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Hector Hugues Munro dit. SAKI
Le thé.
Couverture blanche souple et imprimée. Papier jauni. Ex-libris en relief sur la page de titre.
Reference : 61870
Non-donné. L'o&il de la lettre. 1988. 30 pp. In-12. Broché. Très bon état. 1 volume. Traduit de l'anglais par J. DEREGNAUCOURT.
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5 book(s) with the same title
Cours de dessin. 1re Partie, Modèles d'après la bosse. 29 original lithographs (from a total of 70) from the first part of the Drawing Course ('Cours de dessin').
Paris, Goupil & Cie Editeurs, no date (1868)
[This course taught Vincent van Gogh how to draw human figures.] Loose-leaf plates on grey paper with the original white/grey paper backing. Dimensions: 44 x 59 cm. All plates are numbered. The following plates from the first series (Première partie) are on offer here: 1, 2, 5, 7, 9-12, 15-17, 19-22, 24-26, 28-29, 32, 36, 40, 42, 46, 49, 52-53, 56. Details: All plates have a small printed colophon in a frame, with the general title, the part number and title, the plate number and the publishers name. In fine print at the bottom of the sheets the name of the printer Lemercier in Paris is mentioned on most plates. 27 plates also have a small blind stamp of the firm Goupil in the lower margin. See for this stamp the French database 'marquesdecollections', stamp no. L.1090. Condition: Mosts lithos are in rather good condition. The plates have evidently been used, a few have tiny pinholes. Some of them have been folded, showing creases. Most of the plates are frayed and worn at the edges, with a few small tears and dog-ears. Several plates are foxed or spotted. Four plates are in lesser condition: plate 2 has large folds, the lower corners are damaged and there is foxing; plate 26 has two long creases and a large tear; plate 36 has a crease, a damaged corner and a tear of six cm.; plate 56 is almost torn through the middle. NOTE: The beautiful plates of the famous Drawing Course (Cours de dessin) by Bargue and Gérome were made for beginning students of drawing schools and art academies to copy. In this way they could become familiar with the principles of contour, light, and shade, and at the same time develop an appreciation for 'good taste' by looking at examples of great art. The drawings of the first part of the course were made after plaster casts of famous classical and renaissance statues. The series starts with simple forms of isolated body-parts and then offers images of gradually increasing complexity. To help the student to manage the essential forms of a head or torso, many plates are divided into two parts. A schematic outline with straight lines and angles stands beside the finished drawing. The plates of the drawing course are now hard to find. Of the original publication of 197 loose-leaf lithography plates, divided into three parts, there are only a few complete sets known. Our collection is a part of the first volume: 'Modèles d'après la bosse' (Models after casts), which consisted of 70 plates. It was published in 1868. The second series, completed in 1870, was: 'Modèles d'après les Maîtres de toutes les époques et de toutes les écoles' (Models after masters of all periods and all schools). The third series, completed in 1873, was: 'Exercices au fusain pour préparer à l'étude de l'académie d'après nature' (Charcoal exercises in preparation for drawing the academic nude). The first two sections were meant for schools for design and decorative arts. The third section with live models was used only in art academies. There were no instructions published with the plates, that was left to the teachers in the schools. It was common practice in the schools to start with copying prints and drawing from plaster casts of classical statues. As a second stage, students copied old masters. In the art academies, they then went on to live models. This training was part of the tradition of 19th century neoclassicsm. The imitation of nature was the only goal for artists. Objects and human bodies should be drawn and painted meticulously. Works of art were both realistic and idealistic, following the concept of 'good taste'. In France, this resulted in smooth and finished works, influenced by the standards of the French 'Académie des Beaux-Arts'. This so-called 'Academic Art' came under criticism at the end of the 19th century when the concept of art changed radically. The Drawing Course is the last great document of the 19th century tradition of art education. It was widely used in France and England. Vincent van Gogh writes about it in his letters, he has worked through the whole course at least once. Van Gogh worked very hard on this course because he hoped to gain some income with the sale of his drawings. In a sketchbook owned by the Van Gogh Museum in Amsterdam there are several pencil drawings made after Bargue's plates. Nowadays, the didactic and artistic quality of the course is greatly admired by both amateur and professional artists. The firm Goupil & Cie was an important publisher of original prints and art reproductions in Paris. They hired skilled engravers and lithographers and used the latest techniques. The firm also developed into a renowned art dealer. The 'Cours de dessin' sold very well for Goupil, and loose plates were still sold until the firm was dissolved around 1920. Charles Bargue (1826-1883) was a French draughtsman, lithographer and painter who has left a small number of paintings. Jean-Léon Gérome (1824-1904) was a French painter and sculptor, an esteemed representative of academic art. The main source for information on the course is: G.M. Ackerman. Charles Bargue with the collaboration of Jean-Léon Gérôme, Drawing Course. Paris, ACR, 2017 (first edition 2003). A copy of this book is added.
