jean grolier (450 résultats)

Folio (299x206 mm). Collation: a4, A-M8, N6. [4], c, [2] leaves. Roman and gothic type. Woodcut printer's device on the verso of the last leaf. Large woodcut vignette on the title-page (137x115mm), depicting the author lecturing to students with the caption 'Harmonia est discordia concors', and the long inscription on the edge of the block 'FRAN. GAFVRI[VS]. LAVDEN. TRIA DE MVSICIS VOLUMINA. THEORICAM. AC PRACTICAM. ET HARMONIAM. INSTRUMENTOR[VM] ACCVRATISSIME C[ON]SCRIPSI'. Woodcut coat of arms, in a medallion, of the dedicatee Jean Grolier on fol. a4v. On fol. N6v another large woodcut portrait of Gaffurio (202x102mm) playing the organ. Sixty diagrams, some of which are full-page, the one on fol. H8v depicting eight figures playing various musical instruments. Full-page woodcut on fol. M6v with an allegory of music, showing its derivation from Apollo, the Muses, and celestial bodies. Musical examples printed from blocks on fol. M1v; mathematical examples in the margins. Numerous woodcut decorated and animated initials in several sizes, some on black ground. Contemporary limp vellum. Smooth spine, with traces of inked title at the top. Loss to the lower portion of the spine. In a modern marbled box. A very beautiful copy, a few quires uniformly browned. An early hand has annotated 'Musurgia' on the rear pastedown. A typewritten description of this copy is tipped in on the recto of the front flyleaf.Provenance: possibly gifted by Gaffurio to Leonardo da Vinci (Gaffurio's autograph inscription on the recto of the first leaf 'Franchinus Gafurius laudensis Regius musicus / corteque mediolanensis phonascus / Excell.mo Amico Ambatiae, Viro honoratissimo'); Leonardo's servant, Batista de Vilanis (ownership inscription on the recto of the front flyleaf, partly inked out, 'Batta de Vilano'); from the library of the Abbey of Saint-Julien, at Tours, France (ownership inscription on the front pastedown, 'Pertinet ad Monasterium Sancti Juliani Turonensis'). An exceptional presentation copy of the rare first edition of one of the most famous music treatises of the Renaissance. The volume bears a dedication, in Gaffurio's own hand, to 'Excell.mo Amico Ambatiae, Viro honoratissimo', i.e., 'his friend in Amboise', possibly one of the greatest artists of all time: Leonardo da Vinci (1452-1519). De harmonia musicorum instrumentorum is the last and most elaborate work published by Gaffurio. Possibly composed around 1500, the treatise deals – as its title reads – with the harmony of musical instruments, and was dedicated by the author to the outstanding bibliophile and patron of the arts Jean Grolier, who was then active in Milan as treasurer of the French army. This edition is rightly famous for its fine illustrative apparatus, including two famous woodcut portraits of Gaffurio, the first of which is printed on the title-page, as a re-use of the block employed by Gottardo da Ponte in 1508 for Gaffurio's Angelicum ac divinum opus musice. For the second portrait printed at the end of the volume a block first cut for another work by Gaffurio, the Theoricum opus musice discipline (Naples 1490), was re-used. The numerous diagrams and initials supplementing the text were designed by the refined French artist Guillaume Le Signerre, who was born in Rouen and active in Milan and later in Saluzzo (Piedmont). Beyond the rarity and beauty of this Milanese edition, the most significant and valuable aspect of the present copy undoubtedly lies in the extraordinary story narrated by its provenance, particularly the inscription 'Franchinus Gafurius laudensis Regius musicus / corteque mediolanensis phonascus / Excell.mo Amico Ambatiae, Viro honoratissimo'. In fact, the formulation used here by Gaffurio – 'Excell.mo Amico Ambatiae', i.e., 'to my most excellent friend in Amboise' – suggests that this copy of the De harmonia musicorum instrumentorum was presented by him as a gift to none other than Leonardo da Vinci. Numerous features appear. Book.

*** Exemplaire de la bibliothèque de Jean Grolier. Le titre de l'ouvrage est doré au centre du premier plat avec, au bas son ex libris « Groleirii et amicorum». Au centre du second plat on trouve sa devise : «Portio mea domine sit in terra viventivm». Cette reliure a été exécutée à Paris entre 1538 et 1540 environ par Jean Picard et appartient aux premières années de la seconde bibliothèque de Jean Grolier. Son style est très proche de l'exemplaire de la BNF de «Juvenalis. Persius, Aldo Manuzio, 1501 (voir en ligne) «Le style de son décor, qui n'est pas encore celui des entrelacs géométriques, situe cette reliure parmi les premières commandes de Grolier à cet atelier.» (F. Le Bars) On notera aussi que l'abrégé de son prénom «io» ne figure pas encore sur son ex libris doré, ce qui est le cas des premières reliures de la seconde bibliothèque parisienne de Jean Grolier. Comme pour l'exemplaire déjà cité de la BNF, on trouve des gardes alternant papier blanc et peau de vélin en début et en fin de volume (ici 2 feuillets blancs, 1 feuillet en vélin, et 4 feuillets blancs ; il y a aussi 2 feuillets blancs après les feuillets liminaires.) «Jean Grolier est la figure emblématique de l'amateur de reliures, toutes périodes confondues, et si son intérêt premier allait au contenu de ses livres, c'est aux luxueuses couvrures dont il prit toujours grand soin de les protéger qu'il doit son exceptionnelle postérité. On le considère même comme l'initiateur en France de la reliure à grand décor, sa bibliothèque offrant en l'espèce un panorama unique des créations parisiennes de la Renaissance.» (Fabienne Le Bars, Jean Grolier à la Bibliothèque nationale de France). Première édition. Aonio Paleario (ou Palearius) né à Veroli, Italie, en 1503, a été condamné par l'Inquisition à être pendu et brûlé à Rome en 1566. C'était, selon l'Encyclopédie de Diderot, D'Alembert, «l'un des plus vertueux, des plus malheureux hommes de lettres et en même temps l'un des bons écrivains du XVIe siècle. Il s'acquit l'estime des savants de ce tems-là, par son poème, «De immortatitate animarum», imprimé à Lyon en 1536. Sa réputation et son éloquence lui attirèrent des envieux, qui pour le perdre, le diffamèrent comme un impie. Ils l'accusèrent d'avoir écrit en faveur des Protestants et contre l'inquisition. Pie V voulut signaler le commencement de son pontificat par le supplice d'un hérétique. Palearius fut choisi et condamné à être pendu, étranglé et brûlé l'an 1566 : cette horrible sentence fut exécutée sans aucune miséricorde.» Autre provenance : Dugues, signature probablement du XVIIIe siècle sur le premier feuillet de garde. Quelques défauts à la reliure qui n'a jamais été restaurée. *** In-8 de 87, (1) pp. Veau brun, plats ornés de fers encadrant le nom de l'auteur et le titre, encadrements de filets dorés et de filets à froid, fers d'angles, devise dorée au bas des plats, dos à nerfs, tranches dorées. (Reliure de l'époque.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Copy from the famous Jean Grolier library. Title is gilted in the center of the first board with, at the bottom, his ex libris gilted "Groleirii and amicorum". At the center of the second board, his motto : "Portio mea domine sit en terra viventivm". This binding was produced in Paris between 1538 and 1540 by Jean Picard and belongs to the first years of Jean Grolier's second library. His style is very close to BNF's copy of "Juvenalis." Persius, Aldo Manuzio, 1501 (see online) Note also that the abbreviated of his first name "io" is not yet on his ex libris, which is the case of the first bindings of Grolier's second library in Paris. As for the copy of the BNF already mentioned, end papers alternate paper and vellum. First edition. Aonio Paleario (or Palearius) born in Veroli, Italy, in 1503, was condemned by the Inquisition to be hanged and burned in Rome in 1566. It was, according to the Encyclopedia of Diderot, D'Alembert, "the one of the most virtuous, most unfortunate men of letters and at the same time one of the good writers of the sixteenth century. He acquired the esteem of scolars of his time, by his poem, "De immortatitate animarum", printed in Lyon in 1536. His reputation and his eloquence attracted envious people, who, in order to lose him, slandered him as an impious man, accusing him of having written in favor of the Protestants and against the Inquisition. Pie V wished to start his pontificate by an execution of a heretic, Palearius was chosen and condemned to be hanged, strangled and burned in the year 1566. This gruesome sentence was executed without any mercy. " Some small defects to the binding, which has never been restored. - -.

Folio, pp.[xii], 72; engraved arms of the duc d'Épernon to verso of first leaf and engraved title-page (both by Alexandre Vallée), 3 folding plates (including 2 maps) and 15 engraved illustrations within the text, initials, head- and tail-pieces, all with handsome contemporary hand colouring and gilding; a few spots and marks, occasional slight staining to lower blank margins, short tear at foot of inner margin to pp.66-67, neat repairs to folding maps with a few small splits at joints; very good in contemporary limp vellum, double-fillet border, central wreath ornament and corner floral motifs to covers, spine in compartments, gilt edges; slight staining and cockling to covers, a little damp staining to pastedowns; ownership inscription 'Ballesdens A.' to title.A splendid hand-coloured and gilt copy of the first edition of this handsome festival book commemorating Henri IV's entry into Metz in March 1603, published seven years after the event and in the same year that Henri was assassinated by François Ravaillac. The hand colouring suggests that it may have been a presentation copy to Jean Louis de Nogaret de La Valette (1554 1642), duc d'Épernon, to whom the work is dedicated, and it was later in the possession of the great bibliophile Jean Ballesdens (1595 1675). Governor of Metz and the Pays Messin, in northeast France, from 1583, the powerful duc d'Épernon was a staunch Catholic who had a difficult relationship with Henri IV, even being accused of involvement in the king's assassination. The Voyage du roy a Metz professes the loyalty of the city and region to the king, and its attachment to France, and stresses the unity and harmony of its mixed population of Catholics and Protestants. The work was one of the finest to come from the presses of the famous Metz printer and supporter of Henri IV, Abraham Fabert, who employed the artists Alexandre Vallée and Geoffroy de Langres to supply the handsome illustrations. In addition to representing battalions of infantry and cavalry, triumphal arches and other architectural pieces, and gold and silver gifts presented to Henri and his queen Marie de' Medici, the engravings include images of Henri entering Metz on horseback, of Marie being carried in procession, and of a spectacular fireworks display and nocturnal combat held before the king and queen. The folding plates show the Roman aqueduct of Jouy-aux-Arches, which supplied Metz with water, a bird's-eye-view of the city, and a map of the Pays Messin. Provenance: with the elegant signature of Jean Ballesdens (1595 1675) to the title. Lawyer to the Paris parlement and secretary to Pierre Séguier, chancellor of France, Ballesdens is famous for renouncing his seat at the Académie française in favour of Pierre Corneille. He collected an impressive library of printed books and manuscripts, including Grolier bindings, which was sold after his death. Brunet II, 1147; Destailleurs, 228; Firmin-Didot, 516; Ruggieri 352; USTC 6804798; Vinet 481; Watanabe-O'Kelly & Simon 1696.

