Lyon (Rhône)

Elémens d’algebre
[Elements of Algebra]
Chez Jean-Marie Bruyset & La Veuve Desaint | à Lyon & à Paris 1774 | 8vo (13 x 20 cm) | xvj 704 pp and (4) 664 pp (3) | contemporary calf
First French edition, rare. The work published in 1765 in German under the title Vollständige Anleitung zur Algebra, will be followed by a Russian translation published in 1770 by the Saint Petersburg Academy of Sciences, and then transposed into French by Louis Bernoulli.
Contemporary binding in full marble-patterned calf, spine in decorated compartments, title pieces in red morocco and volume numbering in decorated brown calf.
Upper spine end of volume 1 worn. A section of the bottom lower joint missing from volume 1. Lower joint split at the top of volume 1, upper joint split along 2 panels of the spine. Scratches on the lower boards.
Euler (1707-1783) was considered by his peers as the greatest mathematician of his time. He remains a key figure in the history of mathematics due to his many, rich contributions. The éléments d’algèbre are composed of two parts, L’Analyse déterminée and L’Analyse indéterminée. Lagrange’s additions of fractions are included at the end of the book. The two volumes contain many mathematical operations and all calculation methods across all areas of algebra, particularly formulas for solving equations.

Rare first edition printed on yellow paper.
Braid binding in full marbled paper, smooth back decorated with double gilded nets, title label of red morocco, top corners blunt.
Autograph signed by Hugues-Marie-Humbert Bocon de Lamerlière.

émile MALESPINE & Hans ARP
& Laszlo MOHOLY-NAGY
Manomètre n° 8
Manomètre | Lyon Décembre 1925 | 17.5 x 22.5 cm | stapled
First edition of the eighth issue of this “Surrealist” magazine founded by Emile Malespine.
Some small folds in the margin of the first cover.
Contributions from Pierre Laurent, Emile Malespine, Georges Navel, Guillermo De Torre and Tristan Tzara.
The issue is illustrated with two woodcuts by Hans Arp, woodcuts by Laszlo Moholy-Nagy and a drawing by André Sol.

First edition.
Bindings in half green sheepskin, smooth backs adorned with jewels and gilded friezes, pieces of title and tomaison of green sheepskin, some traces of rubbing on the backs, plates of green embossed cardboard, guards and contreplats of handmade paper, slices speckles, bindings of the time.
Some foxinges and three marginal tears without affecting the text.
Illustrated book of 27, 25, 29 and 33 plates engraved hors-texte most of China and due to the chisel of the majority of the painters of Lyon of the time as well as frontispices, engravings of heads of books and many vignettes.
Rare autograph dedication signed and rhymed Alexis Rousset on the first volume: "A Charles Guillaume the engineer / Cats enlightened protector / And the cat the benefactor / faithful tribute of the author

First edition.

First edition, one of 650 numbered copies on Alfa paper.
Initials written in black ink just above the autograph.
Autograph dedication signed by Charles Maurras to Stanislas Goulewski.

Original bilingual edition, with the Spanish translation prepared by Vivian Lofiego and the French text opposite.
Nice copy.
Illustrated book of drawings by Ernest Pignon-Ernest.
Beautiful autograph dedication signed by André Velter to Charles (Dobzynski): "To you, Charles Dobzynski, to be together at the open sunshine of the bullring. enriched with the handwritten signature of Ernest Pignon-Ernest in pencil.

