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‎Ueber die Lehre des Spinoza in Briefen an den Herrn Moses Mendelssohn. Neue vermehrte Auflage. - [THE FIRST EVER TRANSLATION OF BRUNO'S ""DE UNO ET CAUSA""...]‎

‎Breslau, Gottl. Löwe, 1789, 8vo. Very beautiful contemporary red full calf binding with five raised bands and gilt green leather title-label to richly gilt spine. elaborate gilt borders to boards, inside which a ""frame"" made up of gilt dots, with giltcorner-ornamentations. Edges of boards gilt and inner gilt dentelles. All edges gilt. Minor light brownspotting. Marginal staining to the last leaves. Engraved frontispiece-portrait of Spinoza, engraved title-vignette (double-portrait, of Lessing and Mendelssohn), engraved end-vignette (portrait of Jacobi). Frontispiece, title-page, LI, (1, -errata), 440 pp. Magnificent copy.‎

‎First edition thus, being the seminal second edition, the ""neue vermehrte Auflage"" (new and expanded edition), which has the hugely important 180 pp. of ""Beylage"" for the first time, which include the first translation into any language of any part of Giordano Bruno's ""de Uno et Causa..."" (pp. 261-306) as well as several other pieces of great importance to the ""Pantheismusstreit"" and to the interpretation of the philosophy of Spinoza and Leibniz, here for the first time in print. The present translation of Bruno seems to be the earliest translation of any of Bruno's works into German, and one of the earliest translations of Bruno at all - as far as we can establish, the second, only preceded by an 18th century translation into English of ""Spaccio della bestia trionfante"". It is with the present edition of Jacobi's work that the interest in Bruno is founded and with which Bruno is properly introduced to the modern world. Jacobi not only provides what is supposedly the second earliest translation of any of Bruno's works ever to appear, he also establishes the great influence that Bruno had on two of our greatest thinkers, Spinoza and Leibnitz. It is now generally accepted that Spinoza founds his ethical thought upon Bruno and that Lebnitz has taken his concept of the ""Monads"" from him. It is Jacobi who, with the second edition of his ""Letters on Spinoza..."", for the first time ever puts Bruno where he belongs and establishes his position as one of the key figures of modern philosophy and thought. Bruno's works, the first editions of which are all of the utmost scarcity, were not reprinted in their time, and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. Thus, as important as his teachings were, thinkers of the ages to come were largely reliant on more or less reliable renderings and reproductions of his thoughts. As Jacobi states in the preface to the second edition of his ""Letters on Spinoza..."", ""There appears in this new edition, under the title of Appendices (""Beylage""), different essays, of which I will here first give an account. The first Appendix is an excerpt from the extremely rare book ""De la causa, principio, et Uno"", by Jordan Bruno. This strange man was born, one knows not in which year, in Nola, in the Kingdom of Naples"" and died on February 17th 1600 in Rome on the stake. With great diligence Brucker has been gathering information on him, but in spite of that has only been able to deliver fragments [not in translation]. For a long time his works were, partly neglected due to their obscurity, partly not respected due to the prejudice against the new opinions and thoughts expressed in them, and partly loathed and suppressed due to the dangerous teachings they could contain. On these grounds, the current scarcity of his works is easily understood. Brucker could only get to see the work ""De Minimo"", La Croce only had the book ""De Immenso et Innumerabilibus"" in front of him, or at least he only provides excerpts from this [also not in translation], as Heumann does only from the ""Physical Theorems"" [also small fragments, not in translation]"" also Bayle had, of Bruno's metaphysical works, himself also merely read this work, of which I here provide an excerpt."" (Vorrede, pp. (VII)-VIII - own translation from the German). Jacobi continues by stating that although everyone complains about the obscurity of Bruno's teachings and thoughts, some of the greatest thinkers, such as Gassendi, Descartes, ""and our own Leibnitz"" (p. IX) have taken important parts of their theorems and teachings from him. ""I will not discuss this further, and will merely state as to the great obscurity (""grossen Dunkelheit"") of which people accuse Bruno, that I have found this in neither his book ""de la Causa"" nor in ""De l'Infinito Universo et Mondi"", of which I will speak implicitly on another occasion. As to the first book, my readers will be able to judge for themselves from the sample (""Probe"") that I here present. My excerpt can have become a bit more comprehensible due to the fact that I have only presented the System of Bruno himself, the ""Philosophia Nolana"" which he himself calls it, in its continuity... My main purpose with this excerpt is, by uniting Bruno with Spinoza, at the same time to show and explain the ""Summa of Philosophy"" (""Summa der Philosophie"") of ""En kai Pan"" [in Greek characters - meaning ""One and All""]. ... It is very difficult to outline ""Pantheism"" in its broader sense more purely and more beautifully than Bruno has done."" (Vorrede pp. IX-XI - own translation from the German). So not only does Jacobi