138 books for « gerson »Edit

‎De custodia linguae et corde bene ruminanda. - [GERSON'S SEMINAL TREATISE ON RUMOR-MAKING, PRINTED BY ZELL CA. 1470]‎

‎(Cologne, Ulrich Zell, ca. 1470). Small 4to. Beautifully bound in a later (ca. 1900) full calf binding in Renaissance style with three raised bands and blindstamped ornamentation to spine. Boards with three wide ornamental blindstamped borders inside each other. A damp stain to inner margin and a bit of light brownspotting. Early marginal annotations (some of them slightly shaved) and underlinings. 6 ff. + first and last blank. 27 lines to a page. A large, four-line opening initial in red, a two-line initial in red, paragraph marks as well as capital strokes in red throughout, and red underlinings in beginning and end. A lovely copy. With the gilt red leather ex libris of John Pierpont Morgan to inside of front board. ‎

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‎Magnificent, early incunable edition, being the exceedingly scarce second edition (as a Zell-edition dated between 1467 and 1470 is considered the first - these two first editions are of equal scarcity) of this highly important tract on the moral implications of speaking ill of others in their absence, by one of the pioneers of natural right theory, Jean de Gerson, printed by the eminent first printer of Cologne, Ulrich Zell. The work, though having been overlooked for centuries, is of the utmost importance to the shaping of Western thought, both legal, religious, and moral, and it was extremely influential in its time. It appeared as many as four times around 1470 (the two first editions printed by Zell, who was the main printer of all of Gerson's works, followed by an edition by Fust and Schöffer shortly after and another one by Therhoernen) with editions following in both the 1480'ies and 90'ies. The two Zell-editions, which constitute the first appearances of the work, are distinguishable by the printing error in the first line of A1r, which says ""Intipit"" (the present copy - Hain 7683) instead of ""Incipit"" (Hain 7682). The number of early editions of Gerson's work bears witness to his tremendous popularity as a moral and spiritual authority in 15th-century Europe. In spite of being “[o]ne of the smallest and rarest of the many tracts by the Chancellor of Paris Jean Charlier de Gerson (1363-1429), which were printed by the earliest printer of Germany"" (Rhodes), the work nonetheless exercised great impact. The theme of the treatise is the morality of speaking ill of others behind their backs, which has implications for, not only morality philosophically speaking, but also legally, theologically, and religiously, tying together the most important themes of Gerson’s thought. Curiosity and vanity, which are at the heart of rumor-making and speaking ill of others behind their backs, are two main intellectual vices that must be warned about in all contexts. “The reflection on vices and sins, both from the moral and the intellectual point of view, is a “fil rouge” in Jean Gerson’s production. As a theologian constantly concerned with shaping a correct theology and driven by the necessity to pursue the safety and unity of the doctrine, the Parisian Chancellor often warns his students and colleagues about the dangers connected with this misuse of rationality. (Luciano Micali: The Consent of the Will…, p. 1). “Jean Gerson (b. 1363–d. 1429"" also Jean de Gerson, or, originally, Jean Charlier) was the most popular and influential theologian of his generation, the most important architect of the conciliar solution to the Great Schism (1378–1415), and the leading figure at the Council of Constance (1414–1418). He came from a family of modest means in the Champagne region of France. As a young student at the College of Navarre in Paris, he came in contact with humanist currents from Italy (he probably read Petrarch at this time), which left some traces in his writings. He first gained fame as a popular preacher in Paris in the early 1390s and then followed his master Pierre d’Ailly as the chancellor of the University of Paris in 1395. He gained international renown as a result of his leading role at the Council of Constance, which put an end to the Great Schism. ... Gerson’s wide-ranging interests extended well beyond the traditional limits of university masters, and his writings serve as a window into 15th-century life and thought. His complete works were first printed in 1483 and were frequently reprinted through the first quarter of the 16th century. Later humanists and university theologians alike claimed him as one of their intellectual fathers."" (Oxford Bibliographies in Medieval Studies: Daniel Hobbins: “Jean Gerson”). In spite of his enormous influence upon his contemporaries and near contemporaries of the following century, recent centuries have witnessed little insight into his vast importance. This, however, seems to be changing, as many scholars are now gaining increasing insight into the extension of his influence. “Researchers are familiar with seeing and examining the