HOLBEIN Hans
Biblia utriusque Testamenti juxta vulgatam translationem et eam, quam haberi potuit, emendatissimam [...]
Hugues de la Porte (Melchior et Gaspard Trechsel), Lyon 1538, in-folio 230 x 327 mm (7 7/8 x 12 7/8 ”), (4f.) 569 pp (45 p.) – Sig: *4 a-z8 A-M8 N6 AA-BB8 CC6 (erroneously numbered CC4), 18th-century sheep
Editio princeps of the Holbein Bible.
Rare edition that followed the text of Robert Estienne’s 1528 Bible, it was banned by the Inquisition and put on the Index by Rome. Text in two columns, a well-margined copy. Printer’s device to title and colophon. The work, a first issue, has 95 illustrations (8.5 x 6cm), of which a series of 86 vignettes engraved after drawings by Hans Holbein the Younger (1497?-1543), by the virtuoso Hans Lützelburger (1495-1526).
18th-century brown sheep, spine in seven compartments, all edges mottled red. Tail-piece a little rubbed with small lack, corners rubbed and slightly bumped. A few light dampstains.
Provenance: manuscript ex-libris of Nicolas Tournyer (or Tournier) to title, Royal Councilor and President of the Electors of Amboise, dated 1741. From the collection of Baron Paul Harth (Cat. II, 1985, n°14).
Numerous underlinings and contemporary marginalia, some a little shaved during binding.
Between 1528 and 1532, when engravings were enjoying a roaring success, the Trechsel brothers ordered a new set of illustrations from Hans Holbein, then at Basle. This edition of the Bible was finished in 1538. In the same year, the Trechsel brothers also published the Icones, made up exclusively of Holbein’s woodcuts. Long a subject of debate among bibliographers, the Bible’s precedence was proved by Jean Vial who confirmed the theory of his colleague Henri Baudrier: the illustrations were indeed first published in the edition here offered for sale. Heavily copied illicitly, these previously unseen vignettes were printed again in Paris in 1539 and Antwerp in 1540.
The enormous expressiveness of the illustrations was skillfully captured by the engraver Hans Lützelburger, who used boxwood blocks, which are denser and thus allow for more detailed engraving than pear, and engraved the entire set of little scenes by line drawing, without cross-hatching. The vignettes, whose size wouldn’t usually have allowed for a lot of detail, are masterpieces of detail and perspective. They also show Holbein’s talent as a portraitist who, buffeted by the Reformation and recommended by Erasmus to Thomas More, would serve for some time as Court Painter in England. Essentially, at the time when the Bible was being published by the Trechsel brothers, he was travelling across Europe to make portraits of princesses who were potential brides for Henry VIII.
“The compositions of the illustrations for the Bible are masterpieces of the first order. The expressions of the figures are just right and offer that mix of simplicity, energy, and naivety characteristic of Holbein.” (Ambroise Firmin-Didot, Essai typographique et bibliographique sur l’histoire de la gravure sur bois, 1863).
A very good copy of one of the most important masterpieces of Renaissance wood engraving.

Second edition. 
A nice copy.

first edition of the journal dealing with men, works and film issues, this issue is dedicated to Jacques Prévert.
Contributions Guy Jacob, Bernard Chardère, Jacques Prévert ...
Handwritten signature of Jacques Prévert, in black felt enriched a small drawing of a star.

first edition of the journal dealing with men, works and film issues, this issue is dedicated to Jacques Prévert.
Contributions Guy Jacob, Bernard Chardère, Jacques Prévert ...
Signed autograph, black felt, Jacques Prévert to a friend enriched with a drawing of a flower.

First edition, one of 300 numbered copies on vélin paper de Condat.
Spine sunned.

first edition printed by Louis Thomas of friends to 100 numbered copies on Alfa paper, ours unjustified.
Introduction to Marcel Michaud.
Illustrated book of 28 photographic prints by Robert Perroudon reproducing the works of Louis Thomas.
Signed autograph Marcel Michaud to the editor Marc Barbezat enriched with the handwritten signature of Louis Thomas.
A handwritten correction Marcel Michaud in the text.
It unfortunately lacks a photographic plate (28) in our copy.
Rare copy and pleasant.

First edition, one of 240 numbered copies on vélin aussédat paper reserved for the sélections Lardanchet.

Spine very slightly sunned, otherwise a good copy.

First edition, one of 150 numbered copies on alfa.
A good copy.

First edition, one of 1150 numbered copies on pur fil paper.
With original woodcuts by Lucien Boucher.
A good copy.

First edition, one of 250 numbered copies on vélin du Marais paper, the only large paper copies after 25 on vélin de France paper.
A good, well-margined copy.

First edition, one of 1000 numbered copies on vélin de Condat paper.
Spine very slightly faded, otherwise a good copy.

Re-printing in a small number of copies on vergé paper of the first edition ublished in Rennes in 1588.
Plain grey cover, original wrappers.
A rare and good copy.

First edition of 1000 numbered copies on vélin du marais paper.
With drawings by A. Chabaud.
A good copy.

First edition.
Two small stains in the margins of upper cover.

first edition on the current paper.
Binding to bradel half percaline indigo, slightly insolated smooth back with a gold central floral motif, double net gilded tail, as part of shagreen brown, marbled paper boards, preserved covers, contemporary binding feature those that made the library of Henri Beraud.
Signed autograph of George Champeaux to Bourquet: "... my teacher and my friend ..." on the book dedicated to Henri Beraud.
Guards partially shaded minor.
Provenance: the Henri Beraud rétaise library.