here provide this groundbreaking piece of Bruno's philosophy in the first translation ever, and not only does he provide one of the most important interpretations of Spinoza's philosophy and establishes the importance of Bruno to much of modern thought, he also presents Bruno as the primary exponent of ""pantheism"", thereby using Bruno to change the trajectory of modern thought and influencing all philosophy of the decades to come. After the second edition of Jacobi's ""Ueber die Lehre des Spinoza"", no self-respecting thinker could neglect the teachings of Bruno"" he could no longer be written off as having ""obscure"" and insignificant teachings, and one could no longer read Spinoza nor Leibnitz without thinking of Bruno. It is with this edition that the world rediscovers Bruno, never to forget him again.WITH THE FIRST EDITION OF ""UEBER DIE LEHRE DES SPINOZA"" (1785), JACOBI BEGINS THE FAMOUS ""PATHEISMUSSTREIT"", which focused attention on the apparent conflict between human freedom and any systematic, philosophical interpretation of reality. In 1780, Jacobi (1743-1819), famous for coining the term nihilism, advocating ""belief"" and ""revelation"" instead of speculative reason, thereby anticipating much of present-day literature, and for his critique of the Sturm-und-Drang-era, had a conversation with Lessing, in which Lessing stated that the only true philosophy was Spinozism. This led Jacobi to a protracted and serious study of Spinoza's works. After Lessing's death, in 1783 Jacobi began a lengthy letter-correspondende with Mendelssohn, a close friend of Lessing, on the philosophy of Spinoza. These letters, with commentaries by Jacobi, are what constitute the first edition of ""Ueber die lehre des Spinoza"", as well as the first part of the second edition. The second edition is of much greater importance, however, due to greatly influential Appendices. The work caused great furor and the enmity of the Enlightenment thinkers. Jacobi was ridiculed by his contemporaries for attempting to reintroduce into philosophy belief instead of reason, was seen as an enemy of reason and Enlightenment, as a pietist, and as a Jesuit. But the publication of the work not only caused great furor in wider philosophical circles, there was also a personal side to the scandal which has made it one of the most debated books of the period: ""Mendelssohn enjoyed, as noted at the outset, a lifelong friendship with G. E. Lessing... Along with Mendelssohn, Lessing embraced the idea of a purely rational religion and would endorse Mendelssohn's declaration: ""My religion recognizes no obligation to resolve doubt other than through rational means"" and it commands no mere faith in eternal truths"" (Gesammelte Schriften, Volume 3/2, p. 205). To pietists of the day, such declarations were scandalous subterfuges of an Enlightenment project of assimilating religion to natural reason... While Mendelssohn skillfully avoided that confrontation, he found himself reluctantly unable to remain silent when, after Lessing's death, F. H. Jacobi contended that Lessing embraced Spinoza's pantheism and thus exemplified the Enlightenment's supposedly inevitable descent into irreligion.Following private correspondence with Jacobi on the issue and an extended period when Jacobi (in personal straits at the time) did not respond to his objections, Mendelssohn attempted to set the record straight about Lessing's Spinozism in ""Morning Hours"". Learning of Mendelssohn's plans incensed Jacobi who expected to be consulted first and who accordingly responded by publishing, without Mendelssohn's consent, their correspondence - ""On the Teaching of Spinoza in Letters to Mr. Moses Mendelssohn"" - a month before the publication of ""Morning Hours"". Distressed on personal as well as intellectual levels by the controversy over his departed friend's pantheism, Mendelssohn countered with a hastily composed piece, ""To the Friends of Lessing: an Appendix to Mr. Jacobi's Correspondence on the Teaching of Spinoza"". According to legend, so anxious was Mendelssohn to get the manuscript to the publisher that, forgetting his overcoat on a bitterly cold New Year's eve, he delivered the manuscript on foot to the publisher. That night he came down with a cold from which he died four days later, prompting his friends to charge Jacobi with responsibility for Mendelssohn's death.The sensationalist character of the controversy should not obscure the substance and importance of Mendelssohn's debate with Jacobi. Jacobi had contended that Spinozism is the only consistent position for a metaphysics based upon reason alone and that the only solution to this metaphysics so detrimental to religion and morality is a leap of faith, that salto mortale that poor Lessing famously refused to make. Mendelssohn counters Jacobi's first contention by attempting to demonstrate the metaphysical inconsistency of Spinozism. He takes aim at Jacobi's second contention by demonstrating how the ""purified Spinozism"" or ""refined pantheism"" embraced by Lessing is, in the end, only nominally different from theism and thus a threat neither to religion nor to morality."" (SEP).The Beylagen, which are not included in the 1785 first edition and only appear with the 1789 second edition, include: I. Auszug aus Jordan Bruno von Nola. Von der Ursache, dem Princip und dem Einen (p. 261-306) II. Diokles an Diotime über den Atheismus (p. 307-327) translation of Lettre ... sur l'Athéisme by F. Hemsterhuis.‎