Softcover. Etat : Very good. A GEOGRAPHY MANUAL OF THE ROMAN EMPIRE AND ANCIENT GREECE FIRST EDITION thus. Folio, pp. 348 (i.e. 366); Greek letter; Aldine device on title and final verso, elegant section titles, vine-work initials and head-pieces in red at beginning of each book; minor repair to title, light damp stains, mainly on gutter and upper margin; paper flaws on 65 just affecting a couple of letters. A very good, well-margined copy in nearly contemporary limp vellum, author's name inked in Greek capitals along spine and fore-edge; slightly dust-soiled; Feltrinelli s label on front pastedown and blind stamp on lower outer margin of front endpaper. Editio princeps of one of the earliest and most influential geographical surveys of Antiquity. Scion of a prominent family of the Pontus region, Strabo (64/63 BC-c. 25 AD) travelled extensively through Southern Europe, North Africa and Middle East, mostly during the peaceful reign of Augustus. The Geography is his only surviving work and the first comprehensive account of the subject as known to his contemporaries. The topography, geology, history and political features of the main regions of the Roman world are thoroughly described, relying on first-hand investigation and many Greek sources now lost, such as the writings of the first systematic geographer, Eratosthenes (c.276- 195/4 BC), and of Hipparchus (c.190-120 BC). Above all, however, Strabo regards Homer as the most authoritative writer. Strabo s descriptions of the Mediterranean regions, Asia Minor and Egypt are excellent, while those of Gaul and Britain are weaker. Almost unknown to the Romans, the Latin version of the Geography became the standard geographical reference work during the Middle Ages. Among many other significant remarks and hypotheses, Strabo was the first scholar to discuss in detail fossil formation and vulcanism (both in Book 3). This editio princeps beautifully enriched with section titles, capitals and head-pieces printed in red (an unusual feature for the Aldine press) was accomplished by Benedetto Tirreno and Andrea Torresani, most likely with the help of Marco Musuro; the dedication to Alberto Pio of Carpi bears a touching encomium of Aldus, recently passed away. The text was drawn from a rather corrupted manuscript, now in the BnF (Par. gr. 1395). The enterprise was wholeheartedly encouraged by Jean Grolier, who urged Torresani to continue editing and publishing Greek and Latin classics, as Aldus had done throughout his career. BM STC it., 648; Adams, S1903; Hoffmann III, 453; Renouard, 77:7; Brunet, V, 554; Graesse, VI, 505. Greek.

Folio (283x198 mm). Collation: [π]2, a-b4, c2, d-f4, g2, h-k4, l6. [2], XLI, [1] leaves. Complete with the last blank leaf. Roman type. Woodcut vignette on the title-page, depicting a river god with the inscription 'NAVCELVS'. Two fine woodcut four-line initials on fols. a1r and d1r. Contemporary Venetian binding executed by the Mendoza Binder (Andrea di Lorenzo). Olive morocco, over pasteboards. Line borders in gilt and blind, undulating panel on sides, and foliate cornerpieces. Central roundel in gilt containing, on the upper cover, a flaming urn tool, and a foliate tool on the lower one. Author's name 'AND. NAVAGERIVS' lettered in upper border and owner's name 'BENEDICTVS CVRITVS' in lower portion on both covers. Holes for four pairs of ties. Spine with three double bands decorated with a gilt line alternating with four single bands decorated with gilt diagonals; compartments tooled in blind between multiple blind lines. Edges gilt and gauffered with a repeating motif between dotted line borders. Covers slightly scuffed, loss at the head and tail of the spine. In a modern green cloth solander box. A very fine copy, a few light marginal stains and tiny wormholes, not affecting text. On the rear pastedown early inked price notice, and a few pencilled bibliographical annotations.Provenance: the nobleman from Pavia Benedetto Curzi, ambassador to Venice of Francesco II Sforza (name lettered on the covers, 'BENEDICTVS CVRTIVS'); Alessandro Monti (ownership inscription on the title-page 'est Alexandri Montij'); given in 1774 by Marchese Giorgio Porro Carcano (1729-1790) to Conte Giovanbattista Giovio (1748-1814; ownership inscription on the recto of the front flyleaf, 'Comitis Jo. Baptistae Jovii Ex Dono Marchionis Georgii Porri Carcani. 1774'); sale Hoepli 1893 (see Manoscritti, incunaboli ed edizioni rare dei Giunti, Aldi, Gioliti. della prima metà del secolo xvi in gran parte dalle bibliotheche Giovio di Como e Cavriani di Mantova, Milano 1893); sale Christie's Rome, 17 February 1997 (with other books from the Giovio family library, lot 120); Michel Wittock (ex-libris on the front pastedown; The Michel Wittock Collection. Part i: Important Renaissance Bookbindings, Christie's London 2004, lot 85). A very fine copy, in its original deluxe binding, of the collected orations and poems of Andrea Navagero, librarian of the Biblioteca Marciana, official historian of the Venetian Republic, ambassador to the French court at Blois, and close friend and collaborator with Aldus Manutius, for whom he edited writings by Cicero as well as other Latin classics. The collection of his orations and poems – including Navagero's famous Lusus – was published posthumously by his friends a few months after his sudden death, as the colophon statement 'IMPRESSVM VENETIIS AMICORVM CVRA QVAM POTVIT FIERI DILIGENTER' attests. The volume circulated in only a few copies, and among the original owners of this semi-private publication were other great Renaissance book collectors such as Jean Grolier and Giovanni Battista Grimaldi. Soon after, in April 1530, Navagero's Orationes was re-issued in Paris, and the printer Jean Petit mentions the Venetian volume as a private publication, "impressum Venetiis primum amicorum cura." The copy is presented here in a precious binding executed by the skilled crafstman Andrea di Lorenzo, active in Venice between 1518 and 1555 and called by Hobson the 'Mendoza Binder' after his chief client, the Spanish ambassador in Venice, Diego Hurtago de Mendoza. His distinguished clientele included numerous other Renaissance bibliophiles, members of the Venetian elite, wealthy patrons of the arts, and diplomats active in the Serenissima, as in the case of this copy, which bears on its covers the name of Benedetto Curzi from Pavia, ambassador to Venice of Francesco II Sforza, Duke of Milan. "It has been suggested that Benedictus Curtius, the owner of this copy, was the Lyonese book-collector, Benoît Le Court. It is true t. Book.

8° (165x93 mm). Collation: a-z8, aa-ff8, gg6. 236 (misnumbered 136), [2] leaves. Italic and roman type. Woodcut Aldine device on the title-page and on the verso of the last leaf. Blank spaces for capitals, with printed guide letters. Handsome contemporary Venetian binding, executed by Andrea di Lorenzo, also known as the Mendoza Binder. Red morocco, over pasteboards. Covers framed within border of blind and gilt fillets, small leaves and rosettes in gilt. In the rectangular interior space, foliate cornerpieces and an arabesque fleuron, composed of three elements. At the top of the upper cover the inscription 'LVCIANI DIAL' in gilt lettering. Traces of holes for ties on the edges. Spine with three double bands alternating with four single bands, underlined by narrow gilt frieze, compartments blind tooled. Gilt and gauffered edges, in knotwork pattern. Minor loss at the top of the spine, small stain to the lower cover. A good copy, the first two leaves once stuck together and damaged, with loss of a few letters or words, owing to the censorial attempt to eliminate the dedicatory epistle by Erasmus. The last leaves slightly waterstained. The occurrences of Erasmus' name censored and deleted in ink throughout.Provenance: on the title-page an earlier ownership inscription covered with paper, and small oval stamp inked out; the British botanist and politician Charles Carmichael (1853-1933), and Mary Laicata, Selham Sussex (ex-libris on the front pastedown); his sale at Sotheby's in the 1950s, lot 190 (inserted loose a ticket in the hand of John Pashby, active at the time at Sotheby's, 'Lucian 1516', and lot number). The rare first Aldine edition of Lucian's Opuscula, edited for Andrea Torresano by the pre-eminent Dutch humanist Erasmus of Rotterdam (1466-1536), presented here in a strictly contemporary red morocco binding executed by one of the best and most sought-after Venetian binders: Andrea di Lorenzo, active in Venice between 1518 and 1555 and known as the 'Mendoza Binder' after his principal client, the Spanish ambassador in Venice and great bibliophile Diego Hurtado de Mendoza. The most inventive and in-demand Venetian binder of the mid-sixteenth century, he also worked for other important book collectors, such as Jean Grolier, Johann Jakob Fugger, and Antoine Perrenot de Granvelle. Andrea di Lorenzo had a close relationship with the Manutius-Torresano printing house. Until about 1525, the Venetian binder seems to have mainly worked for the Anchor and Dolphin bookshop near Rialto Bridge, decorating the bindings with characteristic features such as rectangular frames of fillets, rosettes, arabesque leaves, fleurons, and lozenges. For distinguished customers, he added the author and title in gilt lettering at the top of the upper cover, or their names at the foot of the same. His decorative patterning and innovative style were particularly influential, inspiring generations of binders in France and Germany. "The Manuzio-Torresano partnership did not employ a binder – or, at least, no binder producing tooled leather covers – during the elder Aldus's lifetime. After his death Andrea Torresano introduced a binder from outside (since [.] the Mendoza Binder was probably not a Venetian by birth) to improve sales and perhaps clear a backlog of unsold stock. Rather that the 'Aldine Binder' [.] the man in question would more appropriately have been called the 'Torresano Binder'" (A. Hobson, Renaissance Book Collecting, p. 107). For similar examples see Anthony Hobson's census of the bindings by the Mendoza Binder in his Renaissance Book Collecting (Appendix 5, p. 247); see plate no. 46, showing a copy of the 1516 edition of Ovid's Metamorphoses decorated with grouped arabesque leaves and preserved in the Pierpont Morgan Library in New York.Adams L-1624; Renouard Alde, 76.2; Ahmanson-Murphy 145; Bibliotheca Erasmiana Bruxellensis, 470; Hobson, Renaissance Book Collecting, App. 5, p. 247; Philobiblon, One Thousand Years of Bi. Book.

