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ANNE D. HUNTER.
FRENCH.
Collins.. Non daté. In-12. Cartonné. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur acceptable. 160 pages. Jaquette illustrée en noir et blanc.. Avec Jaquette. . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
Reference : RO20075255
Collins' phrase books. Texte en anglais. Classification Dewey : 420-Langue anglaise. Anglo-saxon
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5 book(s) with the same title
GOUACHE ORIGINALE : PROJET DE COUVERTURE POUR LA REVUE "FRANCE via French line" : revue de la Compagnie générale transatlantique (à destination des passagers américains de la French Line), rédacteur en chef Gaston Papeloux
1935 Une Gouache Originale en couleurs, Format : 13,7 centimètres de haut par 7,7 centimètres de large, sur papier blanc, non signée, représentant une main agitant un mouchoir aux couleurs du drapeau français saluant le départ d'un paquebot avec la statue de la liberté en haut à gauche dans sa ligne de mire, pour saluer le premier voyage du paquebot "NORMANDIE" pour New-York, sans date (1935),
RARETE.......en trés bon état (very good condition). trés bon état
French Painters of the XVIII Century (1899). French Architects and Scultptors of the XVIII Centyury (1900). French Decoration and Furniture of the XVIII Century (1901). French Engravers and Draughtsmen of the XVIII Century (1902). set of 4 volumes
Dilke, Lady: French Painters of the XVIII Century (1899). French Architects and Scultptors of the XVIII Centyury (1900). French Decoration and Furniture of the XVIII Century (1901). French Engravers and Draughtsmen of the XVIII Century (1902). set of 4 volumes. London: George Bell & Sons, Over 900 pages in total. Fully illustrated in black & white. Half bound in red morocco, raised spine, gilt tool. 30 x 21cms. The volume on painters discusses the story of the Royal Academy, the great decorative painters: le Moine, de Troy, Boucher and Fragonard, the painters of fetes galantes: Watteau, Pater and Lancret, the painters of familiar scenes: Jean-Baptiste-Simeon Chardin, Pierre-Antoine Baudouin and Jean-Baptiste Greuze, the painters of portraits: Rigaud, Largilliere, Nattier, Tocque, Roslin, Drouais, Latour, Perronneau, and the treatment of landscape by Vernet and Lantara.The volume on architects and sculptors contains studies on the academy of the king's architects, the modern house and the 'great' palaces, Jacques-Ange Gabriel and his successors, the pseudo-classical revival, the school of Coyzevox, Edme Bouchardon, Jean-Baptiste Pigalle, the school of Lemoyne and Etienne Falconnet, Jean-Jacques Caffieri and Augustin Pajou, Jean-Antoine Houdon and Claude Michel (Clodion) and the medalists and Jacques le Guay. The volume on furniture addresses the 'Golden Gallery' and the 'Hotel de Soubise', Nicolas Pineau and the Elysse, Jacques Verberckt, Jules-Antoine Rousseau and the decoration of Versailles, Rousseau de la Rottiere and the boudoirs of the Marquise de Serilly and of the Queen, the influence of Madame de Pompadour and jean-Demosthene Dugourc, pastorales, chinoiseries, singeries, Chantilly and the Hotel de Rohan, Oudry and the Gobelins, Boucher and the Gobelins, Jean Lamour and Les Caffieri, Andre-Charles Boulle and Charles Cressent, Oben, Riesener and Gouthiere, French furniture made by foreigners and a word on Vernis-Martin. The volume on engravers and draughtsmen discusses the Comte de Caylus, the great 'amateurs', Mariette and Basan, le Chevalier Cochin, the Drevet and Jean-Francois Daulle, Wille and his pupils, Laurent Cars, Flipart and le Bas, the enrgavers of the Vignette, Gravelot and Eisen, the Saint-Aubin, Moreau le Jeune, Boilly and Prieur, and engravers in colour.