influence of Augustine, Thomas Aquinas and other significant figures in Western intellectual history. The reception of Jean Gerson (1363-1429) — the late medieval French Church reformer, ecclesiastical leader, theologian, poet, educator and chancellor of the University of Paris — is, however, an understudied field. Gerson’s legacy had nevertheless an impact on late medieval and early modern movements and thinkers of great significance, paving the way for many developments, which still shape our existence today. He became a source of inspiration for all those involved in establishing new religious and national identities, and his name appears in both Protestant (of all branches) as well as in Catholic sources. Aside from the expected influence in theology and Church history, his ideas transformed law, jurisprudence, art, music, pedagogy, literature and even medicine. The topography of his legacy is just as broad and varied, spanning from Portugal to Scandinavia, and from Japan to Mexico. From a deeper perspective, Gerson is extremely important for understanding the religious evolution of Western civilization. Jean Gerson’s legacy provides a significant theological context where contemporary ideas such as, for example, the concept of individual right or need of palliative care, find their roots. Today, when the question of religion has retaken the central stage of our existence, an understanding of our theological background is no longer the fief of specialized researchers, but a social necessity.” (Introduction to: The Reception of Jean Gerson in Late Medieval and Early Modern Theology, Spirituality and Law. Roundtable Discussion at KU Leuven, 2018) Although commonly accepted as a seminal figure important in legal theory, even his role a a pioneer of natural right theory has been overlooked, as has his vast influence on thinkers like Thomas Moore. A 2018-conference at KU Leuven has contributed to the renewed understanding of his importance. As Yelena Mazour-Matuzevich (University of Alaska Fairbanks / Senior Fellow KU Leuven) concluded: “Before looking closely at Thomas More’s connection to the late medieval French theologian Jean Gerson (1363-1429), I could not imagine the breadth and depth of More’s dependency on his legacy as a source of scriptural narrative, moral theology or legal theory. More’s extensive knowledge of Gerson’s works is evident from the Englishman’s writings, and his admiration, already manifest in his early years, only increased as he aged, climaxing during his imprisonment in the Tower.” (The Very Special Case: Gerson & Thomas More). It was only with Richard Tuck and his ""Natural Rights Tradition"" from 1979 that Gerson was first really credited with his pioneering work in this field. Tuck argues that Jean Gerson was the first to describe the notion of ius as “a dispositional faculty or power, appropriated to so meone and in accordance with a right was understood in terms of an ability” and places him at the centre in the rights tradition. Thus, the guiding light of the Concillar Movement and one of the most prominent theologians at the Council of Constance was also one of the first thinkers to develop what would later come to be called natural rights theory, and he was even one of the first individuals to defend Joan of Arc and proclaim her supernatural vocation as authentic. The celebrated devotional work traditionally ascribed to Thomas à Kempis, ""The Imitation of Crist"" has been considered by some scholars, to be the work of Gerson, although no conclusive evidence has yet been found. ""Gerson was a prolific writer, and a powerful intellectual force in a calamitous period in France’s history. A champion of his university, he strongly advocated the role of theologians in the debates which erupted when the Great Schism divided the catholic church between 1378 and 1417, as first two, and then three, claimants contended for the papacy. As a cleric, he had a strong sense of pastoral responsibility, often expressed in his more personal writings. He witnessed and bewailed France’s descent into political chaos, when the madness of King Charles VI allowed rival princes to jostle, and eventually murder, to gain their ends. In 1413 the civic and political disturbances in Paris almost cost him his life. That civic disorder, civil war, and then the Lancastrian takeover with King Henry VI of England as questionable heir to Charles VI, doubtless explains why Gerson, ever the Valois loyalist, spent his final years in a kind of exile in Lyons. Many of Gerson’s major writings deal with the Schism, and the debates over the Church’s structure which it provoked. These pushed him to argue for reform, a programme which challenged papalism by urging the authority of a general council as representative of the Church as a whole. Some of his most important work addresses such matters, and he was occasionally a key player in events, notably at Constance in March–April 1415. ” (Swanson: Review of Patrick McGuire's Jean Gerson and the Last Medieval Reformation). Hain: 7683" BMC: I:184 Goff: 219.‎