Hardcover. First edition. EVANS 8 - ESTABLISHED THE FUNDAMENTAL PRINCIPLES OF THE CALCULUS OF PROBABILITIES. First edition, an exceptionally fine copy, rare in this condition. "Jakob 1 Bernoulli's posthumous treatise, edited by his nephew [Nicholas I Bernoulli], (the title literally means "the art of [dice] throwing") was the first significant book on probability theory: it set forth the fundamental principles of the calculus of probabilities and contained the first suggestion that the theory could extend beyond the boundaries of mathematics to apply to civic, moral and economic affairs. The work is divided into four parts, the first a commentary on Huygens's De ratiociniis in ludo aleae (1657), the second a treatise on permutations (a term Bernoulli invented) and combinations, containing the Bernoulli numbers, and the third an application of the theory of combinations to various games of chance. The fourth and most important part contains Bernoulli's philosophical thoughts on probability: probability as a measurable degree of certainty, necessity and chance, moral versus mathematical expectation, a priori and a posteriori probability, etc. It also contains his attempt to prove what is still called Bernoulli's Theorem: that if the number of trials is made large enough, then the probability that the result will lie between certain limits will be as great as desired" (Norman). This was the first statement of the law of large numbers. â ¦ PMM 179; Dibner 110; Evans 8; Grolier/Horblit 12; Sparrow 21; Norman 216. "In the first Part (pp. 2-71) Jakob Bernoulli complemented his reprint of Huygens's tract by extensive annotations which contained important modifications and generalisations. Bernoulli's additions to Huygens's tract are about four times as long as the original text. The central concept in Huygens's tract is expectation. The expectation of a player A engaged in a game of chance in a certain situation is identified by Huygens with his share of the stakes if the game is not played or not continued in a 'just' game. For the determination of expectation Huygens had given three propositions which constitute the 'theory' of his calculus of games of chance. Huygens's central proposition III maintains: "If the number of cases I have for gaining a is p, and if the number of cases I have for gaining b is q, then assuming that all cases can happen equally easily, my expectation is worth (pa + qb)/(p + q)." "Bernoulli not only gives a new proof for this proposition but also generalizes it in several ways . "Huygens's propositions IV to VII treat the problem of points, also called the problem of the division of stakes, for two players; propositions VIII and IX treat three and more players. Bernoulli returns to these problems in Part II of the Ars Conjectandi. In his annotations to Huygens's proposition IV he generalised Huygens's concept of expectation . This is the only instance in the annotations and commentaries to Huygens's tract where Bernoulli uses the word 'probabilitas', or probability as understood in everyday life. Later in Part IV of the Ars Conjectandi Bernoulli replaced Huygens's main concept, expectation, by the concept of probability for which he introduced the classical measure of favourable to all possible cases. The remaining propositions X to XIV of Huygens's tract deal with dicing problems of the kind: What are the odds to throw a given number of points with two or three dice? or: With how many throws of a die can one undertake it to throw a six or a double six? . The meaning of Huygens's result of proposition X, that the expectation of a player who contends to throw a six with four throws of a die is greater than that of his adversary, is explained by Bernoulli in a way which relates to the law of large numbers proved in Part IV of the Ars Conjectandi . "In the second Part (pp. 72-137) Bernoulli deals with combinatorial analysis, based on contributions of van Schooten, Leibniz, Wallis, and Jean Prestet . [It] consists of nine chapters dealing with permutations, the number of combinations of all classes, the number of combinations of a particular class, figurate numbers and their properties (especially the multiplicative property), sums of powers of integers, the hypergeometric distribution, the problem of points for two players with equal chances to win a single game, combinations with repetitions and with restricted repetitions, and variations with repetitions and with restricted repetitions. "Evidently Bernoulli did not know Blaise Pascal's Triangle arithmétique, published posthumously in 1665, though Leibniz had alluded to it in his last letter to him in 1705. Not only does Bernoulli not mention Pascal in the list of authors that he had consulted concerning combinatorial analysis, except for Pascal's letter to Fermat of 24 July 1654; it would also be difficult to explain why he repeated results already published by Pascal in the Triangle arithmétique, such as the multiplicative property for binomial coefficients for which Bernoulli claims the first proof for himself. His arrangement differs completely from that of Pascal, whose proof for the multiplicative property of the binomial coefficients has been judged to be clearer than Bernoulli's. It is fair to add that in the Ars Conjectandi, which Bernoulli left as an unpublished manuscript, he was much more honest concerning the achievements of his predecessors than Pascal in the Triangle arithmétique. It is also true that Bernoulli was concerned with combinatorial analysis in the Ars Conjectandi first of all because it constituted for him a most useful and indispensable universal instrument for dealing numerically with conjectures, since 'every conjecture is founded upon combinations of the effective causes' (p. 73) . "In the third Part (pp. 138-209) Bernoulli gives 24 problems concerning the determination of the modified Huygenian concept of expectation in various games. Here he uses extensively conditional expectations without, however, distinguishi.

Couverture rigide. Etat : Très bon. Paris, Simon de Colines, 1543.In-4 de 176 ff. (a-y8), 14 planches gravées à pleine page. Texte imprimé en rouge et noir. Almanach pour 1543-1568. Titre imprimé dans un encadrement architectural, toutes les pages bordées d'encadrements composites, 14 bois à pleine page avec bordures architecturales spécialement conçues pour chaque scène, et grandes lettres ornées à fond criblé. Plein veau brun foncé, plats recouverts d'un décor à la Grolier composé de filets dorés, entrelacs géométriques peints en noir et fleurons dorés, dos orné entre chaque nerf d'un petit fleuron doré, coupes décorées, tranches dorées et ciselées, ancienne restauration au bas du plat supérieur. Étui.233 x 164 mm. --- Riche reliure de l'époque exécutée par l'un des ateliers parisiens travaillant pour Jean Grolier, le « Pecking Crow » atelier.Harvard II, 306 ; Brunet, V, 1661-1662 ; Renouard, pp. 378-379 ; Rothschild, vol. 3 n° 2537 ; Brun p. 233, 8è éd ; Bernard pp. 209-212 ; Bohatta n° 1212 ; Lacombe 426, 426 bis ; Pichon cat 1897 ; Rahir 1931 ; Mortimer 306 ("First Colines quarto edition") ; Schreiber ; Simon de Colines 206.L'un des plus beaux spécimens de l'art des Heures historiées au XVIe siècle. (Firmin Didot).Premier livre d'heures publié par Simon de Colines en format in-quarto, et premier emploi de ces bois très importants dans l'histoire de l'illustration. Décorée sur chacune des pages, l'édition fait usage de 16 beaux bois d'encadrement de texte (répétés) d'une grande variété et de 14 bois à pleine page (scènes du Nouveau Testament). Schreiber, tout en les rapprochant des productions de Tory pour ses livres d'Heures, en souligne également les différences : d'une finesse et d'un détail peu communs, les bois de Simon de Colines portent des effets d'ombre particulièrement minutieux et des détails trop nombreux pour être coloriés. La publication en 1543 était l'aboutissement d'un projet de longue durée : certains des bois so /// Paris, Simon de Colines, 1543.4to [233 x 164 mm] of 176 ll. (a-y8), 14 full-page engraved plates. Text printed in red and black. Almanac for 1543-1568. Printed title in an architectural frame, all the pages bordered with composite frames, 14 full-page woodcuts with architectural borders specially conceived for each scene, and large decorated initials. Dark brown full calf, covers with a Grolier decoration made of gilt fillets, geometric tracery painted in black and gilt fleurons, spine decorated with small gilt fleurons inside the panels, gilt and chiseled edges, former restoration in the lower part of the front cover. Bookcase. --- Rich contemporary binding made by one of the Parisian workshops working for Jean Grolier, the "Pecking Crow" workshop.Harvard II, 306; Brunet, V, 1661-1662; Renouard, pp. 378-379; Rothschild, vol. 3 n° 2537; Brun p. 233, 8th ed.; Bernard pp. 209-212; Bohatta n° 1212; Lacombe 426, 426 bis; Pichon cat 1897; Rahir 1931; Mortimer 306 ("First Colines quarto edition"); Schreiber; Simon de Colines 206.One of the most beautiful specimens of the art of historiated hours in the 16th century. (Firmin Didot).First book of hours published by Simon de Colines in 4to format, and first use of these very important woodcuts in the history of illustration. Decorated on each page, the edition uses 16 fine wood-engraved frames around the text (repeated) of great variety and 14 full-page woodcuts (scenes of the New Testament). Schreiber, while comparing them with Tory's productions for his books of hours, underlines their differences: of a delicacy and uncommon accuracy, Simon de Colines's woodcuts show particularly meticulous shadow effects and too many details to be colored. The publication in 1543 was the achievement of a long-term project: some woodcuts are dated 1536, 1537, and 1539; seven are signed with the cross of Lorraine.Brunet insists on the beauty of these frames "among which the black is remarkable. They do not bear the mark of Tory bu.

Folio (234 x 351 mm). 90 ff. (first and last blank). Gothic type, 2 columns, 81 lines, headings printed in red. One pink, white, and gilt initial painted on the first text page; red and blue Lombardic initials, rubricated throughout. Brown full calf by Théodore Hagué on bevelled wood boards, covers decorated with interlacing bands painted black and white and a network of gilt tendril designs with green leaves; central cartouches stamped "Io. Grolierii et amicorum" (upper cover) and "Portio mea domine sit in terra viventium" (lower cover). Spine on five raised bands, compartments decorated with gilt rules and floral designs coloured in white, green and black. Edges goffered, painted, and gilt. Stored in custom-made brown cloth case lined with white velvet, signed by Sangorski & Sutcliffe. Fine Koberger edition of the Institutes of Justinian, the students' textbook that forms part of the sixth-century codification of Roman law known as the Corpus Juris Civilis. Printed in red and black Gothic typeface with the gloss of Accursius, this rare edition from the press of Dürer's godfather is sought after for the high quality of its printing. - The present copy was bound, sometime in the 1880s, in a superb faux Grolier binding by the notorious forger Théodore Hagué (1823-91). Hagué had been trained at Reims by the master Jean-Baptiste Tinot whose speciality was, according to his advertisement, the "reproduction of antique bindings of all periods". In 1858 he relocated to London, where he worked in the workshop of Joseph Zaehnsdorf (1816-86), bookbinder to the King of Hanover, who produced bindings "in the Monastic, Grolier, Maioli and Illuminated styles". It was there that Hagué met the famous bookseller Bernard Quaritch as well as Guillaume Libri, who guided him in the restoration of authentic Renaissance bindings. - On his return to France at the end of the 1860s, Hagué began restoring old books and making fake bindings. His clients at that time included Joseph Renard and Ambroise-Firmin Didot. After the Franco-Prussian War he escaped his creditors to Brussels, where he set up his workshop under the name of "J. Caulin" and made many bindings in the 16th century style, which he offered to Quaritch as authentic. Indeed, towards the end of the 1880s Quaritch became doubtful of their authenticity and returned an exemplar with the arms of Catherine de' Medici that seemed recent to him. Hagué passed away in Normandy in 1891 (cf. Fontaine). - In the 1880s Quaritch sold several of Hagué's bindings to Charles Fairfax Murray, but after 1885 the businessman John Blacker (1823-96) became his sole customer for these bindings. In all, Blacker acquired 109 Hagué-bound books; their supposedly prestigious provenances included Jean Grolier, Thomas Mahieu, Anne de Montmorency, François I, Henri II, and Diane de Poitiers. - This specimen is one of those acquired by Blacker, described as no. 59 of his 1897 sales catalogue. One of no fewer than eleven fake Grolier bindings in his collection, it reproduces a painted interlacing decoration typical of those made in the 1550s by the royal binder Gomar Estienne. In the centre of the upper cover is Grolier's supralibros "Io Grolierii et amicorum" (usually placed near the bottom edge in authentic bindings); the lower cover bears Grolier's motto, "Portio mea Domine sit in terra viventium" ("Be Thou my portion, o Lord, in the land of the living", quoted from Psalms 142, verse 5). - A 16th century woodcut pasted to the blank space above the text on the first text leaf. First and final gathering very slightly misaligned, but altogether a complete and very well preserved copy in a splendidly notorious binding. - Provenance: 1) 18th century handwritten ownership "Teige" on first blank, obscured by a black stamp; 2) John Blacker (Sotheby's, Catalogue of a Remarkable Collection of Books in Magnificent Modern Bindings, 11 Nov. 1897, no. 59); 3) the library of the French numismatist Jean-Baptiste Colbert de Beaulieu (1905-95, his bookplate); 4) collection of Jean Marcel Stefgen (1927-2017, his bookplate). - HC 9519. Goff J-529. GW 7614. BMC II, 430f. Proctor 2055. BSB-Ink C-651. Cf. J. P. Fontaine, Nouvelles découvertes sur le relieur Théodore Hagué (2013).

