‎Servir‎

‎Librairie Artheme Fayard 2017 256 pages 15 2x23 4x2cm. 2017. Broché. 256 pages.‎

‎Etat correct‎

‎Migraine‎

‎Paris NRF Gallimard 1959 In-12 Demi-reliure à coins Dédicacé par l'auteur‎

‎Edition originale. Exemplaire du service de presse, portant un ENVOI AUTOGRAPHE calligraphié et signé de l'auteur " à Raymond Queneau amicalement". Reliure ancienne : demi-box gold à coins, lettre or au dos à nerfs, couvertures conservées. Bel exemplaire de bonne provenance Bon 0‎

‎King Solomon's Carpet‎

‎Penguin Books Ltd 1991 368 pages 18x11x3cm. 1991. broché. 368 pages. Le roman suit les habitants marginaux d'une maison délabrée surplombant la ligne de métro Jubilee à Londres où Jarvis Stringer compile une histoire obsessionnelle et secrète du métro londonien. Il explore les vies entrelacées de passagers ordinaires d'amateurs du métro de pickpockets et d'autres personnages qui gravitent autour du réseau souterrain créant une intrigue psychologique complexe sur les aspects sombres de la vie urbaine‎

‎Etat correct intérieur trés propre‎

‎Sortir de l'ombre‎

‎MICHEL LAFON 2017 161 pages 13x19 8x2cm. 2017. Broché. 161 pages.‎

‎Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France‎

‎VOYAGE DE PETIT LI (LE)‎

‎Dargaud 1996 56 pages 22 2x0 8x29cm. 1996. Broché. 56 pages.‎

‎annotation en page de garde (voir photo)‎

‎Médicaments effets secondaires : la mort‎

‎CHERCHE MIDI 2014 363 pages 13 8x2 6x21 8cm. 2014. Broché. 363 pages.‎

‎Bon état cependant présence de quelques notes au stylo noir‎

‎Les sales gosses de la république‎

‎MICHEL LAFON 2014 284 pages 13 8x2 6x22 4cm. 2014. Broché. 284 pages.‎

‎Très bon état‎

‎Commentarii, in primum librum Aristotelis de Arte Poetarum. Positis singulas declarationes Graecis auctoris. Iisdemque ad verbum Latine expressis. Acessit rerum et verborum memorabiblium index locupletissimus. - [THE GREATEST EDITION OF ARISTOTLE'S POETICS]‎

‎Florence, In officina Iuntaru, Barnardi Filiorum, 1560. Small folio. 18th century full vellum with gilt labels to spine. Wear to capitals and small worm tracts towrad opper hinges. Corners a bit bumped. A very nice and sturdy binding. Marbled edges. Some browspotting throughout. Small wormholes to blank margin of final leaf, far from affecting imprint. Woodcut vignette to title-page and to verso of colophon-leaf. (10), 308, (12) ff. ‎