‎Harengue faicte au nom de l'Universite de Paris, devant le roy Charles sixiesme, & tout le conseil, contenant les remonstrances touchant le gouvernement du roy, & du royaume. Avec les protestations du Treschrestien roy de France Charles VII. sur la determination du Concile de Basle.‎

‎Paris, Vincent Sertenas, 1561. Petit in-8 (10 x 15,5 cm) de 48 ff., veau marbré, dos lisse orné, pièce de titre en maroquin rouge, triple filet doré d'encadrement sur les plats, tranches rouges (reliure du XVIIIe siècle). ‎

‎Édition Sertenas partagée en 1560 avec Gilles Corrozet et Jean Dallier de la Harangue de Gerson imprimée une première fois vers 1500.Discours du chancelier de l'Université de Paris Jean Gerson (1363-1429) prononcé en 1404 pour la réformation du Royaume par des mesures religieuses : « (pour l'Université) l'abîme où sombre la couronne de France est creusé par la justice d'un Dieu irrité d'un grand crime. Ce crime, c'est le Schisme dont quelques esprits français furent les principaux auteurs. Si l'on veut renaître à l'honneur, à la prospérité, il faut revenir à la soumission, réparer le mal qu'on a fait, rétablir l'union dans l'Église. Tel est le but de l'Université dans le discours qu'elle fait prononcer à Gerson ; c'est un but religieux, et le changement de titre qu'on a opéré arbitrairement nous montre comment on est parvenu à dénaturer l'histoire de cette période en nous la faisant considérer uniquement sous le point de vue politique. » (Jean Gerson par Anne-Louise Masson, 1894, p. 243).Pâle mouillure sur les 3 premiers cahiers. Brunet, II, 1561. ‎

‎ [LUXEMBOURG] Diekirch, Grand-Duché de Luxembourg. Berceau et centre du tourisme luxembourgeois. Société Nationale des Chemins de Fer Luxembourgeois.‎

‎Diekirch, Syndicat d'Initiative, [vers 1950]. 985 x 600 mm.‎

‎Belle affiche publicitaire, dessinée par Roger Gerson pour la Société Nationale des Chemins de Fer Luxembourgeois, créée en 1946. Elle a été imprimée par Huss à Luxembourg, et publiée par le syndicat d'initiative de la ville luxembourgeoise de Diekirch. Elle est illustrée en son centre d'un grande vue panoramique de la ville de Diekirch, épousant les contours du Luxembourg. Tout autour, sur un fond rouge, se trouvent des personnages illustrant les activités du pays, ainsi qu'une pinte de bière portant le nom de Diekirch. C'est au XIXe siècle que la ville de Diekirch est devenue le berceau du tourisme luxembourgeois, grâce à l'hôtelier Alexis Heck (1830-1908), considéré comme le père du tourisme luxembourgeois, et propriétaire du Grand Hôtel des Ardennes, construit en 1810. En 1949, le Ministère de l’Éducation nationale installa la première et unique école hôtelière du Grand-Duché à Diekirch. Roger Gerson (1913-1966) est un artiste peintre luxembourgeois, dont les œuvres sont omniprésentes dans la culture du pays, mais aussi dans la vie quotidienne des habitants de Diekirch, ville située au nord-est du Luxembourg, où il est né. Il a réalisé des dessins, des affiches, des portraits, des illustrations et des paysages luxembourgeois. Très bon exemplaire non entoilé. Marques de pliure. Maison de la Culture de Diekirch, Exposition Roger Gerson 1913-1966, 7-15 décembre 2013 (affiche illustrée p. 11).‎