‎Opera ea quae ad adinventam ab ipso ertem universalem, Scientiarum Artiumque omnium breui compendio, firmaque memoria apprehendendarum, locupletissimaque vel oratione ex tempore pertractandarum, pertinent. Ut et In eandem quorumdam interpretum scripti... - [SPARKING LEIBNIZ' DREAM OF A UNIVERSAL ALGEBRA]‎

‎Argentinae (i.e Strassburg], Lazarus Zetzner, 1598. 8vo. Very nice 19th century half calf with richly gilt spine. Some browning and spotting, but overall a nice copy. Many woodcut diagrams in the text. Woodcut printer's device to title-page. (24), 992, (32) pp.‎

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‎Scarce first edition of this seminal publication, which is practically solely responsible for the spreading of both Lullism and Bruno's mnemonic theories in the 17th century. This publication constitutes the standard work on Lull for more than a century and it directly influenced the most significant thinkers of the following century, e.g. Leibnitz, whose dream of a universal algebra was stimulated by the reading of Lull (and Bruno) in the present publication.""In 1598, while the philosopher from Nola (i.e. Bruno) was in prison in Rome, Johann Heinrich Alsted together with the printer Lazarus Zetzner in Strasburg, published a great collection of the works by Raymond Lull and the most significant commentaries on Lullism, among them also some treatises by Bruno. Since then, Bruno's mnemonics was a basic component of all attempts made in the seventeenth century to set up a universal science on the basis of a theory of combinations interpreted in terms of Neo-Platonism... It was also Leibniz who was one of the first to assume similarities between Bruno's theory of the infinite and the Cartesian theory of vortices in an undetermined and infinite universe"" Leibniz had had the opportunity to read these treatises in his capacity as librarian of the Herzog August Library in Wolfenbüttel"". (Blum, p. 110). ""From another of Pierce's Lists we know that he possessed an important collection of Lullian and Lullist texts, namely the Renaissance edition by the famous Strasbourg editor Lazarus Zetzner: ""Raymundi Lulli Opera ea quae ad adinventam ab ipso Artem universalem... pertinent"" (printed first in 1598, then 1609, 1617 and, by his heirs, in 1651). This edition, which was very influential - the young Leibniz, for instance, acquainted himself with Llull through this anthology-, contains several works by Llull himself as well as those Renaissance commentaries on his works by Agrippa of Netteshein, Giordano Bruno..."" (Fidora, p. 181).This highly influential publication of Lull's ""Opera"" through which Leibniz and many of his contemporaries got acquainted with Lull and Bruno, contains seven genuine works by Lull (including the two most important works of the last period of the Art, the ""Ars brevis"" and the ""Ars magna""), four works falsely attributed to Lull, Agrippa's ""In Artem Brevem"" - and Bruno's four highly important commentaries on Lull, being the ""De Lulliano specierum scrutinio"" (pp. 685-97), ""De Lampade combinatoria Lulliana"" (pp. 698-755), ""De Progressu Logicae venationis"" (pp. 756-62) and ""De Lampade venatoria logicurum"" (pp. 763-806), which constitute Bruno's most important logical treatises and his seminal writings on mnemonics. The four treatises originally appeared separately in 1587 and 1588 respectively, and all appear here for the second time (apart from the ""De progressu"", which also appeared together with the first printing of the ""De Lampade venatoria logicorum"" the following year and here thus appears for the third time). The first printings of these works are of impossible scarcity and hardly obtainable. These four groundbreaking works appear together for the first time in the present publication and it is through this second printing of them that 17th century thinkers such as Leibniz got acquainted with them. Raymond Lull (ca. 1232-1315) was one of the most important and influential philosophers and logicians of his time. He is considered a pioneer of several fields of science, now most notably computation theory. His works sparked Leibniz' interest in the field and drove him to his seminal invention. Lull invented an ""art of finding truth"" (often in Lullism referred to as ""The Art""), which centuries later, when read in the present publication, stimulated Leibnitz' dream of a universal algebra. Lull applied this art to basically all subjects studied at the Medieval Universities. ""Lull's metaphysics worked a revolution in the history of philosophy"" (The Cambridge History of Renaissance Philosophy, p. 548). Giordano Bruno (1548-1600) is one of the most significant thinkers of modern times. He prepared the way for the rise of modern philosophy and became a forerunner of modern philosophy and science. His logical commentaries and mnemonic treatises were of special importance to the emerging logic of the 