The two first books of Philostratus, concerning the life of Apollonius Tyaneus: written originally in Greek, and now published in English: together with philological notes upon each chapter. By Charles Blount, Gent.
London, Printed for Nathaniel Thompson, next dore to the Sign of the Cross-Keys in Fetter-Lane, 1680.
Folio. (VIII),243,(1 blank) p. Calf 32 cm (Ref: ESTC Citation No. R4123; Hoffmann 3,82; Ebert 16760 'Wurde verboten, weil man die Noten antichristlich fand'; Graesse 5,274) (Details: Back with 5 raised band. Blind tooled double fillet border on both boards. Title in red and black. Woodcut text illustration, which represents a diagram of the philosophic schools in antiquity) (Condition: Binding scuffed. Back rubbed. Joints weak, partly starting to split. Boards spotted. Paper browning and foxed. Endpapers worn and browning) (Note: Few books have over a long period of time aroused so much upheaval among Christians as this biography of the neopythagorean ascetic and wandering philosopher Apollonius of Tyana, written by the Greek sophist and rhetor Philostratus at the beginning of the 3rd century A.D. This is the first English translation of the first 2 books (of 8) of this Life of Apollinius of Tyana. The translation was speedily condemned and suppressed by the Church of England, because it was held to be a most dangerous attempt against the church. Only a few copies were sent abroad. Apollonius was born in the same year when Jesus Christ is supposed to be born. It is almost impossible to reveal Apollonius' true identity, or to decide wether this is a biography of a real or fictionalized hero, or just an Heliodoran romance or a romantic hagiography, or even a documentary romance. The question can be dealt from so many angles, that the Philostratean studies constitute a separate branch in the research of the culture of the Early Roman Empire. The problem is 'that Philostratus, as a man of letters and sophist full of passion for Greek romance and for the studies in rhetoric, was hardly interested in the historical Apollonius'. (Dzielska,M., 'Apollonius of Tyana in legend and history', Rome 1986, p. 14) A fact is that contemporary sources reveal next to nothing about Apollonius. Philostratus wrote the biography at the behest of the empress Julia Domna Augusta. 'To satisfy the empress's demand, who asked him (Philostratus) to narrate the life and achievements of Apollonius, he had to invent this figure as it were anew. Thus using his literary imagination, this moderately gifted writer turned a modest Cappadocian mystic into an impressive figure, full of life, politically outstanding, and yet also preposterous'. (Idem, p. 14) Nothing proves that the 'Vita Apollonii Tyanensis' was widely read in the 3rd century. It would probably not have survived, were it not for the gouvernor of Bithynia, Sossianus Hierocles, one of the inspirators of the persecution of the Christians in 301 A.D. in his province under the emperor Diocletian. At the beginning of the 4th century he published his 'Philaletes', a treatise against Christianity, in which he ridiculed the divine attributes of Christ, and praised Apollonius' virtues and thaumaturgic abilities. In the 'Philaletes' Hierocles propagated his pagan Christ Apollonius. The Christians were furiously enraged, because Hierocles dared to contrast Apollonius with their Saviour. The Christians won under Constantine, and the 'Philaletes' vanished soon from the face of earth. It is only known through the 'Against Hierocles', a treatise of the Churchfather Eusebius. The 'Vita Apollonii Tyanensis', in which it was believed that Apollonius was presented as the equal, if not the superior of Christ, survived however the burning of pagan literature by Christian mobs in early christianity. Translations of the 'Vita' which began to appear in the 16th century were immediately put under ecclesiastical ban. The English translation of 1680, by the leisured gentleman Charles Blount, 1654-1694, a deist and freethinking philosopher, and especially his notes, raised such an outcry among christian believers in England that the book was condemned by the Church of England in 1693, banned and its further publication forbidden. Hoffmann observes that the stock might have been burned (vielleicht verbrant). On what ground he thinks so, is not clear. Still, 'fierce passions were let loose. Sermons, pamphlets and volumes descended upon the presumptuous Blount like fireballs and hailstones, and his adversaries did not rest until the authorities had forbidden him to print the remaining six book of his translation'. (R.W. Bernard, 'Apollonius, the Nazarene', 1956, p. 10) Blount persisted that if the miracles of Apollonius were untrue, so were those of Jesus. In his preface Blount is very cautious. He presents the 'Life' as being 'no more than a bare narrative of the Life of a Philosopher, not of a new Messiah'. Philostratus never even mentions Christ, he says. 