‎Photographie signée de Lawrence Durrell à une jeune française ‎

‎1970 | 21.90 x 16.20 cm | une feuille‎

‎Photographie originale de Lawrence Durrell signée et datée, réalisée par le photographe Mark Gerson, et portant son tampon au verso : "šPhotograph by MARK GERSON, FIIP. ARPS. 24, Cavendish Ave., St. John's Wood, London NW8". Après de nombreuses années passées en Grèce, en Egypte et à Rhodes, l'écrivain voyageur Lawrence Durrell fut contraint de fuirChypre à la suite de soulèvements populaires qui menèrent l'île à son indépendance de la couronne britannique. Riche seulement d'une chemise et d'une machine à écrire mais auréolé du succès de ses romans Bitter Lemons, il arriva en 1956 en France et s'établit dans le village languedocien de Sommières. Dans la «maison Tartès», sa grande demeure entourée d'arbres, il écrivit la seconde partie de son uvre, son monumental Quintette d'Avignon, s'adonna à la peinture et reçut ses illustres amis, dont le couple Henry Miller et Anaïs Nin, le violoniste Yehudi Menuhin, l'éditeur londonien Alan G. Thomas, et ses deux filles Pénélope et Sappho. Parmi les oliviers et sous le soleil méditerranéen, il y rencontre au milieu des années 1960 la jeune et pétillante "Jany" (Janine Brun), montpelliéraine d'une trentaine d'années à la beauté ravageuse, qui travaillait au département des Antiquités de la Sorbonne à Paris. Elle fut prénommée «Buttons» en souvenir de leur première rencontre, où la jeune fille portait une robe couverte de boutons. Henry Miller tomba également sous le charme de «Buttons», louant sa beauté et son éternelle jeunesse dans d'exceptionnelles lettres restées inédites. Les trois compères passèrent des soirées parisiennes mémorables dont nous gardons de précieuses traces autographes sur un menu de restaurant et à travers leurs échanges épistolaires. Recommandée par Durrell, elle fit de nombreux voyages notamment en Angleterre d'où elle reçut une vaste correspondance de l'écrivain ainsi que des uvres d'art originales signées de son pseudonyme d'artiste, Oscar Epfs. Photographie originale en noir et blanc de Lawrence Durrell portant une signature autographe de l'auteur : "Buttons you are impossible 1970", adressé à Janine Brun, sa jeune amante française. L'écrivain pose souriant devant l'objectif du célèbre photographe portraitiste d'écrivains Mark Gerson, à l'occasion d'une séance de signatures à Londres pour la parution deTunc, le premier voume de sa série d'ouvrages distopiques intituléeLaRévolte d'Aphrodite. Cette photographie fut adressée à une jeune amante de l'auteur,qui, àSommières comme à Paris, égaya ses journées solitaires à la fin des années soixante et soixante-dix. Janine Brun, aussi surnommée "Buttons" dans les lettres de l'écrivain, fut ainsi décrite par le biographe de Durrell Ian McNiven : "She was almost thirty but she looked much younger, with a girl's small-breasted figure, as dark-haired as Claude Kiefer was blonde, and not languorous but tremendously energetic" (" Elle avait presque trente ans mais avait l'air bien plus jeune, avec une silhouette de jeune fille aux seins menus, aussi brune que Claude Kiefer [une autre de ses amantes, femme d'un chirurgien suisse] était blonde, pas tant langoureuse qu'extrêmement énergique", (Lawrence Durrell: A Biography, page 591). Leur relation se prolongea jusqu'à la fin des années 1970, Jani/Buttons apparaissant à l'occasion dans les oeuvres de Durrell (et notamment le poème« Vaumort»,Collected Poems: 1931-1974) et dans la fameuse correspondance de l'écrivain avec Henry Miller : "that little demon Buttons [...] turned up for a New Year TRINC and stayed the night with me finally, in my eternal little Room 13 at the Royal" ("Buttons ce petit démon arriva pour trinquer à la nouvelle année et passa enfin la nuit avec moi, dans mon éternelle petite chambre du Royal", lettre de Durrell à Miller, 6 janvier 1979). Elle reçut également des lettres et cartes postales pleines de sollicitude, d'allusions intimes et de conseils de lecture de la part de Durrell et de son grand ami Henry Miller, ainsi que des uvres ‎

‎Ioannis Carlerii de Gerson De mystica Theologia‎

‎Lucani [Lugano], In aedibus Thesauri Mundi 1958 xxxi + 251pp., softcover, dustwrapper, 21cm., introduction and text in Latin, pages still uncut, very good condition, R102994‎

