‎[BANDE DESSINEE] - CARRÉ, STERNIS - ‎
‎SOLO. ‎

‎OPERE TEATRALI COMPLETE RIDOTTE PER SOLO FLAUTO.‎

‎ Tito di Gio. Ricordi / F. Lucca, Milano, s.d. (1853-1888 ca.). In-4 gr. (mm.335x240), mz. pelle coeva (abrasioni anche ai piatti in cartonato), decorazioni e titolo oro al dorso. Il volume raccoglie le seguenti 5 opere di Verdi, così composte:- "Un ballo in maschera", riduzione per flauto solo di L. Pagani, completa dei 3 atti in 17 fascicoli (dal Preludio. Coro d'introduz.Posa in pace - al Coro e scena finale Ella è pura), di pp. notate 53, incluso il frontesp. che riporta il contenuto.- "Il Trovatore", riduzione per flauto solo, completa in 19 fascicoli (dal Coro d'Introduz. Di due figli vivea padre beato - alla scena finale Ti scosta!.. Non respingermi), di pp. notate 55, incluso il frontespizio.- "I Masnadieri", ridotta per flauto solo da C. Winter, completa in 4 fascicoli (dal Preludio O mio castel paterno - al gran terzetto finale ultimo), di pp. notate 41, + il frontespizio (presso F. Lucca).- "I due Foscari", ridotta per flauto solo, completa dei 3 atti in 8 fascicoli (dal Preludio ed introd. Silenzio, mistero - all'aria finale Questa dunque è l'iniqua mercede), di pp. notate 31, incluso il frontespizio.- "Attila", ridotta per flauto solo da C. Daelli, completa in 12 fascicoli, ciascuno con proprio frontesp. (dal Preludio, cavatina Allor che i forti corrono - al terzetto e quartetto finale), di complessive 34 pagine notate.Uniti anche:- Variazioni per flauto sopra il tema "Oh cara memoria" del M. Caraffa, dedicate al giovane Seraffino Pane da Camillo Romanino. Op. 51. Torino, presso G. Magrini Editore. di 6 pp. notate, incluso il frontespizio. - 6 piccole fantasie eleganti per flauto di E.P. Padula, sopra motivi di Verdi, di cui ne offriamo solo una: "Nabucco", di pp. notate 4, escluso il frontespizio. La raccolta presenta qualche fiorit. e arross. per lo più margin., con timbri di apparten., ma complessivam. buon esemplare.‎

‎Euclide Megarense Philosopho, solo Introduttore delle Scientie Mathematice. Diligentementee Rassettato, et alla integrità ridotto, per il degno professore di tal Scientie Nicolo Tartalea Brisciano (Nicolo Tartaglia). Secondo le due Tradottioni. Con un...‎

‎Venetia, Curtio Trojano, 1565. 4to. Bound in a very nice recent hcalf in old style. Raised bands and richly gilt back. 315,(1) leaves (=632 pp). Profusely illustrated with gemetrical diagramss in the text. Printers woodcut-device at end. Small part of lower right corner of title gone, no loss of text. Light browning to first and last leaf. 6 last leaves with a faint dampstain. Very light browning to outher margins. Otherwise a fine clean copy.‎

