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Pettigrew, Jane
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Book Et Co, 1999. In-4° demi, relié. 96 pages. Illustré de nombreuses photos en couleur et en noir et blanc.
Reference : CUI61M
Très bon état. Quasi neuf.
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Librairie du Levant
M. Yannick RENAUD
15 rue Marengo
64100 Bayonne
France
+33 5 59 03 69 40
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We accept payments in € by bank transfers, remote Credit Card, Paypal or checks. Checks made payable to and addressed to: Librairie du Levant 15 rue Marengo 64100 Bayonne France Bank transfers to: Banque Courtois, 1 pl du Réduit 64100 Bayonne / RIB / 10268 02696 62711600200 13 / IBAN / FR76 1026 8026 9662 7116 0020 013 / SWIFT BIC / COURFR2T PAYPAL via the address: librairiedulevant@orange.fr For any remote payment by Credit Card, informations communicated are automatically deleted as soon as payment is made and validated. Shipping upon receipt of payment. Member of the Syndicat des Libraires Anciens et Modernes (SLAM) and of the International League of Antiquarian Booksellers (ILAB), our sales are made according to the customs of the profession. All our books and objetcs are guaranteed to conform to the description which appears in each sheet; if, as a result of an error or an oversight, this was not the case, order will be taken back (within fifteen days) and reimbursed (including the costs of redirection), provided that it is returned in the same condition as the purchase. For obvious technical reasons (format, colors, cropping, viewing angle, etc.), the photographs presented on this site are not contractual. Our prices are in Euros, packaging included. Shipments, made under the responsibility of the buyers, are made by Colissimo Post, registered with insured value from € 50 and up to € 5,000 (delivery against signature, package tracking and insured value); for works less than 50 €, shipments are made by registered letter; works whose value exceeds € 5,000 must be sent by special carrier with insured value and delivery against signature. For any shipment outside mainland France, shipping and insurance costs remain the responsibility of the customer. Shipments are made under the same conditions set out above. Possibility to collect the orders on site. Do not hesitate to keep up to date with our news, finds, curiosities, catalogs and various thematic lists by leaving your contact details by email at librairiedulevant@orange.fr
5 book(s) with the same title
J'Accuse ou Nice côté-ombre, J'Accuse The dark side of Nice,
1982 Londres, The Bodley Head, 1982,1 Volume broché, 217 x 122 mm. 69 pp.Texte en Anglais et en Français, bon exemplaire.
"Si vous envisagez d'aller vous installer sur la Côte d'Azur dans l'espoir d'y mener une existence paisible, permettez-moi de vous adresser une mise en garde amicale : Evitez Nice et ses Environs.La Région est en effet devenue la chasse gardée de certaines organisations les plus criminelles de France."
Phone number : 02.31.77.03.74
La Rue Chaude, A Walk on the Wild Side,
Collection du Monde Entier, Nelson Ahlgren Abraham, dit, Nelson Algren, Paris, Editions Gallimard, 1960, 1 Volume broché, 210 x 143 mm. 332 pp. non coupées.Edition originale, ouvrage comme neuf.
Ses uvres sont le reflet réaliste de la vie américaine. En France, il est introduit dans le milieu existentialiste par Simone de Beauvoir, qu'il a rencontrée vers 1947 et à qui il dédiera La Rue chaude (A Walk on the Wild Side, 1955). Il a, pendant plus de 15 ans, une relation passionnée avec elle, relatée par celle-ci dans Les Mandarins en 1954 et dont naît une importante correspondance ; les lettres que lui a écrites Simone de Beauvoir (plus de 300) ont été publiées par Sylvie Le Bon de Beauvoir, qui n'a malheureusement pas eu l'autorisation de traduire et de publier celles de Nelson Algren. Simone de Beauvoir est enterrée avec l'anneau de Nelson Algren à son doigt.
Phone number : 02.31.77.03.74
The Novels and Stories of Barbey d'Aurevilly,
1967 Genève, Editions Droz, 1967,1 Volume broché, 230 x 160 mm. 265 pp. Texte en anglais, nombreuses rousseurs sur les tranches.
Table des Matières,Prolégomènes,1830 - 1850,Les Romans Normands : L'Ensorcelée, Le Chevalier des Touches, Un Prêtre marié, Les Diaboliques, Le Monde fictionnel de Barbey, Caractère et Intrigue,Forme, Technique et Style, Conclusion, Bibliographie, Index,
Phone number : 02.31.77.03.74
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)
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.