17th century and it is his version of Lullism that comes to dominate this significant strand of thought for more than a century. Having been arrested in 1592 due to alleged heresy, Bruno was subjected to a 6 year long trial that finally condemned him to hanging in 1600, two years after the publication of the four works that came to secure his influence over the following century. ""Bruno burned for philosophy"" he was killed for moral, physical, and metaphysical views that terrified and angered authorities."" (Copenhaver & Schmitt, p. 315).""By far the greatest figure of this generation was Giordano Bruno (1548-1600), whose interest in Llull dates almost exclusively from his sojurns in France and Germany. His activities in this field, which he combined with his other aspects of Reniassance philosophy, are too complex to be treated in any detail here. Suffice it to say with Frances Yates that ""the three strands of the Hermetism, the mnemonics, the Lullism are all interwoven in Bruno's complex personality, mind and mission""...""Perhaps the most important event of Lulliasm of this period was not the appearance of any new figure or work but the publication of an anthology by Lazarus Zetzner of Strasburg, entitled ""Raymundi Lullii, opera ea quae ad adinventam ab ipso Artem universalem"", which, for the next century or so, was to become the standard work on Llull. It is therefore instructive in understanding seventeenth-century Lullism... The first edition of this anthology appeared in Strasburg in 1598. It was reprinted in 1609... reprinted in 1617 and again in 1651... This mixture of Llull, pseudo-Llull, and Renaissance commentaries, emphasizing a general art of discourse, constituted the ""package"" in which Llull was presented to seventeenth-century readers, including Leibniz (note 33: it was apparently the first edition of 1598 that Leibniz read), and it must be kept in mind when discussing their version of Llull."" (Bonner, pp. 67-68). Bruno's works, the first editions of which are all of the utmost scarcity, were generally not reprinted in Bruno's lifetime and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. One very significant exception is the four treatises that we find in the present publication. They are among the only of Bruno's treatises to be published again before the 19th century, and as they don't appear again on their own, but here, in THE most important publication of Lull's writings for more than a century, it is through this second printing of these four works that Bruno comes to have his primary influence upon 17th century philosophy and science. His separate publications were simply not accessible to thinkers like Leibniz and could thus not be studied. Also therefore, Zetzners' 1598 publication of Lull and Bruno together proved to be of seminal importance, not only to the spreading of Lullism, but just as much to the spreading of Bruno's even more important theories. ""Raymond Lull (ab. 1232 - 1315), Majorcan writer, philosopher, memorycian (he was later to become a great source of inspiration for Giordano Bruno), logician, and a Franciscan tertiary. He wrote the first major work of Catalan literature. Recently-surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is sometimes considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz. He is also well known also as a glossator of Roman Law. Lull taught himself Arabic with the help from a slave. As a result, he wrote his ""Ars Magna"", which was intended to show the necessary reasons for the Christian faith. To promote his theory and test its effectiveness, he went to Algiers and Tunis. At the age of 82, in 1314, Lull traveled again to North Africa, where an angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died at home in Palma the following year."". (Thorndyke)Giordano Bruno was born in Nola in Southern Italy in 1548, and entered the Dominican order in Naples at the age of 18. While pursuing theological studies, he also thoroughly studied the ancient philosophers and began doubting some of the teachings of the Catholic Church. When he was in Rome in 1576, these doubts became known to the authorities of his order, and an indictment for heresy was prepared against him. Before he could be arrested, he escaped and began a long journey which took him to many European countries, among these England, where his most important works are published, until in 1592 he was denounced to the Inquisition and arrested. In 1593 he was taken to Rome, imprisoned, and subjected to a 6 year long trial. He firmly refused to recant his philosophical opinions, and in 1600 he was condemned for heresy, sentenced to death, and burned alive.SALVESTRINI NR. 1.See:Anthony Bonner: Doctor Illuminatus. A Ramon Llull Reader, 1993.Paul Richard Blum: Giordano Bruno. An Introduction, 2012.The Cambridge History of Renaissance Philosophy.Alexander Fidora: Peirce's Account of the Categories and Ramon Llull.‎