The volume on painters discusses the story of the Royal Academy, the great decorative painters: le Moine, de Troy, Boucher and Fragonard, the painters of fetes galantes: Watteau, Pater and Lancret, the painters of familiar scenes: Jean-Baptiste-Simeon Chardin, Pierre-Antoine Baudouin and Jean-Baptiste Greuze, the painters of portraits: Rigaud, Largilliere, Nattier, Tocque, Roslin, Drouais, Latour, Perronneau, and the treatment of landscape by Vernet and Lantara.The volume on architects and sculptors contains studies on the academy of the king's architects, the modern house and the 'great' palaces, Jacques-Ange Gabriel and his successors, the pseudo-classical revival, the school of Coyzevox, Edme Bouchardon, Jean-Baptiste Pigalle, the school of Lemoyne and Etienne Falconnet, Jean-Jacques Caffieri and Augustin Pajou, Jean-Antoine Houdon and Claude Michel (Clodion) and the medalists and Jacques le Guay. The volume on furniture addresses the 'Golden Gallery' and the 'Hotel de Soubise', Nicolas Pineau and the Elysse, Jacques Verberckt, Jules-Antoine Rousseau and the decoration of Versailles, Rousseau de la Rottiere and the boudoirs of the Marquise de Serilly and of the Queen, the influence of Madame de Pompadour and jean-Demosthene Dugourc, pastorales, chinoiseries, singeries, Chantilly and the Hotel de Rohan, Oudry and the Gobelins, Boucher and the Gobelins, Jean Lamour and Les Caffieri, Andre-Charles Boulle and Charles Cressent, Oben, Riesener and Gouthiere, French furniture made by foreigners and a word on Vernis-Martin. The volume on engravers and draughtsmen discusses the Comte de Caylus, the great 'amateurs', Mariette and Basan, le Chevalier Cochin, the Drevet and Jean-Francois Daulle, Wille and his pupils, Laurent Cars, Flipart and le Bas, the enrgavers of the Vignette, Gravelot and Eisen, the Saint-Aubin, Moreau le Jeune, Boilly and Prieur, and engravers in colour. Text in English
Les dix premiers livres de l’Iliade. traduictz en vers françois par M. Hugues Salel. - [THE FIRST SUCCESFUL VERSION OF THE ILIAD IN MODERN FRENCH VERSE]
Paris, (Jehan Loys, for:) Vincent Sertenas, 1545. Small folio. Nice eighteenth century full calf binding with six raised bands to richly and elegantly gilt spine (matching the style of the illustration-borders) and triple gilt line-borders to boards., spine richly gilt with seven raised bands. A bit of wear ti extremities. Title-page has been professionally restored and re-enforced, and the upper 3 cm with the first line of the title has been reinstated. Otherwise, the copy is in excellent condition, with only very mild, light brownspotting, clear, bright paper, and good margins. CCCL, (1) ff. Roman type, italic side-notes, translator's note to the reader in verse and errata on final, unnumbered leaf. Colophon on verso of last leaf, with Loys' large woodcut device, title woodcut of Homer as the Fountain of Poetry (14,2 x 10,4 cm.), ten woodcuts, one at the beginning of each book (the first the same size as the title-llustration, the rest ab. 8,6x8,6 cm.) and all set within the same four-piece ornamental border, the upper border containing the French royal arms, the lower a small coat-of-arms (possibly Salel's), lovely large initials.
Very rare first edition of Salel's groundbreaking translation of The Iliad, constituting the first serious attempt at a modern verse rendering of either the Iliad or the Odyssey and one of the most important Homer-translations ever made. This first successful version of the Iliad in modern French verse served as the basis for other early vernacular translations, perhaps most famously the first English (Arthur Hall, 1581), which is a direct translation of Salal's. This splendid work is furthermore renowned for its beauty and is considered ""one of the handsomest books printed at Paris"" (Fairfax Murray). The translation includes the first 10 books of the Iliad. Salal died, before he could finish the remaining books, which were translated by Amadis Jamyn and published in 1577. ""Hugues Salel was a compatriot of Clement Marot, Eustorg de Beaulieu, and Olivier de Magny. He was born, according to the Abbé Goujet, toward the end of 1504, in Casals, Quercy, in P6rigord (Cahors). He is therefore, like several of the poets of the first half of the century, a man of the South. Salel began writing verse at a very early age. At the order of the king, Francis I, he undertook a translation of the Iliad. As a reward he was made ""valet de c hambre'"" of the King, and in 1540 we find him as the first ""abbé commendataire"" of the abbey of Saint-Chéron of the diocese of Chartres. From letters of the King, dated from Fontainebleau in 1544 (January 18), we learn of the permission granted to Salel to publish his translation of the Iliad""… (Hugues Salel, Poet and Translator (uchicago.edu)) ""The history of the first translations of the Homeric poems