Charles Estienne, Signed (8 results)

Couverture Souple Illustrée. Condition: Bon. Edition originale achevée d' imprimer le 28 mars 1966. Tirage limité à 2500 exemplaires sur Offset Licorne numérotés, le nôtre fait partie des exemplaires du Service de Presse, après 150 dans la Série "Club" et 80 exemplaires sur Arches. Ce roman surréaliste est accompagné d'illustrations en N & B principalement en hors-texte de Charles Lapicque. Ouvrage orné d'un ENVOI autographe de Charles ESTIENNE sur la page de faux-titre. 154 pages ; couverture à rabats. Broché. Format : 13,5 x 18 cms. A noter : légers frottis au charnières et ridules au dos. Signé par l'auteur.

Hardcover. Condition: Good Condition. Dust Jacket Condition: No Dustjacket. ohne Seitenzählung mit s/w Abbildungen; Mit eigenhändiger Widmung und Signatur von Charles Lapique; Einband bestossen und berieben, Ex Libris auf Vorsatz - sonst gutes Exemplar; Vom Künstler Signiert.

112 S. mit zahlreichen z.T. farb. Abb., Ministère de la Culture, Paris 1981, quer-4°, Orig.Broschur, leichtere Gebr.Spuren ** Erstausgabe --- Französischer Text. Vorwort mit handschriftl. Widmung von Messagier >> Versand ab Deutschland möglich << ??? PREIS ZU HOCH ODER ZU TIEF ??? ANGEBOT ERWÜNSCHT !!! 750 Gramm.

Couverture rigide. Condition: bon. RO40205090: 1953. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 126 pages. Reproduction en couleur encollée en page de titre. Illustré de nombreuses reproductions en couleur encollées dans et hors texte. Envoi manuscrit de l'auteur (à Paul Guth) en page de faux-titre. Jaquette fortement déchirée. Avec Jaquette. . . Classification Dewey : 97.2-Dédicace, envoi.

Le Soleil noir 1966. In-12 broché de 194 pages au format 12 x 18,5 cm. Couverture illustrée. Dos carré avec petites traces de pliures. Plats avec petits frottis aux mors et aux bords supérieurs. Exemplaire non coupé. Couverture et superbes illustrations en noir, hors texte, de Charles Lapicque. Roman érotico-fantastique qui narre la rencontre de " O " et de Melmoth. Bel état général. Tirage postérieur d'un mois à l'édition originale. Superbe envoi pleine page, autographe signé, de Charles Estienne à René Tavernier.

Illustrations de Lapique. P., Le Soleil Noir, 1966, in-8, br., couv. rempl., sous étui noir de l'éditeur, 158 p. édition originale. 1/150 ex. dans la série "Club" num. sur offset Licorne avec une couverture sérigraphique originale signée de Charles Lapique.