‎Catalogue Jean Bruno Vigne‎

‎Vigne Jean Bruno Catalogue In-8 (15 x 21 cm), catalogue, 31 pages, sans date, photographies en noir et blanc ; pliure sur chaque plat, par ailleurs bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Bruno Walter Edition - Mozart : Opera overtures, Masonic Funeral Music, 3 German Dances, Minuets - Haydn : Symphony No. 96 'Miracle' (CD)‎

‎Sony Music Entertainment CD 1996 "1 CD du chef d'orchestre Bruno Walter comprenant les oeuvres suivantes : MOZART : Minuet and Trio, K. 599 No.5 - Minuet and Trio, K. 568 No.1 - Deutsche Tänze, K.605 - Maurerische Trauermusik, K. 477 - Die Zauberflöte, K. 620 - Le Nozze di Figaro, K. 492 - Cosi fan tutte, K. 588 - Der Schauspieldirektor, K. 486 ; HAYDN : Symphony in D. major, Hob. I : 96 ""The Miracle"" ; quelques légères marques de frottement sur le boîtier, très bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."‎

‎Fixing landscapes.‎

‎<span data-mce-fragment="1">Tous sont séduits et imprégnés par le langage simple et universel de Bruno V. Roels. Chacun peut se promener dans ses œuvres et y trouver ses propres liens, chacun peut se plonger dans les références faites par les titres de l'artiste ou les éviter. On peut simplement s'en tenir à la beauté de l'image, si nécessaire. Après 'I Dreamt An Island' (2015), voici la deuxième édition de FIFTY ONE PUBLICATION de Bruno V. Roels, qui présente ses œuvres mono-photographiques. Avec une introduction de Roger Szmulewicz.</span> Belgique, 2018 Fifty One 96 p., nombreuses photographies en noir et blanc, broché. 15 x 21‎

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‎Kleinplastik der Ägypter.‎

‎<p>Die Kunst Die Ostens, Herausgegeben von Willian Cohn, Band III. Bruno Cassirer Verlag Berlin. </p> Berlin, 1922 Bruno Cassirer 40 p., 158 planches N/B hors-texte, relié. 19 x 25,5‎

‎Occasion‎

‎QUADRUM. Revue internationale d'Art Moderne. Numéros 1 à 20. Rivista internazionale d'Arte Moderna. International magazine of Modern Art. Internazionale zeitschrift für Moderne Kunst. ‎