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‎The rare first edition of Vittore's main work, his great edition, translation, and commentary on Aristotle's Poetics, which is arguably the most important and influential commentary on the work ever published, profoundly shaping our understanding and interpretation of Aristotelian literary theory. Petrus Victorius (or Piero/ Pietro Vittore/Vettore) (1499-1584) is not only the “first great editor of the Poetics” (McMahon), he is also considered ""the greatest Greek scholar of Italy"" (Whibley), “the leading Italian scholar of his time” (Encycl. Britt.), “the last great figure [from that period] in the domain of Greek studies” (Willamowitz), and “the foremost representative of classical scholarship in [Italy] during the sixteenth century, which, for Italy at least, may well be called the “saeculum Victorianum”.” (Sandys). His magnum opus and without doubt most influential work is his edition with commentary of Aristotle’s Poetics, which is of seminal importance in several respects. It is crucial to our understanding of Aristotle’s great work, shaping the way that all later scholars have read it. The understanding of Aristotle’s work on poetry came to define the way that we have understood literature and fiction ever since the Renaissance, and Victorius is the leading interpreter. ““From the sixteenth century to Romanticism, European literary theory used the term marvel or wonder (It. meraviglia, ammirabile, Fr. merveille, Sp. maravilla) to designate everything that was on the conceptual margins of the poetics of probability and imitation. The discovery and complete reception of Aristotle’s Poetics between the fifteenth and sixteenth centuries resulted in the dissemination of an idea of poetry as the imitation of the actions of men, whose main part was the plot, or the structuring of actions ordered according to the laws of necessity, credibility and probability. This formed the basis of Neo-Aristotelian poetics, which determined the ways of thinking about literature and fiction for more than four centuries.” (Vega p. 280). Especially the idea of “wonder” in Aristotle’s Poetics came to be one of the founding ideas of modern literary theory. And especially here, Victurius’ reading is groundbreaking, playing a central part in the reception and understanding of the work over the centuries to come. “A single editorial decision in just one passage (and what is more, in a complex, fragmentary, unfinished text like the Poetics) affects the entire work…” (Vega, p. 284). “The text of the Poetics that can be read in the editions and translations of the sixteenth century and a large part of the seventeenth (with one exception, as we shall see [NB. This exception is Victorius] ) does not include the term alogon in the passage that deals with wonder. It does not appear in the first Greek edition, the famous Aldine princeps of 1508, or in the Latin translations of the end of the fifteenth century" it is not in the edition and translation by Alexander Paccius or Pazzi, the one most widely read in the sixteenth century, neither does it appear in the edition with commentary by Francesco Robortello, nor in Vincenzo Maggi’s Enarrationes, nor in the vernacular commentaries of Ludovico Castelvetro and Alessandro Piccolomini. What is more, a detailed revision of the history of the text reveals that no manuscript of the Poetics and no direct or indirect testimonies (not even in the Arabic branch of its transmission) have ever included the term alogon.” (Vega, p. 282). It is Victorius, who is solely responsible for the reading that is generally accepted today as well. “The moment when the idea of irrationality [alogon] appears for the first time in Aristotle’s text can be identified without hesitation as 1560, which is the date when the edition, translation and commentary on the Poetics by the philologist and Hellenist Pier Vettori, or Victorius, was printed on the presses of Giunti in Florence. Vettori is the one who first edits alogon, even though no testimony provides him with this reading, and he does so fully aware of his choice and its implications” (Vega, pp. 287-89). “The success of Victorius’ reading, while not immediate, was extraordinary.” (Vega, p. 287) Antonio Viperano accepts the reading “alogon”, with all it involves (De poetica libri tres), Ricciboni adapts it in his edition of Aristotle’s Poetics, Tasso embraces it (Discorsi dell’arte poetica, Discorsi del poema eroico), and it is implicit in Alonso López Pinciano’s Philosophia Antigua Poetica. Vossius in 17th century Germany makes abundant glosses on alogon in his books on poetics, and the commentators and translators of the “Poetics” in France preferred Victorius’ reading in every case. “Victorius’ conjecture seems to have convinced all editors and commentators, who reproduce it without question in every case.” (Vega, p. 289). The influence of Victorius’ interpretation of Aristotelian literary theory that he presented in his magnum opus (i.e. the present work) was not limited to the use of specific words that changed the reception history of Aristotle’s Poetics. His entire view of poetry through an interpretation of Aristotle was highly original and came to define the way we understand literature in general. Victorius was one of the first to put forth the belief that heroic poetry should present a Platonic idea of perfect virtue, contributing to the centuries long doctrine of the perfect hero as perfect exemplar, and he was one of the first to revive Aristotle’s idea of purgation from tragedy (still widespread today) and to also understand the existence of a purgation from poetry. “He viewed poetry as a moderator of minds “By reading poetry men “become moderate in temper and their turbid motions are extinguished.” Poems “purge our minds of blemish and spot”. Vettori realized that Aristotle’s reference to catharsis should be applied to tragedy alone, but he added that similar purgations could be achieved by other kinds of poetry, effective, however on other passions than pity and fear and with the aid of other instruments.” (Hathaway pp. 292-93). Apart from his overall interpretation of Aristotle’s literary theory and his groundbreaking reading of the most central passages of the Poetics, Victorius was also the first to determine that the Aristotelian text that has come down to us is not complete. “Victorius was the first to see that the treatise now known as the Poetics is only the surviving portion of a larger work.” (Bywater, p. XX). “during his lifetime five medals were struck in his [i.e. Victorius’] honour, and his portrait was painted by Titian… His fame was not limited to his own land, or his own time. His scrupulous care and unwearied industry are lauded by Turnebus, who declines to be compared with him, even for a moment the epiteths doctissiums, optimus, and fidelissimus are applied to him by the younger and the greater of the two Scaligers, while Muretus calls him eruditorum coryphaeus and similar eulogies might be quoted from Justus Lipsius,.. Dacius, … and Graevius. He is described as having climbed the “hill of virtue”, and taken his place on its summit between Cicero and Aristotle. In his funeral oration, Salviati says of him, in the personification of Italia: “Now no more shall distant peoples cross the snows of the Alps to see Victorius, or men of mark arrive from every land to hear him or princes hold converse with him. Now no more shall the works of scholars in all parts of the world be sent here for his approval or youth learn wisdom from his lips.” (Sandys, pp. 139-40). “[N]o one, said a contemporary of his in a funerary laudatio, ‘left Aristotle in a cleaner state (purgatior)’.” (Baldi). _____________________________________________ Adams: 1905 Brunet V: 1179 Graesse I: 213 (”édition excellente quant à la critique” and noting that some copies bear the dates 1563 and 1564). Sandys: A History of Classical Scholarship Vol. II, 2003, pp. 135-140. Hathaway, Baxter: The Age of Criticism: The Late Renaissance in Italy. Cornell University Press, 1962. A.Philip McMahon: On the Second Book of Aristotle's Poetics and the Source of Theophrastus' Definition of Tragedy Author(s). In: Harvard Studies in Classical Philology, 1917, Vol. 28 (1917), pp. 1-46. Christopher Rowe: Petrus Victorius and Aristotle’s Eudemian Ethics, Cambridge University Press online, 2025. Vega, Maria José: Wonder and the Irrational. The Invention of Aristotle’s Poetics in the Sixteenth Century. In: Nous, Polis, Nomos... (Berlin, Academia Verlag, 2016). Baldi: Il greco a Firenze e Pier Vettori (1499–1585), (Alessandria, 2014), 117.‎