‎Scarce second edition of Tartaglia's very influential translation of all Euclid's 15 Books, as this Italian translation of Euclid was the first translation at all into the vernacular. The translation by Tartaglia was first published 1543 and was founded on the latin edition of Campanus and Zambetti.Niccolo Fontana of Brescia has a great name in the history of mathematics. A cut in the face from a French soldier caused him to stammer and as a consequence of this he was called 'Tartaglia'. He is famous for his solution of third-degree equations which occasioned a long polemic with Cardano about priority. He is also known for ""Tartaglia's Triangle"", later known as ""Pascal's Triangle"", and he is well-known for his Archimedes-edition of 1543 and 1551 with his commentaries.""The most famous source of Greek geometry is the monumental work of Euclid of Alexandria, called the ""Elements"" (around 300 B.C.). No other book of science had a comparable influence on the intellectual development of mankind. It was a treatise of geometry in thirteen books which included all the fundamental results of scientific geometry up to his time. Euclid did not claim for himself any particular discovery, he was merely a compiler. Yet, in view of the systematic arrangement of the subject matter and the exact logical procedure followed, we cannot doubt that he himself provided a large body of specific formulations and specific auxiliary theorems in his deductions. It is no longer possible to pass judgement on the authorship of much of this material"" his book was meant as a textbook of geometry which paid attention to the material, while questions of priority did not enter the discussion."" (Cornelius Lanzos in ""Space through the Ages"").Max Steck III:72 - Thomas-Stanford: 39 - Riccardi Euclideana V:1 - Adams E:993. - Brunet II:1090.‎

‎Evclide Megarense Philosopho: solo introdvtttore delle Scientie Mathematice" diligentemente Reassettato, et alla integrita ridotto per il degno Professore di tal Scientie Nicolo Tartalea, Brisciano, Secondo le due Tradottioni: e per commune commodo & ... - [FIRST ""EUCLID"" IN THE VERNACULAR BY TARTAGLIA.]‎

‎(Colophon: Venice, Venturino Rossenelli, 1543). Folio. (30,5x22 cm.). Contemporary full Italian limp vellum. Remains of ties. Old handwritten title on spine. Upper part of frontcover slightly creased. A few small nicks to hinges at cords. Vellum with brownspots. 242 leaves (2-241 numb. II-CCXXXIX). Misnumbering of leaves in sign. A (10 lvs.), due to the insertion of corrections on f A5. (Collation corresponds to that given by Thomas-Stanford No. 34). Large margins profusely illustrated with diagrams. Upper right corner of title gone with loss of of 3 letters ""NSE"" in MEGARENSE, f A2-A6 with upper right corners and a wormtract-hole in lower margin repaired. A wormtract in lower margin on the next 11 lvs. A1-A6 mounted skillfully on thin opaque parchment-paper. A rather faint dampstain in upper right corner throughout. Last 5 leaves with a small nick in right margin, no loss. Otherwise remarkable clean and printed on good strong paper. On the title a large woodcut device with arms with G.T. (Gabriele Tadino, to whom the work is dedicated). Colophon with large woodcut device with the letters .P.Z.F. and this repeated on verso of last leaf.‎

‎Scarce first edition of the first translation of Euclid in any modern language by the famous Niccolo Tartaglia. The translation and Tartaglia's commentaries, strongly accelerated the development of physics and mechanics in the 16th century, as it showed how mathematics could be applied to dynamics and mechanics as well as to architecture, construction and perspective. More than 20 years should elapse before the next language should receive the privilege of displaying Euclid among their goods, this was the French translation published by Pierre Forcadel, Paris 1564. ""When Tartaglia submits that his redaction was made ""secondo le due tradittioni"", there is no question that Campanus - who appears to be heavely favored - and Zamberti are meant. When Campanus has added propositions or premises, Tartaglia has approriately translated them and noted their absence ""nelle seconda tradittione"", while things omitted by Campanus but included by Zamberti receive the reverse treatment"" (John Murdoch in DSB).Niccolo Fontana Tartaglia of Brescia has a great name in the history of mathematics. A cut in the face from a French soldier caused him to stammer and as a consequence of this he was called 'Tartaglia' (the stammerer). He is famous for his solution of third-degree equations which occasioned a long polemic with Cardano about priority. He is also known for ""Tartaglia's Triangle"", later known as ""Pascal's Triangle"", and he is well-known for his Archimedes-edition of 1543 and 1551 with his commentaries.""The most famous source of Greek geometry is the monumental work of Euclid of Alexandria, called the ""Elements"" (around 300 B.C.). No other book of science had a comparable influence on the intellectual development of mankind. It was a treatise of geometry in thirteen books which included all the fundamental results of scientific geometry up to his time. Euclid did not claim for himself any particular discovery, he was merely a compiler. Yet, in view of the systematic arrangement of the subject matter and the exact logical procedure followed, we cannot doubt that he himself provided a large body of specific formulations and specific auxiliary theorems in his deductions. It is no longer possible to pass judgement on the authorship of much of this material"" his book was meant as a textbook of geometry which paid attention to the material, while questions of priority did not enter the discussion."" (Cornelius Lanzos in ""Space through the Ages"").Max Steck III:40 - Thomas-Stanford: 34 - Riccardi Euclideana 1543, 1 - Adams E:992. - Brunet II:1090. (Premiere edition de ce travail estimé). - Graesse II:513.‎

