; Arrêt du conseil d'Etat qui condamne à une amende la Vve Valade et le sieur Prault, imprimeurs, pour avoir eu dans leurs imprimeries des compagnons imprimeurs sans billets de congé (Paris, Imprimerie Royale 1786) ; Arrêt du conseil d'Etat qui condamne les compagnons imprimeurs des imprimeries Didot jeune, Chardon et Vve Valade à faire sous peine de prison des excuses aux officiers de la chambre syndicale des imprimeurs et libraires (Paris, Imprimerie royale, 1786) ; Arrest du Conseil. qui déclare bonne et valable une saisie de livre faite à Nanci sur un colporteur sans qualité (Paris, Simon, 1785) ; Arrêt du conseil d'Etat portant règlement pour l'entrée des livres venant à Paris des pays étrangers (Paris, Langlois, 1738) ; Arrêt du Conseil d'Etat, qui ordonne la suppression de l'imprimerie établie à l'Hôtel de la Guerre à Versailles, et sa réunion à l'Imprimerie Royale (Paris, Desprez, 1775) ; Mémoire à consulter pour les libraires associés à l'Encyclopédie (contre le sieur Luneau de Boisjermain, un des souscripteurs, Paris, De l'imprimerie de Le Breton, 1770) ; Arrest du Conseil. qui ordonne que le sieur Allemand, libraire à Marseille, sera interdit de ses fonctions (Paris, Simon, 1778) ; Mémoire pour Jean-Augustin Grangé, imprimeur-libraire, accusé, contre M. le procureur du roi, accusateur ; Arrêt du Conseil d?Etat du Roy qui déclare la Veuve de Pierre-Jaceques Bienvenu, Marchand Libraire, en mille livres d?amende, et la déclare déchue pour toujours de la faculté d?exercer la Librairie pour avoir fait imprimer furtivement des ouvrages prohibés et contraires aux bonnes moeurs (Imprimerie Mariette, 1747) ; Arrêt du conseil d'état qui ordonne que les feuilles imprimées, les brochures et autres ouvrages prohibés saisis chez la Veuve Bienvenu et chez Claude-Nicolas Delormel, libraires à Paris, seront et demeureront confisqués (Paris, Imprimerie royale, 1746).
  • $10,319
  • $10,319