‎Clara Raphael. Tolv Breve, udgivne af Johan Ludvig Heiberg + (Gerson:) Fem Breve til Clara Raphael fra en Ung Hustru + ""Et Besøg."" Nye Breve af Forfatterinden til Clara Raphael. - [THE BREAK-THROUGH OF FEMINISM IN DENMARK]‎

‎Kjøbenhavn [Copenhagen], 1851. All three works bound together in a contemporary green half cloth binding with a large printed paper label to spine (reading ""Clara Raphael). Inner hinges a bit weak. Wear to upper capital and remains of varnish to spine. First quire of Clara Raphael with a damp stain and the first two works brownspotted. Old owner's signature to front free end-paper. ‎

‎Scarce first edition of the first feminist novel in Denmark, the highly controversial and influential ""Clara Raphael"", which is the work that sparked the battle for women's rights in Denmark. Bound together with one of the most important responses to it from the same year as well as Fibiger's ""A Visit"", also from 1851, which is Fibiger's defence against the many accusations against her following the publication of ""Clara Raphael"", directed at her women readers. Fibiger’s novel caused enormous controversy. The intellectual elite was in uproar. Within the first year of its publication, ca 25 responses to it were published in newspapers and periodicals and ca 10 brochures and pamphlets pertaining to it. The novel caused vexation in all political camps. The demands for equality between the sexes were scrutinized in all regards, and many politicians began singing the praises of “the woman of the home”. It is in this strain of thought that the famous author of children’s books, Julius Christian Gerson, wrote his significant contribution to the feud, “Five Letters to Clara Raphael from a Young Wife”, also published in 1851. Using the pseudonym “A Young Wife”, he claims, in the voice of this fictitious woman, that Fibiger’s novel had violated the female gender and that the emotions and the striving that are presented as those most pertinent for the woman, are completely foreign to the true woman. He lets his fictitious female author praise herself for being “a young mother who wishes for nothing and wishes to be nothing outside of her circle.” The debate that arose following the publication of ""Clara Raphael"" was very harsh indeed, and the whole public debate was hard on Mathilde Fibiger. Her views were lost on almost all notable men of the period, but she clearly needed to defend herself. Thus, in the same year, she wrote another novel, also in the form of letters, “A Visit”, in an attempt to extrapolate on her views and defend herself. This novel, however, is not written in order to persuade the men of her views, but was directed at women, who would hopefully get to understand her views better. ""Clara Raphael"" is the main work of feminism in Denmark and the first Danish governess novel. It founded an entirely new genre of women's novels hitherto unknown in Denmark. The work, which constitutes the break-through of feminism in Denmark, was greatly controversial and immediately caused great furore. It resulted in the so-called Clara Raphael Dispute, in which for instance N.F.S. Grundtvig defended Mathilde Fibiger. Due to the controversial contents of the work, Mathilde Fibiger published it anonymously, and only J.L. Heiberg (1791-1860, perhaps the most famous cultural persona during the Danish Golden Age. He played a more significant role than any other author or thinker during this period) is mentioned on the title-page, as the editor. No publisher had wanted to touch this highly controversial work, and it was only after the appearance of ""Jane Eyre"" that a publishing house dared take it on. As Mary Wollstonecraft had pioneered feminist philosophy with ""A Vindication of the Rights of Women"" from 1792 and argued for education as the means to liberate women, so Mathilde Fibiger surprised her Danish contemporaries with her groundbreaking novel ""Clara Raphael. Twelve Letters"", from 1851, in which she made the connection between the national-democratic movement and the liberation of women. With this book, which deals with the inequality of the sexes and the lack of possibility for women to develop themselves, Mathilde Fibiger became the first notable advocate of the emancipation of women in Denmark. It was not only the political controversy caused by the request of equality that made the book so extremely controversial, it was also the ability of the merely 20 year old author to clearly and precisely state and substantiate the essential problems. When reading the book, it is not difficult to see why it came to have the effect that it did, and why it caused the furor that it did. For instance, Clara Raphael, when despairing at the position of women in society, writes: ""Our position in society is tragic, and why? What right does man have to suppress us? For subjugated we are, despite the chains being gilded."" She understands that casting off these chains will be no easy matter, and that it will not only be a matter of politics, but also of consciousness and mindset: ""When the peasants were granted their freedom, some of them wept, begging for permission to keep things as they had been."" One of the beaming sentences of the novel is Clara's response to her friend when asked what she is actually fighting for: ""I will fight and live for what I understand by the emancipation of women.""Her hope of breaking with the existing patriarchal system of society required national and democratic self-awareness, which for her constituted a promise of freedom. In 1871, Frederik Bajer (1837-1922) and Matilde Bajer (1840-1934) founded the Danish Women's Society, the first women's organisation in Denmark. Mathilde Fibiger was one of the earliest members of the Society. When the Danish Women's Society was established, it did not demand female suffrage. It was not until 1906 that a majority of the members were in favour of making that demand the official policy of the Society. In Denmark, women were not allowed to vote in parochial church council elections until 10+3" not until 1908 were they allowed to vote in parish council and local council elections, and not until 1915 in the Folketing and the Landsting elections. It was not until then that women became fully-fledged citizens in a political sense.‎