‎ Bruxelles, Association pour la Diffusion Artistique et Culturelle, directeurs : Ernest Goldschmidt et Bruno Alfieri. Numéros 1 à 20, 1956-1966. 20 volumes in-4 brochés, couvertures illustrées, illustrations en noir et en couleur. Édition originale. 20 numéros en 20 livraisons brochés. Couvertures légèrement passées sinon bons exemplaires; Collection complète de cette revue entièrement consacrée à l'art moderne. Patronnée par l'Association pour la Diffusion Artistique et Culturelle, organisme rattaché au Palais des Beaux-Arts de Bruxelles, la revue se voulait internationale et polyglotte. Les textes sont en français aussi bien qu'en anglais, en allemand ou en italien. « Une revue compte, elle joue un rôle si elle épouse un certain battement, un certain rythme de l'époque où elle paraît, si elle accompagne l'élan d'une génération qui monte ». Les illustrations de couverture ont été composées spécialement, chacune par un artiste différent. Au sommaire : Pierre Alechinsky (« Calligraphie japonaise »), Lawrence Alloway, Julien Alvard, Hans Arp (couverture originale), Dore Ashton, Francis Bacon, Victor Brauner (couverture originale), Michel Butor, Giuseppe Capogrossi (couverture originale), Juan-Eduardo Cirlot, Jean Cocteau, Leonardo Cremonini, Jean Dewasne, François di Dio, Gillo Dorfles, Jean Dubuffet (couverture originale), Bernard Dufour, Jacques Dupin, Max Ernst (couverture originale), James Fitzimmons, Lucio Fontana (couverture originale), R.V. Gindertael, Édouard Glissant, Will Grohmann, Hans Hartung (couverture originale), Richard Huelsenbeck, Asger Jorn (couverture originale), Alain Jouffroy... ‎

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‎La nuit fauve. La noche leonada.‎

‎<p><img><meta charset="utf-8"></p><p dir="ltr"><span>À la faveur de la nuit, Bruno Vialaneix plonge au cœur de la Réserve africaine de Sigean. Dévoilant l’intimité furtive d’une faune invisible le jour, captée dans le silence et l’ombre.</span><b></b></p><p dir="ltr"><span>Dans l’ombre de la nuit, la faune menacée se révèle.<br></span><span>Depuis un demi-siècle, sous l’impulsion de Paul de La Panouse et Daniel de Monfreid, la Réserve africaine de Sigean déploie ses 350 hectares en bordure des étangs languedociens. Ce territoire préservé abrite plus de 3 800 animaux, tissant un lien fragile entre leur monde et le nôtre. Loin d’un simple décor, ce lieu vivant interroge notre rapport au sauvage, à l’observation, et à la cohabitation. Au-delà de la fascination, la réserve adopte une vision claire, émerveiller face aux espèces charismatiques du fin fond de l’Afrique et alerter sur les espèces locales, mais tout aussi menacées. Entre la grandeur des espèces emblématiques et la fragilité de celles qui nous entourent, comme le moineau, l’érosion de la biodiversité commence ici, sous nos yeux.</span></p> Chantepie, 2026 Les Editions de Juillet 120 p. 50 photos, relié. 20,5 x 27‎

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‎Le bateau des esclaves. Traduit de l'allemand par Jacques Martin.‎

‎ 1952 Paris, Gallimard, 1952. Collection "Du Monde Entier" CXIX. Un volume broché de format in 8° de 456 pp. ‎

‎N° 63 de 106 exemplaires sur vélin pur fil Lafuma-Navarre, seul grand papier. Comme neuf. Affiches.‎

‎Les Contes de Perrault‎

‎Seghers Dos carré collé 1978 In-8 (15,2 x 23,5 cm), dos carré collé, 267 pages, introduction de Bruno Bettelheim ; légère pliure au dos, bel état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Les Philosophes et l'art‎

‎Huisman Bruno Dos carré collé 1984 In-8 (14 x 20 cm), dos carré collé, 339 pages ; couverture défraîchie, par ailleurs bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Bruno Perramant. Sun II (FRAC Auvergne, janvier-mars 2003)‎

‎FRAC Auvergne Broché 2003 In-4, (30x24 cm), broché, couverture illustrée, non paginé, belle iconographie en couleurs ; plats très légèrement défraîchis, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Les principauté celtique du mont Lassois à Vix.‎

‎<p>sous la direction de Bruno Chaume.</p> Bordeaux, 2025 Ausonius editions. 666 p., nombreuses figures couleur et N/B, nombreuses planches couleur, cartonnage éditeur. 22 x 28,5‎

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‎La lumière sortant par soi-même des ténèbres. Introduction et notes de Bernard Roger. Commentaires de Bruno de Lansac. ‎

‎ Bibliotheca Hermetica, Retz, Paris, 1971.Un volume relié (12 x 20,5 cm) de 280 pp. Reliure pleine toile d'éditeur sous jaquette illustrée. Ouvrage en bon état. ‎

‎Cause, principe et unité. Traduction accompagnée de notes et d'analyses et précédée d'une étude sur la philosophie de Bruno par Émile Namer. ‎

‎ Felix Alcan, Paris, 1930. 17x 13,5 cm, 218 pp. Bon exemplaire. Première édition de cette traduction. ‎