*** Relié à la suite: LEFEVRE D'ETAPLES, Jacques. Epistole divi Pauli apostoli, cum commentariis preclarissimi viri Jacobi Fabri Stapulen(sis). Paris, François Regnault et Jean de La Porte, [1517]. In-folio de (20), CCXIII, (1) ff. Titre en noir et rouge avec grand bois gravé, grandes initiales historiées, 2 bois gravés (f. cxcv et ccviiiv) Exemplaire provenant de la bibliothèque de Benoît Le Court, avec ses armes sur les plats et sa mention d'achat au contreplat. La bibliothèque de Le Court, avec celle de Jean Grolier, a été l'une des plus belles de la Renaissance. Si ses reliures sont moins élaborées que celles de Grolier, selon Goldschmidt, elles apparaissent sur le marché plus rarement. On trouve comme dans tous ses livres la mention de prix d'achat au contreplat : "Emptus troys lv v solz" (acheté 3 Livres 5 Sols). Ex-dono manuscrit sur la page de titre d'Ange Le Court qui offre ce livre aux capucins de Saint-Chamond. Originaire de Saint-Symphorien-sur-Coise (alors Saint-Symphorien-le-Château) près de Lyon, Benoît Le Court (vers 1500-1559) a été un juriste de renom. Il a publié, toujours à Lyon, plusieurs livres sur le droit, un autre sur les jardins et un commentaire sur les "Arrest d'amour" de Martial d'Auvergne. Au titre, ex-libris des frères capucins de Saint-Chamond, par don d'Angelin Le Court. Claires mouillures dans les marges sur l'ensemble du volume, des restaurations à la reliure. Très bel exemplaire. *** In-folio de (16), 281, (1) pp., 1 f. bl. Veau, triple encadrement de filets à froid sur les plats et fleurons dorés d'angle, armoiries dorées au centre, traces de fermoir, dos à nerfs orné. (Reliure de l'époque.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Copy from Benoit Le Court's library. His library, with that of Jean Grolier, was one of the most beautiful in the Renaissance. It must have been extensive and contained very fine books. "It appears that after his death, but before 1588, there was a division of his library among his heirs, and a part was sold off. Volumes coming from this section appear occasionally in the market, but they are rarer than Groliers." (Goldschmidt, Gothic & Renaissance book bindings p. 278). - -.

A REMARKABLE COPY PRESERVED IN A WHOLLY UNREMARKABLE TEMPORARY BINDING. This example is large, substantially taller and wider than, for instance, Jean Grolier's on ordinary - median folio - paper, measuring 350 x 250 mm. and bound in contemporary morocco. Pausanias' 2nd-century C.E. Greek travelogue of Greece records local history, legends, customs and superstitions. His firsthand observations on temples, monuments and ruins remain essential for archeologists today. First Edition of the first complete translation into any language, which remained the standard in Latin into the 19th century. This version, by Romolo Amaseo (1489-1552), a leading humanist, was completed in 1547. I have found one large-paper copy in U.S. collections (Harvard). In good condition (light stains to the outer margins, foxing to some sheets in twelve quires). Mortimer, Italian 364 (large paper 400 x 250 x 47 mm., ordinary paper & 350 x 230 x 31 mm.; "Second edition" incorrectly repeating Moreni's error); Parks, "Pausanias" in Catalogus translationum II: 215-20; Hoffmann, Bibliographisches Lexicon der gesammten Litteratur der Griechen III: 50; Moreni, Annali della tipografia.di Lorenzo Torrentino 150-2,XIV (the 1547 edition is a ghost); EDIT 16 CNCE 34583. CONTEMPORARY LACE-CASED INTERIM VELLUM BINDING (soiled), 17th-century manuscript spine title, contemporary manuscript-lettered title on the bottom edge, evidence of four pigskin ties, edges gauffered in blind; spine lining from a medieval vellum manuscript.

Hardcover. Etat : Very Good. 8vo, six parts in one, separate half-titles, ff. 233 (iii). Italic letter, Aldine device to t-p and verso of last. Light fingermarks to lower blank outer corner of t-p and to blank margins of a couple of ll., small ink smudge to one fol., very light waterstain to upper blank corner of three gatherings, slight yellowing to a few ll. A very good copy in contemporary morocco, covers double blind ruled to a panel design, inner border with blind ropework tools, two arabesque ornaments, spine with raised bands, blind cross-hatched decoration in compartments, missing ties. Early ms. autographs Frachet to front paste-down, occasional contemporary Latin marginalia mainly to first part. Old paper label to head of spine 510 . Attractive copy of this Aldine collection of classical works on geography, in a lovely, very well-preserved contemporary northern-Italian binding. The arabesque ornaments on the covers of the volume, and their variations, were predominantly used in Venice at the beginning of the 16th century (See Needham 35; De Marinis 1797bis, 1921), but they also appear on Milanese bindings (combined with ropework border: see Davis III, 244; bound for Jean Grolier: Needham 41). Ropework decorations are typical of northern Italy, but the ornate border on this binding is a particularly intricate and fine example. Pomponius Mela (d. c. 45) was the first Roman geographer and his De situs orbis is the earliest preserved treatise on geography in Latin. Though the work was largely a borrowing from Greek sources ( ), it was unique among the ancient geographies in that it divided the Earth, which Mela placed at the centre of the universe, into five zones: a northern frigid zone, a northern temperate zone, a torrid zone, a southern temperate zone, and a southern frigid zone. (Encyclopedia Britannica). The treatise focuses on the known world, outlining a journey across North Africa, Asia and finally Europe. The contemporary marginalia to this work are interesting: a reader corrected the spelling of several geographical names and annotated different readings on the basis of other sources such as Strabo and Ptolemy. Polihistor is by the grammarian Julius Solinus (c. 210-258). Also known as De mirabilibus mundi , On the wonders of the world , this is an influential compilation largely drawing from Mela, Pliny and Suetonius of the most curious facts concerning the peoples, regions, plants and animals of the world, beginning from Rome and moving on to the Mediterranean, northern Africa, Near East and India. Itinerarium Antonini , by an unknown author, can be described as a road map of the Roman Empire in the III century AD, containing a register of all the stations along the major roads and their distances. This is followed by Vibius Sequester s alphabetical list of geographical names mentioned by Latin poets (Virgil, Ovid, Lucan and Silius Italicus), comprising rivers, springs, lakes, forests, marshes, mountains and peoples. De regionibus Urbis Romae is a brief list of all the important buildings, streets and bridges that can be found in different areas of Rome, spuriously attributed to a fictitious Publius Victor. Last in the collection is a Latin verse translation of Dionysius Periegetes Description of the world , by the grammarian Priscian. This collection was edited Aldus brother-in-law, Gian Francesco Torresani d Asola (c. 1498-1558). USTC 841939; EDIT 16 CNCE 46864; Adams M1053; BM STC It. C16, p. 432; Graesse V, p. 401; Brunet IV, p. 800; Renouard Alde 83:6.

With woodcut device on title (repeated). 4 leaves, 383, (1) pp., 16 leaves. 8vo. Contemp. brown morocco, both sides with the gilt-stamped supralibros of Jacques-Auguste de Thou, spine in 7 compartments, with gilt lettering and with his gilt monograms, outer edges gilt (discreet repairs to hinges). Hanau, Wilhelm Anton, 1598-99. A typical "Fürstenspiegel", a collection of the rights of rulers and princes, published by the first printer at Hanau. The author, Hippolyt von Colli (1561-1612), jurist and envoy to various European courts and countries, was born in Zurich to a Protestant Italian family. He was chancellor to Prince Christian I of Anhalt-Bernburg, to whom the first part of the work is dedicated, with the preface dated 1592. Befittingly, the present copy comes from the library of the greatest French book collector since Jean Grolier, Jacques- Auguste de Thou (1553-1617), famous historian and politician. He owned one of the most splendid libraries of his time. The supralibros show his coat of arms combined with the one of his second wife Gasparde de la Chastre, the first President of the Parliament of Paris, and their interlaced monograms, which are repeated on the spine. - Slight browning, more pronounced toward the end, otherwise fine. - VD 16 C 4585 (with date MDXCIX); on the binding cf. Olivier 216, 8 and 9 (illus.); not in STC or Adams or BN. LAW ; BINDINGS ;

Hardcover. Etat : Very Good. 8vo. ff. 251, [1]. Greek letter. Printer s device to title and last verso, with contemporary hand- colouring. Title and last verso a little dusty at margins, light age yellowing, occasional mostly marginal minor foxing, finger-soiling, light water staining to upper outer blank corner and fore-edge of last two gatherings in places. A very good copy in charming, unsophisticated contemporary northern or upper central Italian goatskin, lacking ties, double and triple blind ruled, outer border with blind roll of arabesque ropework, central panel with cross-hatched blind rolls of arabesque ropework and small blind-stamped fleurons, and small blind-stamped lilies at head and foot, raised bands, compartments cross-hatched in blind, blind rolls with arabesque ropework, tools in deep, crisp impression. Tiny loss to upper cover and head and foot of spine, corners a little worn. C20 Greek bookplate 1925 of Spyridon Loverdos to front pastedown, ink stamp to rear pastedown, and ms die 14o septembres in a contemporary hand underneath, with C17 ex-libris Caesaris Picj (Cesare Picchi?), Greek motto to title. The charming, unsophisticated, contemporary binding is northern or central Italian. Whilst the arabesque ropework is also found in mainland Veneto (e.g., Bologna, Archiginnasio MS A197) and Milan (combined with ropework border: see Davis III, 244; bound for Jean Grolier: Needham 41), the decorative style, and the central cross-hatching, is reminiscent of Tuscany (e.g., de Marinis I, 1119). Second Aldine edition of Homer s works the Odyssey , Batrachomyomachia and Hymns generally found with a companion volume including the Iliad . This ed. includes many corrections and improvements, [ ] and it is better and rarer than that of 1504, which was used as a starting point, and much more correct than the third of 1524 (Renouard). Then and now, Homer has remained an obscure figure in the history of Western poetry. Whilst his Iliad and Odyssey are dated to the C9-8BC, it is uncertain whether there ever was a blind bard of such genius or whether his persona came to be used to identify the output of a long standing oral epic tradition. The Odyssey famously recounts the adventurous journey of Ulysses, King of Ithaca, to his native island after the end of the Trojan War, facing sirens, cyclops and many other perils. Batrachomyomachia narrates a battle between Mice and Frogs, assisted by Zeus and other deities. The 33 Hymns attributed to, but not composed by, Homer are each devoted to a different god or goddess, and written in a Greek language as archaic as Homer s. Spyridon Loverdos (1877-1936) was a Greek bibliophile, politician and economist, and head of the National Bank. EDIT16 CNCE 22949; Renouard 80:3: un nouveau texte ; Dibdin I, pp.165-6: the second is esteemed the most rare and valuable ; Ahmanson-Murphy 153.