'And if one Heathen Writer (Hierocles) did make an ill use of this History, by comparing Apollonius with Christ, what is that to Philostratus, who never meant nor design'd it so'. (Preface p. A2 verso) Blount had already finished the translation of all 8 books, he tells the reader, 'when I found the Alarm was given in all parts what a Dangerous Book was coming out; (...) which might therefore prove of pernicious consequence of the Publick'. He fears for his life he says, and therefore publishes only the first 2 books. 'I have thought fit to proroque the remaining part of this history'. (p. A3 verso) Especially Blount's very elaborate illustrations and annotations to the text were considered to be dangerous atheist freethinking. A century later Blount's notes were translated into French and published in Amsterdam in 1779. It was ironically dedicated to Pope Clement XIV by one 'Philaletes') (Collation: A-Z4, Aa-Gg4, H6) (Photographs on request) (Heavy book, may require extra shipping costs)
The Memoirs of Philip de Comines, Lord of Argenton, containing the history of Lewis XI. & Charles VIII. Kings of France, with the most remarkable occurrances in their particular reigns from the year 1464 to 1498. Revised and corrected from divers manuscripts, and antient impressions; By Denys Godefroy, Counsellor and Hystoriographer to the French King. And from his new edition of it printed at Paris, faithfully translated into English.
London, Printed for John Starkey, 1674.
8vo. (XL), 479, 478-542, 553-611,(4 stocklist),(1 blank) p. Recent vellum. 19 cm Philippe de Commines has been called the Father of Modern History. (Ref: ESTC No. R7258) (Details: A frontispiece showing 4 portraits, of the King of France, Charles Duke of Burgundy, Edward VIIII King of England and of Philippe de Commines) (Condition: Endpapers renewed. The frontispiece attached to the title-page with a strip of paper. Edges of the frontispiece chipping, especially at the upper rim. First leaves soiled and thumbed. A few leaves of the introduction soiled too, some with paper repairs and chipping margins. Upper margin cut short, sometimes shaving the top of the running title. Paper somewhat foxed and yellowing) (Note: Philippe de Commines, or de Commynes, 1447 - ca. 1511, was a French author and diplomat of Flemish origin at the court of Burgundy and France. He has been called 'the first truly modern author' and 'the first philosophical critic and historian since classical times'. His analysis of contemporary politics makes him unique. The 'Mémoires' of Commines is divided into two very different parts. The first six books tell the story from 1466 to 1483 and, in particular, the rivalry between Louis XI and Charles the Bold. The last two books, written by Commines at the end of his life, treat the Italian War (1494-1495). Commines is a true historian, masterfully unravelling the most complicated issues. He takes the trouble to inform himself copiously and accurately, and always cites his sources. His story is generally accurate. For him history is a morality play, trying to extract from the narration of the events lessons for princes and heads of state. He recommends distrust of themselves, their friends, their relatives and fortune. Trickery is better than violence to reach the proposed goals. His political morality is very similar to that of Machiavelli, but more cautious. The work remained in manuscript until 1524, when the first edition of the 'Mémoires', a title not used until an edition of 1552, was published, and was rather defective. The first truly critical edition was produced by Denis Sauvage, Paris 1552. He, as we saw, gave the work the title 'Mémoires'. His division in books and chapters is accepted by all later editors. His edition remained the standard until 1649, when Denys Godefroy brought out from the Royal Press in the Louvre and of Louis XIV, a new one, with numerous corrections and additions. Our English translation of 1674 here on offer was made from this Parisian edition of 1649. The first English translation was published in London in 1596, and produced by the historian Thomas Danett. It was repeated in 1601, 1614, 1665 and 1674. This 1674 translation of Danett was printed in London for Samuel Mearne, John Martyn, and Henry Herringman, and should not be confused with our copy, which also saw the light in London in 1674, but is a new translation, based, as the title says, on the new corrected Parisian edition by Godefroy of 1649. We could not find out who this new translator was) (Collation: A8, A*4, a8; B-2Q8 (2Q8 verso blank). The pagination is erratic, but the work is collated and complete). (Photographs on request)
Antiquae Historiae ex XXVII. authoribus contextae, libri VI, Totidem solennes temporum epochas continentes. Dionysii Gothofredi JC. opera. Cum indice accuratiss. (Bound with the second part, which is called:) Historiae Antiquae pars altera De imperatoribus Romanis liber IIII, a Julio Caesare ad divisum imperium, sub Constantino Irenes, & Carolo Magno. Liber V, a Constantino, Irenes filio, ad Constantinum ultimum, & captam a Turcis Constantinopolin. Liber VI, a Carolo Magno ad Rodolphum II.