into the main European languages is fascinating, for it often reveals both the political and cultural mood of the recently created European nations. With the multiplication of printed editions of the poems, an increasingly larger pool of scholars made enthusiastic attempts to translate an ancient language into a new idiom. These new versions were not only philological achievements at that time but also a reason for national pride, since an ancient epic could be made alive within the context of new national exploits. The second half of the sixteenth century represents the high point in the assimilation of Homer into French humanist culture. Unlike England… France, and particularly Paris, quickly followed Italy's example to provide its own Homeric texts... This trend was particularly strong after the founding of the Còllege de Lecteurs Royaux by François I in 1530. This institution was established to teach the three ancient languages-Greek, Latin, and Hebrew-and to provide its students with editions and commentaries of ancient texts. Moreover, French translations also contributed to the awareness of the Homeric epics. The first successful version in modern French verse was made by Hugues Salel who translated the first ten books of the ""Iliad"" (From the exhibition ""Translating Homer"", Curated by Pablo Alvarez, Special Collections Library). Ezra Pound in his essay on Salel calls this translation of Homer ""delightful… he has authenticity of conversation as would be demanded by an intelligent audience not yet laminated with aesthetics"" capable of recognizing reality. He has the repetitions of the chanson de gestes. Of all the French and English versions, I think Salel alone gives any hint of some of these characteristics' (Homer: Printed editions of the Iliad and Odyssey in Greek and in Translations and Landmarks in Homeric Scholarship). ""The first serious attempts at a modern verse rendering (of the Iliad and Odyssey) were made in France by Hugues Salel, with his 1545 version of the Iliad"" (Gilbert Highet, The Classical tradition: Greek and Roman Influences on Western Literature, p. 114). The book is renowned for its splendid woodcuts, one at the beginning of each book. These woodcuts are set within magnificent ornamental borders containing the French royal arms and ""are clearly influenced by Geoffrey Tory with their lack of shading and outline depiction of the figures, and may be the work of the Maître à l'F gothique (Brun's appellation), Mortimer's F artist (sometimes identified as the Lyonese printer François Fradin), whose woodcuts illustrate several of Denys Janot's imprints. The italianate style introduced into the French book by Tory, and continued in volumes from the press of Denys Janot, reaches its height in these illustrations."" (Mortimer). The work is very rare, and we have only been able to locate three complete copies sold at aution over the last 50 years. Brunet III, 290Harvard/Mortimer 293
Transatlantique / Atlantique-Pacifique-Mediterranee. French Line. Poster / affiche by Paul Colin.
France Editions Transatlantique, Paris Courbet , 1955 Dimensions poster ; 100 x 61 cm. offset printing, Very fine condition !
Colin realized at least three posters for the General Transatlantic Company, known throughout the entire world by the name French Line. Here, the great ship cleaving the shimmering waters is seen sailing through a transparent drape consisting of the French colors, a delightful way to remind [the viewer] of the nationality of this transport company? 100 61 cm. Fine - tiny imperfections. Colin realiseerde ten minste drie posters voor de General Transatlantic Company, die over de hele wereld bekend is onder de naam French Line. Hier wordt het grote schip dat de glinsterende wateren splijt gezien door een doorzichtig doek dat bestaat uit Franse kleuren, een heerlijke manier om de nationaliteit van dit transportbedrijf te herinneren? Colin produced at least three posters for the General Transatlantic Company, known all over the world under the name French Line. Here the tall ship splitting the glittering waters is seen through a translucent cloth made of French colors, a delightful way to remember the nationality of this transport company/ Colin created at least three posters for the General Transatlantic Company, known around the world as French Line. Here, the large ship splitting the shimmering waters is seen through a translucent canvas made up of French colors, a delightful way to remember the nationality of this transport company? * This very nice and beautiful poster (offset printing) is an exact emphasis that may have been carried out in Spain.
French Renaissance Music and Beyond. Studies in Memory of Frank Dobbins
, Brepols, 2019 Paperback, 730 pages, Size:190 x 290 mm, Illustrations:227 b/w, 37 tables b/w., Languages: English, French, Italian. ISBN 9782503579603.