Hardcover. Etat : Very Good. CHARMING ENTRELACS BINDING 8vo. ff. [208]. Roman letter. Author s woodcut portrait to title, decorated initials and ornaments. Light age browning, very slightly heavier in second half, near-invisible repair to blank foot of title. A very good, clean copy in contemporary dark stained calf, rebacked with original spine onlaid, double blind and single gilt ruled, single gilt ruled arabesque and strapwork painted red, yellow and green to boards, small gilt rosettes to corners and fleurons to border, gilt centrepiece with a dextrocherium (hand holding a spray of flowers), raised bands, compartments double gilt ruled, gilt rosette to each, a.e.g., repairs to corners, paint occasionally a bit scratched. C18 ms bibliographical note to front pastedown, another, C17, on the Abbé de Pressy, évèque de Boulogne, to rear ep. Charmingly bound in a lovely painted entrelacs binding c.1550, in the Grolieresque style after Jean Picard (e.g., BnF RES 8-Z ADLER-26). This decoration, inspired by Islamic models, came to France via Italy, and adorned numerous mid-C16 bindings produced for the great Renaissance bibliophiles Jean Grolier and Thomas Wotton. It was very fashionable in Paris; in Lyon, it became most frequent in octavo. The present binding, influenced by the Lyonnais tradition, bears thinner strapwork and a gilt centrepiece with a dextrocherium , a hand holding a spray of flowers, probably based on a heraldic device, and symbolising wisdom and learning. The dextrocherium was frequently used in France and England in the mid-C16 (Hobson, p.74), though at least one instance is recorded in Spain (Penney, pl.XXII). It is found on bindings made for the C16 bibliophile Marcus Fugger (e.g., Amsterdam UL, Band 1 H 18) and on a group produced in Paris c.1550 (Laird, pp.308-11; Goldschmidt I, 220; Hobson, Italian and French , n.13). An attractive copy of this extremely influential philosophical work, praised by Montaigne and Descartes. Due to the controversial reputation of its author, several early editions have few recorded copies and a complex bibliographical history, i.e., from the first of 1530 (probably a ghost ) to 1550, most bearing neither imprint nor (frequently) date. According to D. Clément s Bibliothèque curieuse (1750), this is the last complete edition of this work , in 102 chapters, and is very similar to the 1536. The portrait one of the earliest and most reliable, absent in the first 6 editions, also reprises the 1536 edition, where it was first used (I, n.87). Agrippa (1486-1535) was a major German polymath, physician, soldier (who travelled extensively in Europe) and official historian to Charles V; he was especially renowned for his occulta and ideas on the cabala (Bodin called him the greatest magician of his age ), which led to clashes with the Inquisition. Agrippa s ambivalence towards occultism, religion and epistemology caused a mixed reception of De incertitudine a harsh critique of all sciences and arts, and Renaissance epistemology in general which Agrippa subsequently defended in print. Each of the 102 chapters summarises wittily, only to berate, a discipline or art, from the elements of the trivium and quadrivium to optics, acting, painting, architecture, politics, natural philosophy, commerce, agriculture, surgery, anatomy, prostitution, veterinary medicine, law and cooking. There are fascinating sections on judicial astrology ( an art bringing no certainty, which can be turned into anything, according to opinion ), physiognomy (which infers nonsense from horoscopes based on physical appearance), magic (including necromancy), heraldry (by which heralds dressed in military uniform astrologise, philosophise and theologise with foolish knowledge ), the inquisition (with a violent attack against the Dominicans trials of heretics from his native Cologne), and alchemy ( which can be defined as an art, or sham, or persecution of nature ).

Sixth and final edition, containing the last authorial revisions and additions before Weyer's death, of his landmark treatise against witchcraft persecution, paired with the second edition of its abridgement, aimed at a popular audience. This copy has an excellent provenance, from the renowned collection of science and medicine of Haskell F. Norman. De praestigiis daemonum ("On the tricks of demons") was first published by Oporinus in 1563 and subsequently revised and expanded by the author several times until 1583. Liber Apologeticus, containing Weyer's letters, and Pseudo-Monarchia, an appendix listing names and powers of 68 different demons, were first added in the 1577 edition. This last edition, in six books and 934 pages, is almost double the size of the first, which had five books and 479 pages. The treatise is considered a "landmark in the emergence of full-scale doubt" (Clark, p. 198) concerning witchcraft, and argues that witchcraft cases are the result of psychological illness rather than demonic possession. "Weyer approached the subject of witchcraft from four different viewpoints: theological, philosophical, medical and legal. The book contains more than sixty reports of cases of alleged witchcraft or of unusual mental phenomena observed directly by Weyer, related personally to him in oral or written form, or known to him in various ways. Contrary to the received opinion of his day, which held that witchcraft was evidence of demonic possessions, Weyer believed the basic cause of witchcraft to be disturbance of imagination, that faculty traditionally regarded as the interface between bodily and mental functions. He described most of those accused of witchcraft as poor, gullible old women who had fallen into this reckless credulity because of 'their being circumvented by fraud, constrained by force, compelled by fear, induced by error, and deceived by ignorance.' Weyer brought a serene, rational approach to the investigation of each case, establishing and confirming the facts, providing a firsthand assessment of the situation through description of the person's appearance, behaviour, speech, ideation, and emotional traits, and following these with the formulation of a concrete and sensible plan of treatment, often based on what we would now describe as psychological principles. He was a great precursor of modern psychiatry" (Grolier). Weyer's treatise was included in the Index Librorum Prohibitorum in 1570 and criticised by several leading European intellectuals. Among them was the prominent French demonologist Jean Bodin, who ridiculed Weyer's legal arguments and described him as a demonic magician in his On the Demonomania of Sorcerers (1580). This edition contains Weyer's response to Bodin's attacks. De Lamiis, first printed in 1577, is a condensed version of De praestigiis daemonum, focusing on female witches ("lamiae"). "One of the ways Weyer distinguishes so-called lamiae from male practitioners of demonic magic is through literacy: the ignorant and deluded but harmless old women commonly called lamiae do not use bookish knowledge. In contrast, male magicians obtain their forbidden knowledge of demons through written sources" (Krause, p. 62). Provenance: a) From the library of Reverend William John Woodcock (d. 1851), curate of the District of Saint Agnes of Widford, Bahamas, with an inscription on the front pastedown noting that he left this book in trust for the Melton Museum Library (Leicestershire) and "died in the West Indies". Bookplate of the Melton Literary Institution on the front cover. b) From the library of Haskell F. Norman (1915-1996), psychoanalyst and bibliophile, with his bookplate on the front pastedown. This copy was lot 860 in Haskell's sale at Christie's NY in 1998. 1) Durling 4736; Garrison-Morton online 4916 (first ed.); Grolier, Medicine 20 (first ed.); Norman 2213; VD16 W 2668. 2) VD16 W 2653. Stuart Clark, Thinking with Demons, 1997; Virginia Krause, Witchcraft, Demonology, and Confession in Early Modern France, 2015. See Christie's NY, The Haskell F. Norman Library of Science and Medicine, Part II, Monday 15 and Tuesday 16 June 1998, no. 860. 2 works in 1 volume, quarto (236 x 173 mm). Eighteenth-century mottled calf, spine with raised bands, red morocco label, covers bordered in blind, board edges tooled in gilt, edges sprinkled red. Woodcut printer's devices on title pages, portrait of author on verso of both, 3 woodcut illustrations in text, elaborate historiated and floriated initials; printed in Roman and Italic type, two columns. Early price inscription on front free endpaper; old label with initial "M" on spine. Extremities worn, front hinge cracked but firm, a few scratches and patches of stripping to leather, old repair to rear cover, faint marginal damp stain to a few leaves, otherwise notably clean. A very good copy.

Etat : Very Good. First edition. Folio (31 cm); [40], 862, [6] pages. Title page printed in red. Aldine anchor-and-dolphin device in red on title page, and again in black on verso of final leaf. In contemporary full vellum, titled in manuscript on spine with flourishes. Raised bands on spine. Signs of professional repair to vellum on spine and joints; renewed endleaves. Very occasional blemishes in margins of text; title page a bit dusty with two ink stains, early owner's name in lower margin and early ownership monograms flanking Aldine device. Latin distich in manuscript in 18th-century hand on verso of last text leaf. References: Renouard, p.79, #11; Adams, R-450; Ahmanson-Murphy 123. The anxiety of Humanist scholars over the decay and loss of Latin and Greek culture not only demanded bookhunters combing monasteries for lost texts, but also intense work on recovering fragments of text, wisps of references, second-hand reports or citations from scrolls that were otherwise crumbled away. Poliziano, Perotti, Maffeo Vegio, and Erasmus contributed important volumes to the genre. Ricchieri's awesome encyclopedia is frequently compared to Erasmus's Adagia, but I think the more accurate model is Aulus Gellius's Attic Nights, also a vast, encyclopedic compendium of gathered fragments and overheard lore. Ricchieri, who was one of the most erudite classical scholars of the entire Renaissance, retrieves from his vast reading a wealth of knowledge about Greek and Roman music, mythology, history, literature, prosody, rhetoric, and culture. He dedicated the volume to the great Humanist book collector Jean Grolier Rabelais is said to have depended on it, and its influence is very evident on Ricchieri's star student, Julius Caesar Scaliger. Renaissance scholars (like Aldus Manutius, who died while this book was in the making) adored this hard-to-define genre of disparate knowledge collected into loose, conversational prose. The word "essay" was still a few decades away, so collections such as this were called "miscellanea" or "sylvae" or, as here, "commentaria." The sixteen books of the Antiquarum lectionum commentaries course through extensive sections on medicine, magic, natural history, music, and gastronomy. The medical chapters include studies of bone structure, ophthalmology, embryology, dentistry, and madness. Book 15 deals with food and wine.