‎SCHULLIN WIEN : Tradition Reinvented ‎

‎, TeNeues, 2024 HB, 340 x 275 mm, ENG. edition, 224 pages, NEW, 350 illustrations, Large format, ISBN 9783961715367.‎

‎The exquisite Nobel jeweller Schullin from Vienna is globally renowned for its unique fine art jewellery pieces crafted in-house. Among its clients and admirers are famous personalities such as Elton John, Christine Kaufmann, and Barbra Streisand. Now, author Vivienne Becker has created the first comprehensive coffee table book on the outstanding work of Herbert Schullin, delivering a long-overdue homage to the astonishing work of the jewellery designer who has been at the avant-garde of his high-calibre craft for almost half a century. She not only showcases the most significant pieces of jewellery but also takes her readers behind the scenes, revealing the creative process of the Schullin jewellery workshop. Schullin is one of the foremost jewellers in Europe, with his reputation preceding him. Daring geometric shapes define Schullin's style and regularly leave the international jewellery scene in awe. Schullin's works captivate with their clarity and brilliance in form, material, and colour. Often, a precious gemstone forms the basis of each piece, becoming the central element of the creation. The carefully curated coffee table book Schullin - Tradition Reinvented showcases the most beautiful, creative, and sought-after pieces from his always handcrafted collections, undoubtedly among the finest that gold smithing has to offer. Jewellery enthusiasts and admirers of the Viennese traditional jeweller will be enchanted by this exquisite homage to the Austrian jewellery creator, Schullin.‎

‎Amapali und der Erhabene. Eine indische Erzählung.‎

‎Olten, Vereinigung Oltener Bücherfreunde, 1948. 8°. (2) Bl., 75 (2) S., (1) Bl. Orig.-Halblederband in Schuber.‎

‎Nr. 131 von 180 (GA 555) Ex. Vom Autor im Halbtitel signiert. – Aus der Reihe: "Vereinigung Oltener Bücherfreunde", 40. Veröffentlichnung.‎

‎AGE D' OR D' ANVERS.‎

‎, Anvers, Fonds Mercator, 1973.**, Relie, avec emboitage d' editeur, demi-toile (plats), dore sur le plat et le dos, sous jacquette d' editeur illustre en couleur, jacquette jauni, 26x33,5cm, 248pp, illustre en couleurs et n/b, bibliographie, index des noms cites. ISBN 906153078.‎

‎Essor et gloire de la Metropole au seizieme siecle. Adaptation francaise de Anne Fillon.‎

‎Cinquante ans de tours pendables‎

‎Flammarion 2002 256 pages 13 4x1 8x21 8cm. 2002. Broché. 256 pages.‎

‎quelques rousseur sur tranches angles légèrement frottés intérieur propre‎

‎ Diamonds and Precious Stones‎

‎, Harry N Abrams, 1998 Softcover, 128 pages, 18 x 12.5 cm, many illustrations in colour and black/white. ISBN 9780810928367.‎