‎DISQUE VINYLE 33T : MUSIC FOR THE QUEEN MARY - Monteverdi Choir, Monteverdi Orchestra, Equale Brass Ensemble, Dir. John Eliot Gardiner. Come Ye Sons Of Art (Ode For The Birthday Of Queen Mary, 1694), Ouverture, Alto Solo Come, Ye Sons Of Art, Come Away...‎

‎ERATO. 1977. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Pochette ouvrante en couleurs. 1 disque. Monteverdi Choir, Monteverdi Orchestra, Equale Brass Ensemble, Dir. John Eliot Gardiner. Come Ye Sons Of Art (Ode For The Birthday Of Queen Mary, 1694), Ouverture, Alto Solo Come, Ye Sons Of Art, Come Away, Choeur Come, Ye Sons Of Art, Come Away, Duo - 2 Altos Sound The Trumpet, Alto Solo Avec Flûtes Stike The Viol, Basse Solo Avec Choeur The Day That Such A Blessing, Soprano Solo Avec Hautbois Bid The Virtues, Basse Solo These, Are The Sacred Charms, Duo Soprano-Basse Avec Choeur See Nature, Rejoicing, Music For The Funeral Of Queen Mary, 1695, Marche, 1re Sentence : Man That Is Born, Canzona, 2e Sentence : In The Midst Of Life, Canzona, 3e Sentence : Thou Knowest, Lord, The Secrets Of Our Hearts, March.. . . . Classification : 410-33 Tours‎

‎Disque n° STU 70911. Classification : 410-33 Tours‎

‎DISQUE VINYLE 33T : MUSIC FOR THE QUEEN MARY - Monteverdi Choir, Monteverdi Orchestra, Equale Brass Ensemble, Dir. John Eliot Gardiner. Come Ye Sons Of Art (Ode For The Birthday Of Queen Mary, 1694), Ouverture, Alto Solo Come, Ye Sons Of Art, Come Away...‎

‎ERATO. 1977. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Pochette ouvrante en couleurs. 1 disque. Monteverdi Choir, Monteverdi Orchestra, Equale Brass Ensemble, Dir. John Eliot Gardiner. Come Ye Sons Of Art (Ode For The Birthday Of Queen Mary, 1694), Ouverture, Alto Solo Come, Ye Sons Of Art, Come Away, Choeur Come, Ye Sons Of Art, Come Away, Duo - 2 Altos Sound The Trumpet, Alto Solo Avec Flûtes Stike The Viol, Basse Solo Avec Choeur The Day That Such A Blessing, Soprano Solo Avec Hautbois Bid The Virtues, Basse Solo These, Are The Sacred Charms, Duo Soprano-Basse Avec Choeur See Nature, Rejoicing, Music For The Funeral Of Queen Mary, 1695, Marche, 1re Sentence : Man That Is Born, Canzona, 2e Sentence : In The Midst Of Life, Canzona, 3e Sentence : Thou Knowest, Lord, The Secrets Of Our Hearts, March.. . . . Classification : 410-33 Tours‎

‎Disque n° STU 70911. Classification : 410-33 Tours‎