‎Les commandemens de saincte Eglise et la confession générale du jour de Pasques par les paroisses. Le petit traicté de maistre Jehan Gerson qui aprent à bien mourir.‎

‎Paris, Vve J.Trepperel, J. Jehannot, (1516).‎

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‎ Très rare édition. Le seul exemplaire connu dans les bibliothèques publiques est à la Bibliothèque Nationale de France. C'est une adaption en français de l'Opus Tripartium de Jean Gerson (1363-1429), qui contient des réflexions sur le Décalogue, un petit traité de la confession et un Art de bien mourir. Bois gravé sur le titre et un autre sur le dernier feuillet. A la fin :" Cy finist les commandemens de l'église, imprimé à Paris par la veufve feu Jehan Trepperel et Jehan Jehannot, libraire juré en l'université de Paris, demourant en la rue neufve Nostre Dame, à l'enseigne de l'éscu de France." Caractères gothiques. Un petit trou d'un centimètre au bas du feuillet A6 avec un manque de quelques lettres, mais le texte reste compréhensif, rogné court en tête. Bon exemplaire relié par Maylander. Pour d'évidentes raisons, ces petits ouvrages de dévotion de quelques feuillets sont tous très rares aujourd'hui. /// In-4 de (24) pp. [A8, B4]. Maroquin noir, dos à nerfs. (Reliure du XIXe, Maylander.) //// Very scarce edition. The only known copy in public librairies is at the Bibliothèque Nationale de France. Woodcut on title and an other one on last folio. Gothic characters. A small hole (1 cm) at the bottom of folio A6 with a loss of a few letters, but the text remains comprehensive. Good copy bound by Maylander. For obvious reasons, these little devotional works of a few leaves are all very rare today. USTC 26333. Brunet II, 1560. Bechtel G-72 (exemplaire cité). /// PLUS DE PHOTOS SUR WWW.LATUDE.NET‎

‎La danse macabre composée par Maistre Jehan Gerson, 1425.‎

‎Paris: Léon Willem, 1875 in-4, 22 feuilets. Broché, couv. poussiéreuse avec décharge plus foncée au centre, très bon état intérieur. Imprimé sur les presses de Heutte et Cie, typographes à Saint-Germain en Laye. Fac-similé de l'édition de 1425.‎

‎La danse macabre composée par Maistre Jehan Gerson, 1425. (Paris: Léon Willem, 1875) [M.C.: littérature]‎

‎Jean GERSON. Sa vie, son temps, ses oeuvres précédé d'une introduction sur le Moyen Age -- EDITION ORIGINALE‎

‎Lyon, Vitte, 1894, un volume in 8, broché, couvertures imprimées, 1 PORTRAIT DE GERSON, (3), 424pp., planches hors texte‎