First Edition. "PETRONIUS ARBITER, Titus. Traduction Entière de Petrone, Suivant le Nouveau Manuscrit Trouvé à Bellegrade en 1688. Cologne: Pierre Groth, 1694. Two volumes. Octavo, contemporary full crimson morocco, elaborately gilt-decorated spines, raised bands, covers with arms of the Comtesse de Verrue stamped in gilt as centerpieces, marbled endpapers, all edges gilt. $8800.First edition in French (with the original Latin on facing pages) of of Petronius' Satyricon, illustrated with 9 copper-engraved plates, bound in contemporary French morocco-gilt for Jeanne Baptiste d'Albert de Luynes, the Comtesse de Verrue (1670-1736) one of the greatest bibliophiles of her time with her coat-of-arms as gilt centerpieces on all four covers. Also from the renowned De Bure and Hoe collections, with Jean Jacques de Bure's ownership signature and Robert Hoe's morocco bookplate.The Satyricon was composed in Latin in the first century A.D. Classical scholars often describe it as a "Roman novel," without necessarily implying continuity with the modern novel. (It is one of the two most extensive examples of the Roman novel, the other being the fully extant Metamorphoses of Apuleius.) The Satyricon has also served as a reliable source for the reconstruction of lower-class life during the early Roman Empire; Petronius' characters, most of them laypeople, talk about the theatre of ancient Rome, the amphitheater, and the circus. "The adventures of a certain Encolpius and his companions in the south of Italy, chiefly in Puteoli or its environs, are made a vehicle for exposing the false taste and vices of the age. Unfortunately the vices of the personages introduced are depicted with such fidelity that we are perpetually disgusted by the obscenity of the descriptions" (Peck, 1220).While the text is interrupted by frequent gaps, 141 sections of consecutive narrative have been preserved. It is speculated that the original composition was approximately 1000 pages. The "fragments" filling in the lacunae that were reportedly found at Belgrade and printed in the present edition are actually a forgery by François Nodot (1650-1710). Though the forgery was soon suspected, texts and translation of the Satyricon continued to incorporate Nodot's supplements until the early 20th century. Text in Latin and French on facing pages. Brunet IV, 576. Hoe Catalogue (1912), Part II, lot 2670 (this item). These volumes were bound for Jeanne Baptiste d'Albert de Luynes, Comtesse de Verrue (1670-1736), French noblewoman and one of the greatest bibliophiles of her time. At the time of her death, she possessed around 18,000 volumes, kept in Paris and her house at Meudon; this vast private library was dispersed in 1737. A great letter writer, Jeanne Baptiste was interested in art, science, literature and philosophy, kept in contact with the budding Voltaire and other philosophers, and maintained her own salon in Paris.Morocco-gilt bookplate of renowned bibliophile Robert Hoe, a co-founder and the first president of the prestigious Grolier Club. Mr. Hoe was "one of the best-known and most ardent of book collectors, and owner, during his lifetime, of one the most famous private library in this country in his passing [in 1909] America lost one of her greatest bibliophiles" (Transactions of the Grolier Club IV:12). Ownership signature and annotation of Jean Jacques de Bure: the de Bure family were book collectors, booksellers, auctioneers, and all around bibliophiles for some 200 years; when Jean Jacques de Bure died in 1853, the library that many generations of the family had assembled was dispersed at auction. Engraved armorial bookplate of Jean-Baptiste de l'Ecuy, Abbot of Prémontré (1740-1834), the last abbot general of the Prémontré order before the Revolution.Light rubbing to joints, shallow wear to spine head of Volume I. Morocco clean and fine, gilt bright. A superb copy splendidly bound for royalty with impeccable provenance.".

Hardcover. Etat : Very good. First. FROM THE DISTINGUISHED LIBRARY OF THE FRÈRES SAINTE-MARTHE. Quarto (8 ¾" x 6 5/16", 220mm x 160mm). [Full collation available.] Bound in XVIIc stab-bound vellum over boards. Titles and authors ink manuscript to spine. Some darkening to the spine. Shelf-label affixed to the front cover (partially obliterated). Printer's device and lower-edge of the title-page of no. 2 (A1) excised and restored. Marginal damp-stain to the margins of the first two works. A little tanning, and very occasional mild foxing. Ownership signatures of Louis and Scévole de Sainte-Marthe (known as the frères Sainte-Marthe) -- "De Sainte Marthe" flanking the printer's device, "Ex Bibliotheca Fratrum Sammarthanorum" at the lower edge -- of the title-page of nos. 1 and 4 (and doubtless excised from no. 2). Engraved armorial bookplate of Sainte-Marthe to the front paste-down. The sack of Rome, initiated on 6 May 1527, was one of the most consequential events in modern European history. The army of Charles V, Holy Roman Emperor (a Catholic), had a great many Lutheran soldiers. Charles had run short of funds, and the unpaid soldiers mutinied and formed a detachment under the Duke of Bourbon, forcing him to lead them to the walls of Rome and to pursue the heart of the Catholic Church. For a month they ransacked and pillaged the city till at last Pope Clement VII -- born Giulio de' Medici -- surrendered, succumbing to a great many of the demands of Charles, who disavowed any role in the sack. The consolidation of power in a single figure, ruling over more of Europe than any man since the fall of the Western Roman Empire in 476, signalled a new phase in the European Renaissance. Gathering together four works written over 100 years (the earliest just ten years after the sack), the volume explains the "triplex imperium" -- the tripartite Holy Roman Empire, comprising the Roman, French (Frankish) and German territories -- that was flourishing in the XVIc and XVIIc. Symphorien Champier (1471-1539) is best known as a medical writer, but in his later years he wrote nationalist accounts of the role of France vis à vis the Holy Roman Empire. Joachim Périon (1499-1559) was a French humanist who "de-medievalized" classical texts, and was one of the pivotal philologists of the Renaissance. Published the year after his death, this study of the magistracies of Greece and Rome was edited by his nephew François, having been found among his papers. The treatise was dedicated to Odet de Coligny, known as the Cardinal de Châtillon, but the epistle dedicatory is addressed to Scévole de Sainte-Marthe. This is the father (1536-1623) of the owners of the Sammelband: a distinguished poet, humanist and financier to Henry III and IV. Was this the copy of the dedicatee, inherited by his sons? César Grolier (ca. 1510-ca. 1595) was the son of the incomparable bibliophile Jean Grolier, and went to make his name in the Roman Curia. Only 17, César witnessed first-hand the destruction of Rome, and, his father's son, lamented the damage done to the Vatican library in particular. The work --published here for the first time, 110 years after its authorship -- is in the form of a letter to his father. It is intensely vivid and personal, although its Latinity is perhaps indicative of his tender age. Louis (1571-1656) and Scévole (II, 1571-1650) were twin brothers. Humanists, poets, historians, they were named jointly as historians to the king. From 1626 to their deaths they worked on the massive Gallia Christiana, cataloguing the dioceses, abbeys and personnel of the church in France from the introduction of Christianity; the volumes began to appear in 1715, and the project was not completed until well into the XIXc. The works collected (doubtless by the Sammarthani, as the ink ownership inscription to item 4 has offset onto the final leaf of item 3) must have been of great use in the preparation of this massive work. Brunet, I.1769 (Champier), II.1761 (Grolier).

4to, pp. (xxiv), 536, engraved title by Vallet after Paillet incorporating a portrait of the author. Woodcut headpieces and initials, and 30 engravings in the text (some full-page). Name erased from blank areas of engraved and printed titles, paper slightly browned and a few small marks. Contemporary mottled calf, nicely rebacked and tips of corners repaired. Ownership inscription dated 1693 at head of title deleted. FIRST EDITION of the book which ?established obstetrics as a science? (G&M). This was the outstanding textbook of the time, the first important textbook of obstetrics for nearly sixty years (since that of Jacques Guillemeau in 1609), and the first important obstetrical text to be published in five vernacular languages as well as Latin. ?While much in Mauriceau?s treatise echoed the teachings of his predecessors, the work also included several important new features, such as Mauriceau?s detailed analysis of the mechanism of labor, his introduction of the practice of delivering women in bed rather than in the obstetric chair, the earliest account of the prevention of congenital syphilis by antisyphilitic treatment during pregnancy, and the rebuttal of Paré?s erroneous account of pubic separation during birth? (Norman). The original illustrations, many signed ?du Cerceau?, who was a junior member of a famous family of architects and artists, set a new trend in obstetric illustration. G&M 6147. Grolier One Hundred (Medicine), 33. Lilly, Notable Medical Books, p. 85. Norman catalogue 1461. Radcliffe, Milestones in Midwifery, pp. 23?26. Speert, Milestones, pp. 558?566. Cutter & Viets pp. 77?81.

Hardcover. Etat : Fine. No Jacket. Size of binding: 5 1/4 inches x 8 1/2 inches, leaf size: 5 inches x 8 1/8 inches. [12] ils. 262 (260 ils.), 2 lls. Leaf 158 is numbered: 158, 159, 160. (12 preliminary unnumbered leaves, 262 numbered leaves, 2 unnumbered leaves including printer's page.) Printed in italics, Aldus' device on the title and last leaf. A fairly wide-margined copy, with some faded glosses identifying the subject matter of the text. Initial spaces with printed guides. Attractively bound in full vellum, in antique style, by Bayntun-Riviere, with their stamp at the lower edge of the back paste-down. With gilt Aldine anchor & dolphin design on the front cover, on the title page, and on the reverse of the printer's page; and gilt-lettered spine, reading: Budaeus De Asse Aldus 1522. Sewn headbands. Latin text with some passages in Greek. Title page and a few preliminaries display light, scattered age-spotting. Otherwise, a beautiful book, beautifully bound. A treatise on Roman coinage, weights and measures written by the humanist, Guillaume Bude. This is the work that made Bude famous: it was an essay on ancient Roman measures, but included a plea for humanistic studies to accompany study of the Bible and theology. Similar pleas were being made at the time by Erasmus and Thomas More, with whom Bude corresponded. Jean Grolier (1479-1565) a noted bibliophile, obtained a copy of the De Asse & Partibus Eius in Latin and sent it to Francesco Asulo, an associate of the famous printer Aldus with a letter detailing how he wanted it to be printed and published. This book is one of the rare Aldine printings. Loosely inserted is a two-page typed translation into English by a modern Renaissance scholar of the letter sent by Grolier to Asulo, in which Grolier expresses his desire "that beauty and elegance be added to it which choice paper, clearness of type, and those least worn, and ample margins" be provided. Renouard, p. 94, NO. 3. Brunet, Vol. 1., 1374.

