‎[REVUE LE RIRE] - WILLETTE (AD.) - ‎
‎V'LA LES ENGLISH!…. ‎

‎The Art of painting, with the lives and characters of above 300 of the most eminent Painters: containing a complete treatise of painting, designing, and the use of prints, with reflexions ont the works of the most celebrated masters, and of several schools of Europe, as well ancient as modern. Translated of the french of Monsieur De Piles. To wich is added an essay towards an English school. The third edition: in wich is now first inserted the life of Sir Godfrey Kneller, by the late B. Buckeridge, Esq; who wrote the greatest part of the English school.‎

‎London, Thomas Payne, [1754]. In-8 de [8]ff., 439p., plein veau marron, dos à nerfs, pièce de titre beige, coins un peu frottés. Petit ex-libris gravé sans nom, signature ancienne page de garde. ‎

‎ English painters from Robert Aggas to Mr Zoust or Soest... ‎

‎English Book Prospectuses. An Illustrated History,.‎

‎Newton,Bird and Bull Press, Minneapolis, Daedalus Press, 1984. In-8 de 109-[3] pages, demi-maroquin noir, dos lisse, titre doré en long, plat de papier décoré, auquel on joint joint un cartable contenant 14 fac-similé, l'ensemble sous étui. Bound by E. G. Parrot.‎

‎ "This book traces, through a combination of text and illustration, the history and significance of the English book prospectus from its beginnings in the 17th century down to the present day." The text is accompanied by 24 facsimile prospectuses (14 of the facsimiles are in a separate portfolio.) The book, the folder and its contents, the slipcase, and the prospectus are all fine. ‎

‎The workes of our antient and learned English poet, Geffrey Chaucer, newly printed.‎

‎London, Printed by Adam Islip, at the charges of Bonham Norton, 1598. In-folio de [27]-394-[13] feuillets [5; b-c6; 4; A-V6; Aa-Tt6; Vv-Xx8; Yy-Zz6; Aaa-Zzz6; Aaaa6; Bbbb7]. Plein maroquin marron, dos à nerfs orné de fleurons dorés, plats décorés de larges roulettes à froid avec le titre, le lieu et la date dorés sur chacun des plats, ornés au centre d'un large fleuron doré, tranches dorées. Coiffes et mors épidermés. Ex-libris Thomas Thorburn Nesbitt and Marion Wallace Nesbitt (his wife).In-folio of [54]-788-[26] pages [5; b-c6; 4; A-V6; Aa-TT6; Vv-XX8; Yy-Zz6; Aaa-Zzz6; Aaaa6; Bbbb7]. Full brown morocco, ribbed back decorated with gilt floral ornaments, sides decorated with large blind roll-stamps with the title, gilt place and date on each side, decorated in the center with a large gilt floral ornament, gilt edges. Turn in and joints scratched. Bookplate Thomas Thorburn Nesbitt and Marion Wallace Nesbitt (his wife). La reliure est signée Rivière.The binding is signed by Rivère.‎

‎ Sixième édition collective de Chaucer, mais première due à Thomas Speght, qui fera autorité jusqu'au XVIIIe siècle. Shakespeare, Milton ou Dryden liront Chaucer dans cette édition. En effet, l'édition de Speght marque un tournant dans la réception de Chaucer, et parait ici pour la première fois en anglais une biographie, un lexique avec les mots anciens, obscurs et difficiles - chose remarquable pour l'époque, une table des auteurs cités par Chaucer, et 10 pages d'annotations. Spenght a ajouté deux textes inédits "The Floure and the Leafe" et "Chaucer's dream". Belle typographie en deux colonnes, nombreuses lettrines gravées sur bois, la page de titre est décorée d'une belle composition, et trois pages de titre bellement illustrées pour diviser les trois livres (The Canterbury Tales, The Romaunt of the Rose et The Story of Thebes). Grande armoirie gravée au verso du prologue et un bel en-tête pour le début de The Knight Tales. Le portrait de Chaucer manque ici (comme souvent) ainsi que les feuillets blancs initiaux et finaux; petite tache d'encre au verso du ff. 194. Au ff. 90 on lit la signature de Karrin Willcocke (XVIIe siècle?).Sixth collective edition of Chaucer, but the first by Thomas Speght, which will be authoritative until the 18th century. Shakespeare, Milton or Dryden would have been reading Chaucer in Speght's edition. Indeed, this edition marks a turning point in the reception of Chaucer, and here appears for the first time in English a biography, a lexicon with ancient, obscure and difficult words - something remarkable for the time, a table of authors cited by Chaucer, and 10 pages of annotations. Spenght has added two unpublished texts "The Floure and the Leafe" and "Chaucer's dream". Fine typography in two columns, many initials engraved on wood, the title page is decorated with a beautiful composition, and three beautifully illustrated title pages to divide the three books (The Canterbury Tales, The Romaunt of the Rose and The Story of Thebes). Large coat of arms engraved on the back of the prologue and a beautiful header for the beginning of The Knight Tales. The portrait of Chaucer is missing here (as often) as the initial and final white sheets; little ink stain on the back of the ff. 194. At the ff. 90 we read the signature of Karrin Willcocke (seventeenth century?). The binding is signed Rivère. ‎

‎Figurabile: Francis Bacon. English version.‎

‎Paris, Mondadori Electa, 1993, in-4, Broché, 134 pages. Bon état. Good. English version. ‎

‎Visible English. Graphic Culture, Scribal Practice, and Identity, c. 700-c. 1550‎

‎, Brepols, 2022 Hardback, xix + 408 pages, Size:156 x 234 mm, Illustrations:4 b/w, 24 col., Language: English. ISBN 9782503598420.‎

‎Summary Visible English recovers for the first time the experience of reading and writing the English language in the medieval period through the perspectives of littera pedagogy, the basis of medieval learning and teaching of literate skills in Latin. Littera is at the heart of the set of theories and practices that constitute the 'graphic culture' of the book's title. The book shows for the first time that littera pedagogy was an 'us and them' discourse that functioned as a vehicle for identity formation. Using littera pedagogy as a framework for understanding the medieval English-language corpus from the point of view of the readers and writers who produced it, Visible English offers new insights on experiences of writing and reading English in communities ranging from those first in contact with Latin literacy to those where print was an alternative to manuscript. Discussing a broad range of materials from so-called 'pen-trials' and graffiti to key literary manuscripts, Visible English provides new perspectives on the ways that the alphabet was understood, on genres such as alphabet poems, riddles, and scribal signatures, and on the different ways in which scribes copied Old and Middle English texts. It argues that the graphic culture underpinned and transmitted by littera pedagogy provided frameworks for the development and understanding of English-language literacy practices and new ways of experiencing social belonging and difference. To be literate in English, it proposes, was to inhabit identities marked by Anglophone literate practices. TABLE OF CONTENTS Introduction: Visible English Chapter One: Graphs, Alphabets, and Scripts Chapter Two: Graphic Models Chapter Three: Graphic Play Chapter Four: Graphic Display Chapter Five: Reprographics Conclusion: Medieval English Literacy Index‎