‎TUNE IN 1ERE .: Cahier d'exercices‎

‎Bordas Editions 1995 1x25x18cm. 1995. Broché.‎

‎Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France‎

‎L'opera completa di Sebastiano del Piomb‎

‎Volpe, C and M Lucco: L'opera completa di Sebastiano del Piomb. 1980. 148 pp. fully illustrated in colour and black and white. Corners of spine a little rubbed, clean inside, overall very good condition. Cloth. 31 x 24cms.‎

‎Candide‎

‎Flammarion 2012 194 pages 12 4x1x17 6cm. 2012. Broché. 194 pages.‎

‎Bon état‎

‎Gold Boxes: From the Collection of Rosalinde and Arthur Gilbert ‎

‎, R. & A. Gilbert, 1983., Bound, cloth with dj, 125pp., 21.5x28.5cm., illustr. in col., very good copy. ISBN 0961039809.‎

‎Neun Gedichte des Oswald von Wolkenstein - 1377 - 1445.‎

‎O. O. (Zürich?), ohne Verlag, 1962. (12) gefaltete Bogen, mit 20 Radierungen Ambrosius Humm. Halbpergamentband in Pappschuber.‎

‎Nummer: Null. Gedruckt in einer Auflage von 30 Exemplaren. Signiert und datiert von Ambrosius Humm. – Sehr gut erhaltenes Exemplar. Pappschuber mit minimen Gebrauchsspuren.‎

‎Partition de la chanson : Rien qu'une nuit ... ‎

‎ Cazès Mario 1925‎

‎ Bon état Petit format ‎

‎Partition de la chanson : Dernier Pierrot (Le) Feuillé fragilisé sur la tranche ‎

‎Partitions sur le Pierrot, Colombine et Arlequin Carlton 1926‎

‎ Bon état Petit format ‎

‎Partition de la chanson : Spain ‎

‎Partitions sur l'Espagne Francis Day 1925‎

‎ Bon état Petit format ‎

‎16 Radierungen / Seize eaux-fortes. Mit einem Gedicht von Balilla Calzolari / Avec un poème de Balilla Calzolari par Michel de Rivaz.‎

‎Zürich, Altstadtpresse, 1957. Folio. (12) S. Mit 16 Radierungen von Regina de Vries. Lose Bogen in Orig.-Leinenmappe.‎

‎Nr. 5 von 20 (10 Ex. in deutscher Sprache mit einem Gedicht von Balilla Calzolari, 10 Ex. in franz., Sprache in freier Uebertragung von Michel de Rivaz.) auf Zerkall-Bütten der Calcografia dello Stato in Rom. Die Mappe enthält das Blatt mit dem Gedicht in beiden Sprachen. Die deutsche Verion im Impressum signiert von der Künstlerin und Balilla Calzolari, die französische signiert von der Künstlerin, von Balilla Calzolari u. von Michel de Rivaz.‎

‎PROF. DR. HERMAN FREDERIK BOUCHERY ( 1912 - 1959). LIJST VAN WERKEN EN BIJDRAGEN.‎

‎, Antwerpen, De Nederlandsche Boekhandel, 1959., Originele uitgeversomslag, 16,5x25cm, 18pp.‎

‎Overdruk uit De Gulden Passer. 37e jaargang.‎

‎BOUCHERON. LA CAPTURE DE L'ECLAT,‎

‎Paris, Editions Cercle d' Art, 2005 Relie, toile couleur bordeaux, jaquette illustree en couleurs, 285 x 335mm., 208pp., illustration tres profonde en couleurs. ISBN 9782702207710.‎

‎Le bijou efface tout. Il fait fete et feu. Il fait flamber l'instant. Fragment d'extase incendie par l'admiration et le desir. On pense aux bijoux legendaires qui traversent l'Histoire, passent de l'un a l'autre, disparaissent soudain, entre couronnements et revolutions. Ils concentrent en eux tant de destins, de splendeurs et de miseres. Des joies, des chagrins, des amours et des deuils, des noces et des crimes leur sont attaches. Fortunes et revers, bonheurs, maledictions, dont ils emergent, indifferents aux cavalcades des hommes, grandis dans le desordre du monde. Bon etat.‎

‎L'invincible Armada.‎

‎Coll. "La Grande Aventure de la Mer", Paris, Time-Life, 1981, in-4, cartonnage pleine percaline noir chagrinée avec une vignette coul. contrecollée sur la première de cou. éd., cartes en coul. sur les gardes, 176 pp., papier glacé, très nb. photos et reproductions de documents anciens en coul. et en noir, Sommaire, Bibliographie, Index, L'histoire de l'armada espagnole de retour du pays de l'or, l'Amérique. Nous somme au XVIe siècle. Très belle iconographie ancienne. Très bon état ‎