Hardcover. Etat : Near fine. First. Editio princeps. Paris: Henricus Stephanus, 1554. Octavo (7 ¾" x 5 3/16", 198mm x 133mm). [Full collation available.] Complete with the final blank (O4). Bound in later vellum. On the spine, four raised bands. Author and title ink manuscript to the second panel, scrollwork to the third. A little bowed. Contents likely washed and pressed, though not noticeably so. The initial quire (*) re-mounted into the text-block. Repaired closed tears to E1, N1 and K4. Ink underlining to *3r and marginalia to pp. 4 and 49. Ownership signature to the title-page (with "297" below the printer's mark and "32" below the privilege) of Thomas Mermann with a Greek motto: Sum Thomæ Merman Coloniensis [kai ton filon/ ton gar filon hapanta/ einai legousi koina]. Henri Estienne (latinized Henricus Stephanus, ca. 1528-1598) was, like his father Robert, a scholar-printer in the mode of Aldus Manutius. Whereas Aldus could benefit from Greek refugees from the collapsing Byzantine world settling in his native Venice, Stephanus (father and son) traversed Europe seeking manuscripts -- or, as with the Anacreontea, receiving them as a loan. Estienne was perhaps a more gifted philologist, and his editions of texts are prized; his edition of Plato set the standard for the author, such that Stephanus pages (passages a-e of a given page of his edition) remain the universal mode of reference. Anacreon (fl. VIc BC) was one of the nine canonical Greek lyric poets of the archaic period; his works, however, survive fragmentarily. The present work is the first edition (editio princeps) along with a translation into Latin of the á¼ Î½Î±ÎºÏ ÎµÏ Î½Ï ÎµÎ Î± (Anacreontea or "Anacreontic verses") that was bound along with a Xc manuscript of the Palatine Anthology; modern scholarship now calls these verses Hellenistic, but their influence on Classical learning as well as poetry is undiminished. Anacreon's verses are characterized by bawdiness; his is an earthy world of intoxication, lust and war. Anacreon's poems shifted profoundly the reception of Greek poetry; they shattered conceptions of an Apollinian society, high-minded and noble, giving way to a vision of the symposium, bawdy and suggestive. A century after the present volume's publication, Abraham Cowley imitated the style of Anacreon and of Pindar (another of the canonical nine) to great acclaim. It should be noted that a single poem of Sappho's -- the acclaimed (and genuine) Hymn to Aphrodite -- closes the main body of the edition (pp. 62-63); it is the second time a poem of hers had appeared in print. Thomas Mermann (or Mörmann, known from 1585 has Mermann von Schönberg; 1547-1612) was born in Cologne but studied and then taught -- aged only 21 -- at the University of Pisa. There he gained the attention of Cosimo I de' Medici, Grand Duke of Tuscany and was brought into his circle; he then came to study medicine, in which he received his doctorate. He came to be the most trusted counselor of Maximilian I -- the Elector Palatine who eventually transferred the original manuscript to the Vatican. The designation "[kai ton filon]" -- and its Latin equivalent "et amicorum" (of his friends) -- was used by humanists (Jean Grolier being the most notable) to indicate the circulation of text within their circles, even of communal reading. The present work was used by Mermann and by his friends, with the explanation below: "for they say that all friends' property is communal" (perhaps referring to Alciphron I.7). It is a pleasant exercise to contemplate their discussions over the volume. In addition to the two underlines to the preface (*3r), there are two surviving marginalia, the latter refering to a quotation of Simonides in Stobaeus. The sentiments intersect curiously, showing not only variation in Greek lyric modes of mortality but a reader -- rather, a group of them -- thinking critically about the philosophical implications of the poetic fragments. Adams 1001; BP16 114523; Schreiber, Estienne 139.

Paris : Chez Jean Henault, 1668, 4°, Frontispize, (24), 536 pp. nit 26 (11 z.T. ganzseitigen) Kupferstichen, restaur. Halbledereinband d.Zt.; Rücken restauriert; feines Expl. First edition of " " Des maladies des femmes grosses et accouchees. Avec la bonne et veritable méthode de les bien aider en leurs accouchemens naturels, & les moyens de remedier à tous ceux qui sont contre-nature, & aux indispositions des enfans nouveau-nés: ensemble une tres-exacte description de toutes les parties de la femme qui sont destinées à la generation. Le tout accompagné de plusieurs figures en taille-douce, nouvellement et fort correctement gravées. Ouvre très -utile aux Chirurgiens, & nécessaire à toutes les Sages-femmes, piur apprendre à bien pratiquer l' Art des accouchemens. Composé par François Mauriceau . " This "ground-breaking medical work which "established obstetrics as a science" Garrison & Morton "This book was without question the most practical, explicit and accurate of the then known treatises on midwifery." Cutter & Viets, A Short History of Midwifery, p. 51 Mauriceau was "the first to write on tubal pregnancy, epidemic puerperal fever, and the complications that arise in labor from misplacement of theumbilical cord'' Le Fanu, Notable Medical Books from the Lilly Library, p. 85). Mauriceau popularised the idea of delivery in bed rather than on a birth stool, and while recommending the reading of other learned authors, cautioned that "the most part of them, having never practised the art they undertake to teach, resemble . those geographers who give us the description of many countries which they never saw". "While much in Mauriceau's treatise echoed the teachings of his predecessors, the work also included several important new features, such as Mauriceau's detailed analysis of the mechanism of labor, his introduction of the practice of delivering women in bed rather than in the obstetric chair, the earliest account of the prevention of congenital syphilis by antisyphilitic treatment during pregnancy, and the rebuttal of Paré's erroneous account of pubic separation during birth." Norman For more than seventy years and through numerous translations and editions, "Des maladies des femmes grosses" contributed to the spread of good obstetric practice throughout Europe. The original illustrations, many signed "du Cerceau", who was a junior member of a famous family of architects and artists, set a new trend in obstetric illustration. Mauriceau, François (1637-1709). Hénault, Jean (16.-1673). Imprimeur / Imprimeur-libraire Houry, Jean d' (1611-1678). Imprimeur / Imprimeur-libraire Ninville, Robert de (16.-1688?). Imprimeur / Imprimeur-libraire Coignard, Jean-Baptiste (1637?-1689). Imprimeur / Imprimeur-libraire Coignard, Charles (163.-1692). Imprimeur / Imprimeur-libraire Garrison & Morton No.6147; Grolier One Hundred (Medicine), 33; Lilly, Notable Medical Books, p. 85.; Norman catalogue 1461. Radcliffe, Milestones in Midwifery, pp. 23-26; Speert, Milestones, pp. 558-566; Cutter & Viets pp. 77-81.

First Paris Book Auction for which a Catalogue was Printed [Bigot.] Bibliotheca Bigotiana seu catalogus librorum, quos (dum viverent) summa cura & industria, ingentique sumptu congessere viri clarissimi DD. uterque Joannes, Nicolaus, & Lud. Emericus Bigotii . . . 12mo. [8], 72, [2], 73-220, [2], 248, 59, [1], 31, [1], 31pp. Paris: Apud Joannem Boudot, Carolum Osmont, Gabrielem Martin, 1706. 161 x 94 mm. Calf, gilt spine ca. 1706, light wear. Very good. A few marginal notes in ink and pencil, including possible prices realized. 19th century bookplates of the Car[dinal] de Beaurepaire and Germain Barré. First Edition. The Bigot library sale in 1706 was the first book auction conducted in Paris for which a catalogue was printed. The sale by auction of the Bigot family library was conducted by booksellers Jean Boudot, Charles Osmont and Gabriel Martin over the remarkably long duration of five months. This was Gabriel Martin's first catalogue, "and according to Bléchet, Jean-Pierre Nicéron was an editor" (North, Printed Catalogues of French Book Auctions and Sales by Private Treaty 1643-1830 in the Library of the Grolier Club, no. 12). Prior to this auction several auction catalogues for private libraries had been printed in Paris, but these libraries were sold privately and thus never went to auction. Bookseller, publisher and writer Prosper Marchand organized and catalogued the sale for Boudot, Martin and Osmont. One of the ways in which the catalogue was notable was in its introduction into bookselling of the classification scheme organizing information into five great divisions: Theology, jurisprudence, philosophy (i.e., sciences and arts), belles-lettres and history. Gabriel Martin, one of the auctioneers of the Bigot library, promoted this scheme, which originated in the seventeenth century and may have first been applied in the Catalogus bibliothecae Thuanae (1679), the catalogue of the library of French historian and bibliophile Jacques Auguste de Thou. Book auctions in France would follow this scheme throughout the 18th century, and in the early 19th century Jacques Charles Brunet elaborated on this basic scheme in his famous Manuel du librairie et de l'amateur de livres (1810). The Bigot library was begun by Jean Bigot in the early 17th century, and continued by his son, Louis-Emery. It eventually passed to Robert Bigot, sieur de Monville, and was sold at his death in 1706. The library included that of Jean Henri Jacques de Mesmes, for whom Gabriel Naudé, de Mesmes' librarian, had written Avis pour dresser une bibliothèque in 1627. At the time of sale the Bigot library consisted of 450 manuscripts and over 15,000 printed books. At the Bigot auction many books and all the manuscripts were purchased for the Bibliothèque du Roi. Over 150 years later the Bigot manuscripts were catalogued by Léopold Delisle as Bibliotheca Bigotiana Manuscripta. Catalogue des manuscrits rassemblés aux XVIIe siecle par les Bigot, mis en vente au mois de juillet 1706, aujourdhui conservé aux Bibliothèque nationale (1877). Albert, Recherches sur les principes fondamentaux de la classification bibliographique. . . . (1847), pp. 17-19. .

[filled-in by a cont. hand: Dincourt d'Hangard]. Dont la vente se fera le Lundi 9 Mars 1789, & les jours suivans. ix, [1], 11-20, 270 pp., 1 leaf, [271]-316 pp. ("Tables des Auteurs"); 18 pp. ("Supplement"); 26 pp. ("Liste des Prix"). 8vo, cont. sheep (blank corner of title & pp. 181-84 torn away), spine gilt, red morocco lettering pieces on spine. Paris: Née de la Rochelle & Belin Junior, 1789. [bound with]: (LE VAVASSEUR DE LA HÉRONNIERE). Catalogue des Livres de la Bibliothèque de feu M. Le Vavasseur de la Héronniere; Composé d'articles précieux, tant par les Editions que par les Reliures. Dont la Vente commencera Lundi 20 Avril 1789 & jours suivans. 2 p.l., 126 pp. (of 128, lacking errata leaf). 8vo. Paris: Nyon, Le Boucher, Née de la Rochelle, 1789. Two uncommon sale catalogues from the library of Jean Viardot. I. The collection (2499 lots) of Dincourt d'Hangard was "un des plus belles bibliothèques de ce temps."-Peignot, p. 102. According to the "Avertissement," the majority of the books come from other celebrated 18th-century French collections including those of Gouttard, Randon de Boisset, La Vallière, and Paris de Meyzieux. There are also some fine early MSS. as well as prints. "Bibliothèque bien choisie; bonnes éditions de classiques, beaux ouvrages d'histoire naturelle."-Gustave Brunet, Dictionnaire de Bibliologie Catholique, col. 469. This copy is complete with the separately published supplement, price-list, and authors' index. One or more is usually missing. Priced throughout in a contemporary hand. 2499 lots in the main catalogue and another 175 in the Supplement. Minor foxing. II. A most uncommon catalogue of an important sale; this is the first time I have handled a copy. This library, for the most part finely bound, consists largely of excellent 18th-century editions. 1706 lots. Nice copies, attractively bound. Bookplate of Casimir de Persan. ? I. Grolier Club, Printed Catalogues of French Books Auctions.1643-1830, 339. Pollard & Ehrman no. 299. II. Grolier Club, Printed Catalogues of French Books Auctions.1643-1830, 340.