‎---- EDITION ORIGINALE ---- BON EXEMPLAIRE**8923/Q4‎

‎Le Nazisme socit secr¿te.‎

‎J'ai lu Broch D'occasion bon tat 01/01/1971 100 pages ‎

‎La dance (danse) macabre composée par maistre Jehan Gerson -1425. Jean duc de Berry, J. d'Orléans‎

‎ 1875 Paris, Léon Willem, 1875, in-4 broché non paginé de 24 pages, sous couverture souple de papier peigné de couleurs, bon exemplaire.‎

‎Ouvrage imprimé sur beau papier vergé à la cuve, illustré de 18 figures gravées sur bois, dont un beau titre gravé en lettres formées de squelettes, et 17 d'après les fresques peintes en 1525 des Saints Innocents de Paris. ‎

‎Michel Houellebecq soumission nationale ?‎

‎Robert Laffont | Paris 2015 | 12.50 x 20.50 cm | broché‎

‎Edition originale de ce numéro de "spécial actualité" dirigé par René Chiche et entièrement consacré à la parution récente du roman de Michel Houellebecq intitulé "Soumission". Agréable et rare exemplaire. Texte de Robin Gerson. - Photographies et détails sur www.Edition-Originale.com -‎

‎Gerson bilingue. Les deux rédactions, latine et française, de quelques oeuvres du chancelier parisien‎

‎Honoré Champion Couverture rigide Paris 1998 ‎

‎Très bon In-8. 202 pages. Édition bilingue latin-français.‎

‎Pourquoi la France? Des historiens américains racontent leur passion pour l'Hexagone, Collection L'Univers historique,‎

‎ 2007 Paris, Editions du Seuil, 2007, 15x24, 384 pp., couverture souple, très bon état, nouveauté rentrée 2007, ‎

‎. ‎

‎Jean Gerson. Sa vie, son temps, ses oeuvres. Précédé d'une introduction sur le Moyen Age.‎

‎ 1894 Lyon, Vitte, 1894, fort in 8° relié demi-basane aubergine, dos lisse orné de doubles filets dorés, 424 pages ; illustrations hors-texte. ‎

‎Illustré d'un portrait en frontispice et de vignettes in et hors-texte. ...................... Photos sur demande .......................... ‎

‎Rembrandt et son oeuvre‎

‎ 1980 Le Livre Partout, Paris, 1980. 1 fort in-folio. Cartonnage éditeur + jaquette illustrée. 526 pages. Illustrations en noir et blanc et en couleurs en et hors texte. ‎

‎Bon état ‎

‎Opera. P. 1–3 und Inventarium.‎

‎4 Teile in 3 Bänden. Basel, Nikolaus Kessler, 1489. 4° (32 x 23 cm). 46 Bl. (letztes leer); 188 Bl.; 229 (von 230) Bl.; 320 Bl. (das letzte leer), 2 Spalten, 57 Zeilen. Mit 3 sich wiederholenden Holzschnitten (nachgeschnitten nach der Strassburger Ausgabe) sowie mit durchgehenden Rubrizierungen und eingemalten Initialen in Rot und Blau. Verfärbte Schweinslederbände über Holzdeckeln der Zeit, mit Stempel- und Plattenprägung.‎

‎GW 10715. – Goff G 187. – BMC III, 767. – ISTC No. ig00187000. – Erste Basler Ausgabe, nach der Strassburger Ausgabe von 1488 herausgegeben von Peter Schott und Johann Geiler von Kaysersberg. Das Inventarium bei Band eins vorgebunden. Ein nahezu vollständiges Exemplar, es fehlt lediglich das letzte leere Blatt in Band zwei. Johannes Gerson (1363–1429), französischer Mystiker, Theologe, Musikschriftsteller und Kanzler der Pariser Universität Sorbonne war neben Frankreich auch in Italien und Deutschland tätig. – Die verfärbten Einbände mit ausgerissenen Schliessen, alten beschrifteten Rückenschildern und Rückenrestaurierungen, die Gelenke teilweise angeplatzt. Die Vorsätze erneuert. Das Papier mit wenigen Wasserrändern, Wurmgängen und Flecken. In Band drei mit längerem Einriss, hinterlegt.‎