‎Mémoires de Louis Richaud sur la Révolte de Toulon et l'Émigration‎

‎Editions Rieder Relié 1930 In-8 (16 x 24.5 cm), relié demi-basane, dos lisse orné de filets avec titre et auteur dorés, 247 pages, quelques illustrations en noir hors-texte + un arbre généalogique de la descendance de Louis Richaud, mémoires de Louis Richaud annotés et publiés par Raoul Busquet, Bruno Roberty et A.-Jacques Parès, envoi de Raoul Busquet en début d'ouvrage, ex-libris illustré 'MD' au 2ème plat ; coiffes et bords frottés, des taches et frottements au cuir et plats, par ailleurs intérieur frais, assez bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Soulages et l'art lointain chinois.‎

‎<span data-mce-fragment="1" itemprop="description">Pierre Soulages a toujours manifesté de la curiosité, pour les arts venus d'ailleurs, ces « arts lointains » qu'il s'agisse de l'art préhistorique d'Altamira, de Pech-Merle, des scènes de Lascaux, des peintures de la Grotte Chauvet, de l'art roman et des arts médiévaux, ou encore plus largement des Amériques, africains, asiatiques, océaniens. Il aime contempler ces productions artistiques, les méditer, dialoguer avec elles. Pour lui, « l'art véritable n'a ni frontière ni temporalité ».<br data-mce-fragment="1"> L'œuvre de Pierre Soulages, a déjà été associée à l'art africain ou examinée dans ses parentés artistiques avec l'esthétique et l'architecture cisterciennes. Mais étonnamment, cette œuvre n'a guère été envisagée dans ses rapports avec l'art chinois ancien.<br data-mce-fragment="1"> L'auteur Bruno Duborgel a voulu, par cette publication interroger les possibles confrontation et dialogue entre tels et tels caractères, esthétiques advenus au fil de l'œuvre de Pierre Soulages et, dans le l'histoire de la peinture chinoise ancienne correspondant principalement à la peinture dite « lettrée ».<br data-mce-fragment="1"> Ces deux univers artistiques n'auraient-ils rien à se dire au sujet, notamment, de l'espace architectural et de la correspondance des éléments dans la calligraphie ? Des relations du noir et du blanc et du couple formé par ces deux couleurs ? Du binôme associant le vide et le plein ? Du noir comme couleur d'origine, et de sa palette chromatique ? Du « mystère » du monde, du « sens » et de l'« inconnu » ? Autant de questions que ce texte aborde complété par une vaste iconographie. </span> Paris, 2022 Bernard Chauveau. 112 p;, illustrations couleur, relié à la japonaise. 17 x 24‎

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‎Peindre les mots. Gestes d'artiste, voix de poètes.‎

‎ Paris, 2022 éditions Bruno Doucey 144 p;, richement illustré, brochure à rabats. 20 x 26‎

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‎Philosophie der Befreiung duch das reine Mittel. Beiträge zue Pädagogik des Menschengeschlechts.‎

‎Berlin, S. Fischer, 1894. 8vo. Orig. blank wrappers, uncut. Minor brownspotting. (6),399 pp.‎

‎First edition. As a philosopher Bruno Wille (1860-1928) proposed a 'Philosophie der Befriung' ('a philosophy of emancipation'), in which he combines some of the emancipatory elements of the philosophy of Friedrich Nietzsche and Max Stirner and of the discourse of Buddhism. ‎

‎Les Intégraphes. La Courbe Intégrale et ses Applications. [Bound together with C. Bohn: Über Linsenzusammenstellungen und Ihren Ersatz]. - [ABDANK-ABAKANOWICZ'S INTEGRAPH.]‎

‎Paris, Gauthier-Villars, 1886. Royal8vo. In contemporary half cloth with paper label pasted on to top of spine. Occassional brownspots throughout. With 94 figures in the text. X, 156 pp." (4), 88 pp. 20, 16, 15, 18, (31) advertising‎