Summary This volume presents 34 studies (750p) in English, French, and Italian, assembled as a tribute by friends and former students from around the world to the late Frank Dobbins (1943-2012), distinguished scholar of the French chanson in early modern Europe. The book is built around studies of music in the Renaissance and Baroque periods (which form the core of the book), together with contributions about music composed between the second half of the eighteenth century and the twentieth centuries; these reflect both the wide-ranging variety of Frank's interests, and the range of his friendships. Secular, sacred, vocal, and instrumental music are all treated, while individual essays focus upon codicology, music printing and editing, music analysis, music theory, text-setting, biography, music and literature, music and theology, and both the reception and sociology of music. They include major discoveries about the diffusion of Jacques Moderne's choirbooks, Josquin's music, and musical and archival sources, while a number cast new light on different repertories. Contributors : C. Ballman, I. Bartlett, C. Cavicchi, D. Charlton, A. Coeurdevey, M. Cornaz, E. Corswarem. A. Di Profio, J. Duchamp, M. Egan-Buffet, D. Fabris, I. Fenlon, F. Fitch, M. M. Fontaine, G. Garden, O. Grellety Bosviel, J. Griffiths, L. Guillo, F. Guilloux, M. Ham, R. Jacob, T. Knighton, G. Mc Donald, F. de M dicis, P. Nicolas, L. Sawkins, A. Scarcez, K. Schiltz, M. Talbot, A. Tacaille, S. Thieffry, D. Trottier, H. Vanhulst, O. Wahnon de Oliveira, D. Wright, V. Zara. TABLE OF CONTENTS BIBLIOGRAPHICAL ABBREVIATIONS PREFACE ARTICLES Christine Ballman Le grand deul (B-Br Ms IV 90 et B-Tv Ms 94) : m thodologie d'une tentative de reconstruction Ian Bartlett Thomas Philips, Lord Chesterfield and the Enigma of a Popular Eighteenth-Century Ballad by William Boyce: a New Conspiracy Theory Camilla Cavicchi Sealed in an Envelope: Binchois and Du Fay on a Fragment from Fifteenth-Century Ferrara David Charlton The Politics of Payments: Rameau, Rousseau and the Op ra Inventory, 1749-1757 Annie Coeurdevey Les recueils manuscrits de c.1480 c.1540 : particularit s scripturales et organisationnelles Marie Cornaz La cantate italienne et fran aise au sein de la collection musicale des archives d'Arenberg : nouvelles perspectives milie Corswarem La chanson Li ge au XVIe si cle Alessandro Di Profio Mozart suo malgrado. Un proto-Don Giovanni a Parigi (1791) Jean Duchamp Passions lyonnaises : un unicum liturgique de Jacques Moderne M ire Egan-Buffet Music and Musicians in a French Provincial Salon 1922-1948 Dinko Fabris Il libro di liuto di Andrea Falconieri e Giuseppe Antonio Doni : trent'anni dopo Iain Fenlon Jacques Moderne's Choirbooks and the Iberian Trade Fabrice Fitch Du fragment de texte po tique consid r comme voix lacunaire : le rondeau d'Ockeghem Se vostre cueur Marie Madeleine Fontaine Musiques, danses et paroles. Leur pratique dans le Printemps d'Yver de Jacques Yver (1572) Greer Garden Mademoiselle de Menetou, 'grande musicienne' of the La Fert -Senneterre Family, and Her Airs serieux deux (Paris, 1691) Olivier Grellety Bosviel Mise en livre et n goce des imprim s parisiens de messes polyphoniques au XVIe si cle. Le cas des bi-feuillets de 1568 publi s par Nicolas Du Chemin John Griffiths Heteroclito Giancarli and His Composizioni musicali of 1602 Laurent Guillo et Alice Tacaille Les r ponses de Loys Bourgeois aux invectives de Simon Gorlier (Lyon, 1554) Fabien Guilloux Notes d'archives lyonnaises : les P nitents blancs du Confalon et le Recueil des Psalmes (1610) Martin Ham Attaingnant and the O Antiphons of the Liber septimus Roger Jacob Double-Choir Dialogue as an Expressive Medium in the Sixteenth-Century Eight-Voice French Chanson from Phinot to Lassus Tess Knighton Approaches to Text-Setting in Castilian-Texted Devotional Songs c. 1500 Grantley McDonald The Debate Over Church Music Between Jacob Andreae and Th odore de B ze at the Colloquy of Montb liard (1586) Fran ois de M dicis 'Une musique secou e de frissons, d' lans, d' treintes' : les gestes mim tiques dans l'oeuvre lyrique de Jules Massenet Patrice Nicolas La chanson A qui direlle sa pens e et ses d riv s : quelques r flexions la lumi re d'une attribution tardive Lionel Sawkins Some Observations on French Vocal Practice and Technique 1670-1750 Katelijne Schiltz Coins and Crosses: Cruciform Riddles in Cerone's Melopeo Michael Talbot 'Le plus habile compositeur qui soit Venise': Vivaldi's Reputation in Eighteenth-Century France Sandrine Thieffry La Soci t Schott Fr res et la SACEM : un pisode des relations ditoriales entre la Belgique et la France (fin XIXe- d but XXe si cle) Danick Trottier Monumentum pro Gesualdo di Venosa : quand Stravinski s'invite sa fa on dans la re-d couverte de la musique ancienne Henri Vanhulst et Alicia Scarcez Les ditions de musique polyphonique de Pierre Attaingnant retrouv es depuis 1969 Olivia Wahnon de Oliveira L on Jongen et la diffusion de la musique de Joseph Jongen en France David Wright Mechanized Music and the New Market for Musical Journalism Vasco Zara Du faux-bourdon aux tabul compositori : Ren Ouvrard et le secret pour composer en musique INDEX NOMINUM INDEX LOCORUM