Strasbourg, (Argentorati), Impensis Lazari Zetzneri, 1604.
8vo. 2 parts in 1 volume. (XVI),385,(36 index),(1 blank); 639,(23 index) p. Modern half vellum. 16 cm (Ref: VD17 3:006921C & VD17 3:006920V) (Details: Boards marbled. Woodcut printer's mark on both titles, depicting the head of the goddess Athena in profile, the motto is 'Scientia immutabilis'. Occasional woodcut initials) (Condition: Vellum at the head of the spine stained. Small stamp on the verso of the title. Paper yellowing) (Note: The French scholar Dionysius Gothofredus, or Denis Godefroy, 1549-1622, is best known as the editor of the monumental 'Corpus iuris civilis', Lyon 1583, an edition with commentary of the complete collection of fundamental works in Roman jurisprudence (Digest, Institutions, Codex, Novellae) issued on order of the emperor Justinian at the beginning of the sixth century. Gothofredus' edition made history. He did not only coin the title 'Corpus Juris Civilis', but it was issued more than 50 times, with or without commentary and glossae. Gothofredus studied law at Louvain, Cologne, and Heidelberg, and then returned to Paris, his hometown, to work as a solicitor. But being protestant he had however to leave France in 1579, escaping civil war and persecution, and fled to Geneva. There he was professor of Roman law for the next ten years. In 1589 he was called back by king Henry IV, but the next year he had to flee the country again. His house and library were plundered. In 1590 he took refuge in Basle. In 1591 he accepted a professorship of Roman law in Strassburg. From there he moved in 1604 to the university of Heidelberg, where he became head of the faculty of law. Gothofredus also worked on classical authors such as Cicero and Seneca and the ancient grammarians, and on ancient history. Gothofredus wrote the dedication and the preface of the first edition of the 'Antiquae Historiae ex XXVII authoribus contextae' during his stay in Basel in 1590, short after his escape from France. It was reissued in Lyon in 1591. An third reissue was published in 1604 in Strassburg. In the preface, dated Basel 1590, Gothofredus explains that he offers here the 'studiosi' this collection of texts of Roman historians, to help them to acquire knowledge of the history of Rome from the sources, and not from a pond ten times removed from its source. ('Hoc enim opere, primum antiquos authores selegi, ut studiosi ex antiquis, non ex decima lacuna cognitionem historiarum haurirent'. (page *5 recto) He presents also a list of 27 historians from whose work he drew, from Berosus and Manetho to Paulus Diaconus and the Suda. He organizes their works chronologically in six books, 1: on Italy before Rome, 2: Rome and her kings, 3: the consuls, 4: Roman emperors, from Julius Caesar till ca. 800, 5: Constantinople till 1453, 6: and on the medieval emperors of France and Germany. Book 4, on the Roman emperors is by far the longest, 480 pages. For instance, when he deals with Julius Caesar Gothofredus prints texts of Livy, Florus, Eutropius, Aurelius Victor. The last 2 books (after 800) are short and rather sketchy. Gothofredus doesnot use Tacitus, Sallustius, Suetonius, Historia Augusta , or Ammianus Marcellinus. The 1590 edition is rather common, this edition of 1604 however seems rather rare. In KvK we found only a few copies) (Provenance: On the verso of the title a stamp: 'Hermann Funke'. 'Hermann Funke, 1938-2015, war ein deutscher Klassischer Philologe. Hermann Funke studierte Klassische Philologie an der Universität zu Köln und wurde dort 1963 mit der Dissertation Die sogenannte tragische Schuld: Studie zur Rechtsidee in der griechischen Tragödie promoviert. Von 1964 bis 1968 arbeitete er am Franz Joseph Dölger-Institut der Universität Bonn, anschließend als Assistent an der Universität Mannheim. Nach einem Forschungsaufenthalt am Center for Hellenic Studies der Harvard University (1971/1972) habilitierte er sich 1974 mit der Schrift Allegorie und Dichtererklärung: Studien zur poetischen Hermeneutik in der Antike (unveröffentlicht). 1978 wurde er zum außerplanmäßigen Professor ernannt. Seit 2003 war er im Ruhestand'. (Source Wikipedia)) (Collation: Part 1: )(8, A-2C8, 2D4 (leaf 2D4 and the verso of leaf 2D3 blank) Part 2: 2E-3Y8, 3Z4 (minus the blank leaf 3Z4)) (Photographs on request)
LOUKIANOU SAMOSATEÔS HAPANTA. Luciani Samosatenis Opera. Ex versione Ioannis Benedicti. Cum notis integris Ioannis Bourdelotii, Iacobi Palmerii a Grentemesnil, Tanaquilli Fabri, Aegidii Menagii, Francisci Guieti, Ioannis Georgii Graevii, Iacobi Gronovii, Lamberti Barlaei, Iacobi Tollii & selectis aliorum. Accedunt inedita scholia in Lucianum, ex Bibliotheca Isaaci Vossii. (At the end: Scholia in volumen primum (& secundum) Luciani. Nunquam hactenus edita. Recensuit & notulas adjecit Johannes Clericus)
Amsterdam (Amstelodami), Ex Typographia P. &. I. Blaeu, Prostant apud Wolfgang, Ianssonio-Waesbergios, Boom, a Someren, & Goethals, 1687.