‎First edition of Abakanowicz's famous integraph. It was invented independently about 1880 by the British physicist Sir Charles Vernon Boys and by Bruno Abakanowicz, however, the later being referred to as inventor (Goldstein, L'Europe mathématique: histoires, mythes, identities). ""The developments in the integraph design made by Abdank-Abakanowicz in France in the 1870s have been acknowledged as amongst the most noteworthy"" (Small, The Electronic Analogue Computer, P. 59).""The integraph is an elaboration and extension of the planimeter, an earlier, simpler instrument used to measure area. It is a mechanical instrument capable of deriving the integral curve corresponding to a given curve. Hence, it is able to solve elementary differential equations graphically. However, it was not until 1878 that he succeeded in developing a practical model. ""This volume is a description of the basic Abakanowicz instrument and a few of its later modifications. Abdank-Abakanowicz's instrument was able to produce solutions for only simpler differential equations, i.e., the commonly entountered class having the form dy/dx = F(x). An instrumental solution requires that as a first step a graph of the function F be drawn. Next, a pointer on the instrument is used to follow (trace) this graph. The value of the integral may then be read from the instrumentdials. This Abakanowicz approach was widely adopted in the early twentieth century, and the instrument was produced, and later improved, by such well-known instrument makers as Coradi in Zurich"" (The Erwin Tomash Library, Vol. 1, p. 2.).Bound with Abakanowicz's Integraph is:Répertoire Alphabétique des Procédés et Recettes publiés par Le Monde de la Science et de l'Industrie pendant les Années 1880 à 1886. Lausanne, Jaunin, 1887. 15 pp.Du régime de l'invention. Examen des améliorations proposées à la législation relative aux inventions à propos du nouveau projet de loi sur les brevets. Paris, A. Durand, 1862. 160 pp.Erwin Tomash Library A1.‎

‎L'Eunuque.‎

‎<p>L'Eunuque de Térence est dans l’Antiquité la pièce la plus aimée de son auteur et sans doute l’un des plus grands succès de l’histoire du théâtre latin, avant de devenir un classique de la littérature scolaire dans l’Antiquité tardive et d’être imitée dans une version chrétienne et largement édulcorée au Moyen ge. Typique de l’alliance entre la comédie d’intrigue et la comédie d’action, elle offre une alternance constante de scènes à l’humour débridé et de moments plus « sérieux où se dévoilent sous le masque comique des enjeux sociaux et psychologiques particulièrement fins. Le théâtre de Térence demande pour être pleinement compris une attention aux fils dramaturgiques complexes qui tissent les rapports entre les personnages, aux effets induits par des jeux littéraires et intertextuels mais aussi et surtout au mécanisme du spectacle lui-même. L’ouvrage propose une traduction nouvelle et un accompagnement de lecture de l’Eunuque de Térence, centré sur la dramaturgie et la fonction du langage et des données spectaculaires dans la construction de l’intrigue comique. Bruno Bureau est Professeur de langue et littérature latines à l’Université Jean Moulin-Lyon 3, spécialiste de poésie dans l’Antiquité tardive. Christian Nicolas est Professeur de langue et littérature latines à l’Université Jean Moulin-Lyon 3, spécialiste de linguistique latine.</p> Paris, 2015 Belles Lettres 560 p., broché 13,5 x 21,5‎

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‎Pierre Soulages, Conques, une lumière révélée.‎

‎<p>Entre 1987 et 1994, Pierre Soulages réalise les 104 vitraux de l’église abbatiale Sainte-Foy-de-Conques, en créant un verre non coloré et translucide, qui respecte les variations de la lumière naturelle. Dans un texte inédit, Bruno Duborgel porte un regard nouveau sur le travail de recherche de l’artiste qui a réalisé plus de 700 tentatives avant de parvenir au résultat espéré ! En mettant en dialogue la réflexion de Pierre Soulages avec des vues intérieures et extérieures des vitraux de l’église, le texte révèle la longue aventure créatrice de l’artiste, traversée de questions esthétiques, spirituelles et technologiques. Les vitraux de Pierre Soulages expriment ainsi le passage du temps. Leur nature «physique» est un tremplin pour une expérience poétique, une méditation d’ordre métaphysique. Elle révèle une lumière qui, selon les mots de l’artiste, «propose de la contemplation, du silence, de la concentration, de l’intériorité».</p> Paris, 2014 Bernard Chauveau 50 p., broché. 20 x 25‎

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‎Cause, principe et unité‎

‎Editions d'Aujourd'hui Dos carré collé 1982 In-12 (13,3 x 18,5 cm), dos carré collé, 218 pages ; légères pliures au dos, par ailleurs très bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