Hardcover. Etat : Fine. BUDÉ, Guillaume. Libri V. de asse, et partibibus eius. Venice, In aedibus Aldi, et Andreae Asulani soceri, 1522. £5000 4to, ff. (xii) 263 (i), aa8 2b4 a-t8 u6 A-N8. Italic letter, some Greek, a little Roman. Aldine device on title and final leaf, light dampstain to lower fore-corner of d1 onwards but generally clean, nineteenth century vellum, spine gilt-tooled with gilt black morocco lettering label. Very occasional light soiling and thumb marks. An impressively clean, crisp and wide-margined copy; a beautiful sample of what an Aldine edition is, printed on excellent thick, fresh and immaculate paper. First and only Aldine edition of this work concerning Roman coinage, weights, and measures written by the French humanist Guillaume Budé. This is the third edition, which was revised and emended by the author (first edition printed in Paris in 1514; second in 1516). De Asse contributed to the popularity of Budaues , as he stylised his Latin name according to the humanist fashion of the time. This essay on measures included also a plea for humanistic studies to accompany study of the Bible and theology. Similar pleas were being made by many other contemporary authors, Erasmus and Thomas More just to mention two among the most important. Jean Grolier (1479-1565) a noted bibliophile, obtained a copy of the book and sent it to Francesco Asula, an associate of the famous printer Aldus with a letter detailing how it wanted it to be printed and published. Provenance: George Fortescue, of Boconnoc and Dropmore (1791-1877), blindstamped arms (and ink shelfmark 102 V ) on upper cover. Adams B3101; Ahmanson-Murphy 212; Renouard 94:3.

8vo, ff.[12], CCCXC (recte 392); printed in bâtarde type, title-page printed in red and black, criblé woodcut initials throughout; trimmed closely at head in places but with no loss of text; a handsome copy in nineteenth-century French red morocco, spine gilt-ruled in compartments and lettered directly in gilt, turn-ins roll-tooled in gilt, edges stained yellow and speckled red, marbled endpapers; a few scuffs to boards, light wear to joints; armorial bookplate of Arthur Brölemann, numbered '318' in manuscript to front pastedown; eighteenth-century inscription to front flyleaf 'Vendu 16-19s en 1757, Girardot de Préfond, no. 723?.Unrecorded issue of Jean Bouchet's contemplative work of moral theology in prose and verse explicitly intended for a female readership, following the personified Soul in dialogue with several virtues as she attempts to combat the forces of earthly temptation with the power of divine grace. A friend of Rabelais and Louis de Ronsard, Jean Bouchet (1476 c.1558) was a solicitor's clerk who obtained the position of procureur for the important La Trémouille family in 1510 and in January 1520 arranged the entry of Francis I into Poitiers. Much inspired by the works of Jean Gerson and St Antoninus of Florence, Les triumphes de la noble et amoureuse dame traces the Soul's journey, beginning with her entry into the world (when she is betrothed to Christ at baptism). Accompanied by Understanding, Will, Memory, Reason (her governess) and Sensuality (her chambermaid), the Soul receives a moral and physical education at the hands of Theology and the four cardinal virtues before encountering challenges in the form of the 'Prince of Pleasure' and the 'Brothel of Obstinacy' in the realm of Youth, and Flesh and the Devil in the land of Old Age. 'The very final section is a discussion between the author and Theology after the Soul has disappeared into the straits of death; it is not revealed to us whether or not the Soul is saved, instead we must be content with the hope and the positive signs that she has probably been saved, and Theology explains predestination, God's prescience, and free will' (Britnell, 'Religious instruction in the work of Jean Bouchet' in Pettegree, The Sixteenth-Century French Religious Book (2017)). Dedicated to Eleanor of Austria (1498 1558), Queen of France and wife of Francis I, Bouchet's narrative of the Soul's journey addresses a female readership and emphasises the necessity of producing such a work in the vernacular: his primary objective is to distract women from reading the Old and New Testaments in potentially 'dangerous' translations, as well as 'certain short treatises by some German heretics translated from Latin into French, which under the sweetness of the evangelical doctrine there are interposed several errors too scandalous and pernicious to Christianity' (a5v, trans. Kem, Pathologies of Love (2019), p.44). The discourses between the Soul and various virtues touch upon such topics as anatomy, hygiene, dietetics, raising children, chastity, and the relationship between husband and wife. This edition was printed by Etienne Caveiller and distributed by several Parisian booksellers, among them Jean Longis, Denis Janot, Oudin Petit, and Simon Colinet. In all such copies, the colophon (mentioning only Caveiller) remains the same. We have found only one other copy of the 1539 edition distributed by Pierre Sergent at auction. The imprimeur-libraire Pierre Sergent, based at the Sign of St Nicholas, appears to have specialised largely in chivalric romances and published editions of Les triumphes de la noble et amoureuse dame in 1536 and 1545.Provenance: 1. Sold at the Girardot de Préfond sale (De Bure, Catalogue des Livres du Cabinet de Monsieur girardot de Prefond, 1757, lot 723). 'Paul Girardot de Préfond was a timber-merchant who fell into an apathetic state on retiring from active business. His physician, Hyacinthe Baron, was an eminent book-collector, and he advised the patient to take up the task of forming a library. So successful was the prescription that the merchant became renowned during the next half century for his superb bindings, his specimens from Grolier's stores, and the Delphin and Variorum classics which he procured from the library of Gascq de la Lande Some of his rarest books were sold in 1757' (Elton, The Great Book-Collectors, 1893, pp.198 99).2. With the bookplate of Arthur Brölemann (1826 1924), grandson and heir to the library of the prolific manuscript collector Henri-Auguste Brölemann (1775 1854), who amassed a collection of over four thousand volumes.Neither OCLC nor CCfr find copies printed by Caveiller for Sergent.On the 1539 Caveiller edition distributed by other booksellers, see BM STC French, p.77; USTC 14858. Adams B2583; Brunet I, col.1162; Gay II, p.47; Index Aureliensis V, p.45; Pettegree & Walsby, French Vernacular Books I: 6759; Renouard, Bibliographie des éditions de Simon de Colines, pp.303 4 (citing Petit, Janot, Sertenas, and Longis but not Sergent); Tchemerzine II, p.70. Language: French.

Frellon's 'crab and butterfly' device on title, woodcut initials, double columns, ruled in red throughout. Folio (348 x 230mm). [26]ff (last blank), 894 cols. Late 16th century gilt panelled brown calf over pasteboards, large arms block of Mery de Vic in centre of covers incorporating his monogram within ornamental border, surrounded by a fanfare ribbon of leafy sprays and small tools, palmette tools at corners of panel, flat panelled spine, g.e. (rebacked, neat repairs to corners and small areas of covers). Lyon, Jean Frellon II, 1549. A fine edition of Lucian's Opera, printed by Frellon at Lyon, from the famed library of Méry de Vic (d. 1622), seigneur d'Ermenonville, president of the Parliament at Toulouse and keeper of the seals of France. He is described by Olivier as 'un grand bibliophile' and amassed a renowned collection of around 3000 printed books and manuscripts, including the final Paris library of Jean Grolier. He bequeathed them to his son Dominique (c. 1588-1662) who was appointed Archbishop of Corinthe in 1625 and Archbishop of Auch in 1629; his collection was sold in 1676. A similar binding with the arms of Méry de Vic is found in the Marsh Library, Dublin, on an edition of Horace, Carmina. Paris, 1579. Mirjam Foot notes that ?the combination of fanfare tooling with leafy sprays is found on Paris bindings dated between 1575 and 1580? In the present example de Vic's arms have been embellished at a slightly later date by two small tools of a sword and a bird(?). The editor was the German humanist Jakob Moltzer (1503-58) who used the translations of Erasmus, Thomas More and Melanchthon among others for this collected edition. Light browning, title mounted on stub, B4 and B5 repaired in margins with minor loss, one very short tear in one margin. Baudrier V, p. 215. BMSTC (French) p. 290. Not in Adams. Binding ref: See Mirjam Foot, The Decorated Bindings in Marsh's Library, Dublin (2004). Olivier 471. Guigard, p.466.

Edition : First Edition, Full contemporary calf. Blind ruling on upper and lower boards. Spine in six densely gilt compartments of raised bands. Gilt title on two. All edges reddened. Marbled pasted end papers. , This work describes the extensive assortment of machinery models collected by Nicolas Grollier de Servière (1593-1686). De Serviere was a great nephew of Jean Grolier, the prominent bibliophile. The volume includes numerous notes and illustrations of bridges, military gear, locks, water machines, mills, bridges, lathes, etc. "It is not clear whether all the mechanisms described were actual models, or whether some drawings and descriptions were included. That many were working models is, however, obvious; and these embodied details which could not be repeated on the grand scale? (Wolf 539). Plates 39, 48, and 76 were omitted from all copies, as indicated in the text, therefore we have the correct amount of 85 plates. , Size : 4to (247x180mm), Illustrated with 85 engraved plates of machinery models, many folding. , P. Title, Blank, Dedication (1-10), Preface (1-10), Contents (1-5), (1), 1-101, Blank, (1-8), Errata. Very good condition, a handsome copy with fine large copper engravings, text and plates clean, some minor dampstaining to last few leaves.

Hardcover. Etat : Very Good. 1st Edition. Number 45 of 135 copies, signed by Quignard & Sepiol., 1986. [Colophon]: Cette edition originale de Pascal Quignard illustree de huit (8) aquatintes originales de Maria Sepiol, dont trois en couleurs, a ete etablie par Claude Blaizot pour le concours de reliure organise par la Societe des Amis de la Reliure Originale; elle a ete acheve d'imprimer a Paris, le 3 janvier 1986, sur les presses de Francois Da Ros, typographe; les aquatintes ont ete tirees a la presse a bras par l'artiste. Tirage unique limite a 135 exemplaires numerotes, imprimes sur grand velin pur fil Johannot. Exemplaire 45 [signed] Pascal Quignard Maria Madpouata Sepiol. Size of binding: 8 ½ in. x 10 in. Unnumbered pages, 8 aquatints; 3 are colored (including title-page aquatint), all with loose tissue guards. In a custom bound, design binding by Jean Knoll, with his small blind-stamp on lower front leather turn-in: Jean Knoll 86. Bound in full light violet polished calf, with title in small gilt letters divided between the top, center & bottom of spine; front cover features a construction of two 8" aluminum rods, bent & mounted to form an open, oval shape, with four, gray leather strips around upper & lower rods, & then twisted to a V shape & inlaid into the violet leather; abstract 2" form of specially grained, gray leather mounted at the right hand edge, between the open section of the rods; dark gray, brushed suede leather paste downs & textured, violet/gray endpapers. In a specially constructed clamshell (drop-down) box, with spine in darker violet calf with words of title either gilt or blind-stamped, violet cloth sides; insides are lined with tan suede leather & violet calf leather inner hinges on back (spine). In fine condition. Binding created in 1986 for this copy of the Quignard/Sepiol book, of which, only 135 were printed. "Jean Knoll- Ne en 1930, eleve a l'Ecole Estienne de 1946 a 1950, Jean Knoll a travaille dans differents ateliers de reliure avant de creer en 1958 en association avec Gilbert Bale et Gilbert Garnon son propre atelier 'R.G.G.B.'. Il professe a l'Ecole Estienne depuis 1962 pour les cours de maquettes de reliure et pour les cours d'Histoire de l'art et du livre. Il expose regulierement en France et a l'etranger ses decors de reliure depuis 1956, et artiste peintre, il expose ses tableaux a Paris depuis 1980." (From Grolier Club "Reliure Francaise Contemporaine/Les Amis de la Reliure Originale" exhibition catalogue). Jean Knoll bindings are rare in the USA. (French text). Signed by Author(s).