8vo. 2 volumes: (XXIV),1060,(18 index),(2 blank); (IV),922,(26 index); (VIII),46,(2 blank);55,(1 blank) p., engraved frontispiece. Vellum 20 cm (Ref: STCN ppn 853061254; Hoffmann 2,537; Dibdin 2,193; Moss 2,262/3; Brunet 3,1207; Graesse 4,278; Ebert 12384) (Details: 6 thongs laced through both joints. Engraved frontispiece: Lucian seated at his desk, surrounded by scenes from his writings. Woodcut printer's mark on both titles, depicting a celestial sphere, flanked by Hermes and Chronus, the motto is 'Indefessus agendo'. Woodcut initials. 1 woodcut engraving. Greek text with facing Latin translation) (Condition: vellum slightly soiled. Old paper shelf number at the foot of the spines) (Note: This is a typical Variorum edition. It offers a 'textus receptus' which was widely accepted, accompanied with the commentary and the annotations of various specialists, taken, or excerpted from earlier useful, normative or renewing editions. Editions like these, 'cum notis Variorum', were useful, but never broke new ground. This edition was produced by Johann George Greffe, or Graeve, better known as Johannes Georgius Graevius, (1632-1703), who was of German origin. He went to the Dutch republic to study classics. He later was appointed professor at Duisburg, then at Deventer, and finally at Utrecht, where he was the last 42 years of his life a star of the first order which adorned its University. He limited his attention almost mainly to Latin prose. This 'Variorum' edition of Lucianus edited by Graevius seems to have escaped the attention of Sandys. Hoffmann & Brunet erroneously state that Johannes Clericus is the editor. Johannes Georgius Graevius himself however tells the reader in a 'Lectori' on p. (XVII) of vol. 1 about his 'modus operandi' in the production of this edition. He tells his readers that he produced this new edition of Lucian on request of the publishing firm of Blaeu. Graevius consulted the work of the best preceding editors and commentators, like Bourdelotius, Palmerius, Faber and others, including the not yet published notes of scholars like Menagius, and Jacob Gronovius which they had sent to him. Graevius says he also used the editio princeps of 1496, the Aldus edition of 1503, and the Basel editions of 1555 & 1563 etc. For the Greek text and Latin translation Graevius follows the edition of Johannes Benedictus of 1619. At the end of the second volume have been added 46 and 55 p. with not yet published scholia. Graevius tells the reader that these scholia, which were part of the manuscript collection of the Dutch classical scholar Isaac Vossius, arrived just after the printing had been completed. These scholia have been edited by the Dutch scholar of Swiss origin Johannes Clericus, 1657-1736. Clericus himself explains in his 'Bibliothèque Choisie' vol. 16, p. 400/1, that he certainly didnot produce this edition of Lucianus, but that he only edited the scholia. There he also sneers at Graevius, and complains about the mediocre quality of the scholia, and tells that Vossius sold the printer a bad copy of the scholia for too high a price. (See Moss 1,263) Dibdin: 'Dr. Harwood calls it (this edition of 1687) 'a tolerably correct edition, and greatly superior to all that preceded it') (Provenance: From the library of Andrew Fletcher of Saltoun, 1653-1716, a Scottish author and politician. He was leading the opposition against the 1707 Act of Union between Scotland and England. He also was an passionate book collector. A very fine set, with the manuscript entry of Fletcher on the pastedown of both lower boards) (Collation: *8, 2*4, A-3X8 3Y4 (leaf 3Y4 blank); *2, A-3N8 3O2; 2*4, a-f4 (leaf f4 blank); a-g4)) (Photographs on request)