‎Six sermons français inédits de Jean Gerson. Etude doctrinale et littéraire suivie de l'édition critique et de remarques linguistiques‎

‎Paris, Vrin 1946 xiii + 611pp., 25cm., publié dans la série Etudes de théologie et d'histoire de la spiritualité" tome VIII, reliure cart. solide, texte frais, bon état, poids: 1kg., R117847‎

‎Rembrandt. La ronde de nuit.‎

‎ Cartonnage de l'éditeur sous jaquette, 26X25 cm, 1973, 55 pages, illustrations en noir et en couleurs, collection les chefs-d'oeuvre absolus de la peinture, éditions office du livre Fribourg. Très bon état.‎

‎Traité du zèle pour attirer les petis enfants a Jésus-Christ, traduit de J.Gerson, avec notes [Tractatum de parvulis trahendis ad Christum]‎

‎Paris, Louis Vives 1854 162pp., br.orig., bilingue: latin-français, (notes et introduction en français), 19cm., qqs.rousseurs, bon état‎

‎Gerson de L'Imitation de Jésus Christ, traduite d'après un manuscrit de 1440 par L'abbé Delaunay...édition nouvelle corrigée...‎

‎ Paris, Librairie Tross, 1869, ( imprimé à Leipsic, Breitkopf et Härtel ), in-8°, 20,5 x 15 cm, xvi pp + 440 pp, qq. gravures à pleine page, chaque page du texte avec une bordure d'ornaments grav. sur bois. Reliure plein maroquin brun-rouge, tranche supérieure dorée. Couverture conservée, titre en or sur le dos, double fillet sur les coupes. Quelques légères éraillures, qq. rousseurs sur les feuilles de garde, mais encore un bel exemplaire. Édition curieuse avec une introduction de l'Abbé Delaunay ou il essaie de prouver - contre les preuves récentes- que Gerson etait l'auteur de ce texte et non pas Thomas à Kempis.‎

‎Rembrandt: La ronde de nuit‎

‎Gerson Horst 1973 In-4 relié. Bon état d’occasion.‎

‎ Bon état d’occasion ‎

‎HAMBURGISCHES MAGAZIN FUR DIE AUSLANDISCHE LITERATUR DES GESAMMTEN HEILKUNDE herausgegeben von Dr. J.J. Gumprecht und Dr. G.H. Gerson -- EDITION ORIGINALE -- 3 VOLUMES (COMPLETE SET) -- BEL EXEMPLAIRE‎

‎Berlin, Schlesingerschen Buch, 1817/1819, 3 volumes in 8 reliés en demi-veau glacé à coins, dos ornés de filets dorés (reliures de l'époque), (rousseurs), T.1 : (1), 20pp., 104pp., 96pp., 112pp., 90pp., 88pp., 78pp., 1 tableau dépliant, 3 planches, T.2 : (2), 611pp., T.3 : 14pp., 552pp., 1 planche‎

‎---- EDITION ORIGINALE ---- BEL EXEMPLAIRE**7973/E5AR‎

‎ABREGE DES SCIENCES ET DES ARTS OU RESUME DES CONNAISSANCES ACTUELLES‎

‎CHEZ DIDIER. 1835. In-16. Relié plein cuir. Etat d'usage, Coins frottés, Dos abîmé, Intérieur frais. 332 pages. Frontispice : gravure en noir et blanc. Nombreuses gravures en noir et blanc dans le texte. Pièce de titre noire. Titre, ornements dorés sur le dos cuir marron. Epidermures; Manque en coiffe en pied.. . . . Classification Dewey : 820-Littératures anglaise et anglo-saxonne‎

‎Traduit de l'anglais sur la 20° édition de D. BLair par Gerson Hesse. Classification Dewey : 820-Littératures anglaise et anglo-saxonne‎

‎THE MASTERS OF PAST TIME, Dutch and Flemish Painting From Van Eyck to Rembrandt‎

‎Phaidon. 1981. In-8. Broché. Etat d'usage, Tâchée, Dos satisfaisant, Intérieur acceptable. 389 pages. Illustré de nombreuses photos en noir et blanc hors texte.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Landmarks in Art History. Edited by H. Gerson. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