Edition for which he has not drawn large papers.
Book illustrated with 100 drawings by the author, preface by Frédéric Dard.
autograph dedication of the author autograph signed and dated Paul Philibert Charrin to a friend: To Cop (the c of "Cop" is crossed out) p "specialist cows" in faithful affection. "
Lack head back, otherwise nice copy with regard to the poor quality of this post-war paper.

The very rare first edition with a lovely frontispiece illustration of a young harpist beneath the charming quatrain: “La Harpe entre vos mains Silvie / Ne laisse rien à désirer / De vos beaux yeux : l'âme est ravie / Peut-on vous voir sans vous aimer !” [The harp in your hands, Silvie| Leaves nothing to be desired| A glance at your eyes thrills me| How could you not be admired?]. Engraved title within a circular frame surrounded by musical instruments, manuscript ex dono at foot. The work, including the text, is entirely engraved.
 
Contemporary half calf over marbled boards. Worming to inner margin of first six leaves very discreetly repaired.
 
The work begins with a brief history of the harp. This is followed by fourteen chapters on chords, the handling of the harp, arpeggios, and the use of the pedals. There are a number of transcriptions of popular airs and songs such as were dear to Corrette – most notably La Fürstemberg, Que vous dirais-je maman and so on.
 
Michel Corrette (1707-1795), well known to musicologists, is an important figure in 18^th century French music. Though he has not left any truly determining works – except perhaps the comic concerto based on Rameau’s L'Air des sauvages [The Savages’ Theme], which is still played regularly – his numerous musical activities and works help us better understand French music and musical tastes throughout the 18^th century.
 
In 1728, at the age of only 21 and freshly arrived in Paris, he published one of the first collections of French concertos. The French contribution to this major genre, developed in Italy, and key to the musical history of Europe, is very slight. Corrette was to be one of the only people to introduce it to France, along with Blavet and Leclair.
The official organist to the Prince de Conti and later to the Duke of Angoulême, Corrette was at the same time conductor of an orchestra (at the Saint Laurent fair, which inspired the famous Concertos comiques), a virtuoso violinist, harpsichordist and needless to say, composer. He was also a noted teacher and wrote a number of methodological works aimed at the students of his music school, affectionately known in Paris as the “Anachorètes” [lit: Corrette’s donkeys].
Very early on, Corrette made an effort to set down the musical forms of his time in order to pass them on and his first manuals, like Le Maître de clavecin [The Master Harpsichordist] (1753) did enjoy some success. If, in this respect, he was to join a instructional tradition following the example of Couperin, Rameau or Bach, one nonetheless feels with Corrette an encyclopedic wish to teach all the instrumental forms. Thus, he produced manuals for the cello, harpsichord, organ, flute, mandolin, guitar, and so on. Unlike those of a number of his peers, these manuals were not intended for the sole use of musicians but – a great revolution that he brought to bear in the musical world – also for beginners. The present book of instruction for the harp, like all his instructional works, takes into account all the different techniques, both French and Italian, but also German (not very highly regarded in France at the time). These correspond to the three great schools of music in 18^th century Europe; the Italian undoubtedly doing the most to revolutionize the writing of music.
With an eye to modernity, Corrette published his method for the harp though the instrument had only been being played for a few decades at the time. The harp had previously been abandoned because of its lack of chromatism and it took the invention of the double-row harp by the Italians and later the pedal (which was not introduced in France until 1749) for the instrument to see a resurgence of interest. It was quite quickly adopted in the aristocratic salons but without its own specific repertoire. It then enjoyed a growing popularity and major works for the instrument were to see the light of day in the first half of the 18^th century (Mozart, C. P. E. Bach).
The attention enjoyed by the harp in the 19^th century is well known, thanks to the technical modifications that were brought in from 1800 on. This method is thus a witness to the rebirth of the harp in France and is important testimony to the way it was played and the techniques for playing it at the end of the 18^th century.  
Published in a very small number of copies because of the novelty of the instrument, all other copies of this work seem by now to have disappeared.
We have not been able to find any reference to this rare edition in the major European bibliographies, nor at auction. 

First edition printed on vergé.
Spine sunned, foxing to covers.
Provenance : collection of Henri Béraud.

first edition.
Book illustrated with 19 drawings by Jean Auscher.
autograph dedication of the author signed autograph of John Auscher André Klein.
Back and boards slightly and marginally insolated, nice interior state.