First edition. Second only to Vesalius' Fabrica. First edition, a large-paper copy - measuring 392 × 260 mm, with every one of its pinholes preserved along the fore-edge, from the library of Haskell F. Norman - of one of the finest woodcut books of the French Renaissance (Schreiber) and the most magnificent anatomical atlas of the sixteenth century (Hagelin), ranking behind only Vesalius's Fabrica. The present copy surpasses in dimension every other whose measurements we have been able to trace. It exceeds the noble copy of the Prince-Bishop of Würzburg chosen by Hagelin for description in Rare and Important Medical Books; William P. Watson's catalogue copies of 2001 and 2006 measured 390 × 258 mm and 325 × 218 mm respectively; the Sokol large-paper copy of recent years, in eighteenth-century three-quarter vellum, measured 380 × 250 mm; the Bonhams (Smirl) copy of 2017, in nineteenth-century quarter vellum, 363 × 245 mm; the Metropolitan Museum's copy, 359 × 234 mm; and the ordinary run traced in the market sits considerably smaller still. Norman himself designated his copy a large-paper copy in his entry for it, and within the modest population of copies answering to that designation this one sits at the upper edge of the range. The surviving pinholes - the marks left by the press-points that held each sheet in register as it was printed - measure how little the margins have been trimmed over nearly five hundred years. Charles Estienne's De dissectione partium corporis humani libri tres, printed at Paris by his stepfather Simon de Colines in 1545, occupies a position in the history of anatomy as distinctive as it is unfortunate. Though its title-page carries the year 1545 - two years after the appearance of Vesalius's De humani corporis fabrica - the work was essentially composed during the 1530s, and but for a lawsuit begun in 1539 and a subsequent delay at the Paris Faculté de Médecine, it would have preceded the Fabrica into print. Had it done so, it would almost certainly have displaced the Vesalian volume as the inaugural monument of modern anatomical illustration, and the history of early Renaissance anatomy would today read in ways very different from those set by the canonical sequence of 1543. Charles Estienne (ca. 1504-1564), Carolus Stephanus in his Latin publications, was the younger son of Henri I Estienne and a member of the second generation of the Estienne dynasty of scholar-printers. His father died in 1520; the press passed to his mother's second husband, Simon de Colines, who directed it until Charles's elder brother Robert came of age, and who would, many years later, print De dissectione on his stepson's behalf from his own independent press. Charles studied medicine in Paris, completing his training in 1540, and attended the anatomical lectures of Jacques Dubois - Jacobus Sylvius in Latin - who in the 1530s was the most influential teacher of anatomy in the city; in 1535 Andreas Vesalius sat in the same classroom as a fellow pupil. The only illustrated manuals of dissection then available were those of Berengario da Carpi, whose Commentaria super anatomia Mundini of 1521 and its shorter descendant the Isagogae breves of 1522 had been the first anatomical treatises to publish illustrations grounded in the author's own dissections. The need for a more comprehensive and better-illustrated manual was obvious to any student of anatomy and most obvious of all to the medical-student son of one of the world's leading publishing houses. Estienne began what became De dissectione in the early 1530s, collaborating with the surgeon Étienne de la Rivière (Riverius, d. 1569), who carried out much of the dissecting and assisted in preparing the plates. The woodcuts were assembled in three distinct stages. Estienne first drew on a set of blocks cut by Jean 'Mercure' Jollat (ca. 1490-ca. 1550) and stored in his father-in-law's atelier - four of these plates bear dates from 1530 to 1532, the earliest work on the book. He then adapted, for sections illustrating internal anatomy, a series of blocks originally cut for non-anatomical purposes, inserting small anatomical vignettes into the pre-existing larger figures. Among the adapted materials were the striking female nudes whose source lay in the series Gli amori degli dei - eighteen erotic mythological prints commissioned by the printmaker Baviera shortly before the Sack of Rome in 1527, designed by Perino del Vaga and Rosso Fiorentino and engraved by Giovanni Giacomo Caraglio - of which eight are adapted here to frame the representation of the female reproductive organs, the borrowing still visible in the ecstatic postures preserved into the anatomical context. Finally, between 1534 and 1539, Estienne commissioned a set of new anatomical plates to complete the programme. Six of the Jollat blocks, together with one further cut, carry the cutter's signature of a Lorraine cross, associated with the atelier of Geoffroy Tory (Tory himself died in 1533, so the execution lies with his successors); Jacquemin Woeiriot has been proposed as the cutter. The manuscript and its illustrations were substantially in place by 1539, and the book was already in press, with composition carried halfway through Book III, when publication was halted by a suit brought against Estienne at the Parlement of Paris by Rivière, who had attended Sylvius's lectures from 1533 to 1536 - overlapping Estienne's own time as a student. According to the eighteenth-century surgeon-economist François Quesnay, Rivière had given Estienne a French manuscript to translate into Latin, and Estienne had then attempted to claim the whole as his own composition. The settlement required him to credit his collaborator for the anatomical preparations and for the pictures of the dissections; he did so on the title-page, which names Stephanus Riverius as the author of the incisionum declarationibus - the descriptions of the incisions - and of the accompanying figures. Two-thirds of the work had already. Signed.

Paris, Chez Jean Pons, 1952 ; in-4, 19 pp., en feuillets, sous couverture imprimée. Édition originale, un des 75 exemplaires numérotés sur vélin pur fil du Marais, signé par Jean Pons au colophon. "Le poète Charles Estienne, admirant la forme picturale du jeune peintre Jean Pons et sensible à la capacité d'écoute et de transposition du lithographe, demanda à ce dernier qu'il joue, en espace et en rythmes colorés, un accompagnement graphique pour son poème La Rose et l'Insulte. Ce livre, véritable figure de proue de l'édition avant-gardiste de Jean Pons, marque la première étape des réalisations qui vont suivre (Geneviève Pons, présentation de "L'atelier Pons au CDDP de Seine-et-Marne"). L?atelier parisien du lithographe Jean Pons (1913-2005) fut fréquenté par des artistes majeurs de la seconde moitié du XXe siècle : de Bram van Velde à Appel, de Nicolas de Staël à Poliakoff, d?Hartung à Lapicque ; Jean Pons lui-même est considéré comme l'un des lithographes les plus doués et attentifs de la seconde moitié du XXe siècle. Très léger report des trois lithographies hors-texte, parfait état par ailleurs. 1952.