À propos du lot
n° 42
Titre : Chateaubriand
Notes : Bibliophilia or bibliophilism is the love of books. Accordingly a bibliophile is an individual who loves books. A bookworm is someone who loves books for their content, or who otherwise loves reading. The -ia-suffixed form bibliophilia is sometimes considered to be an incorrect usage, the older bibliophilism is considered more correct. The adjective form of the term is bibliophilic. A bibliophile may be, but is not necessarily, a book collector. The classic bibliophile is one who loves to read, admire and collect books, often amassing a large and specialized collection. Bibliophiles do not necessarily want to possess the books they love, an alternative would be to admire them in old libraries. However, the bibliophile is usually an avid book collector, sometimes pursuing scholarship in the collection, sometimes putting form above content with an emphasis on old, rare, or expensive books, first editions, books with special or unusual bindings, autographed copies, etc. Bibliophilia is not to be confused with bibliomania, an obsessive-compulsive disorder involving the collecting of books to the point where social relations or health are damaged, and in which the mere fact that an object is a book is sufficient for it to be collected or loved. Some use the term bibliomania interchangeably with bibliophily and in fact, the Library of Congress does not use the term bibliophily, but rather refers its readers to either book collecting or bibliomania.[2] The New York Public Library follows the same practice. According to Arthur H. Minters the private collecting of books was a fashion indulged in by many Romans, including Cicero and Atticus.[4] The British Prime Minister William Ewart Gladstone was known to have been a bibliophile. The term entered the English language in 1824.[5] It is to be distinguished from the much older notion of a bookman (which dates back to 1583), which is one who loves books, and especially reading, more generally, a bookman is one who participates in writing, publishing, or selling books. Book collecting is the collecting of books, including seeking, locating, acquiring, organizing, cataloging, displaying, storing, and maintaining whatever books are of interest to a given individual collector. The love of books is bibliophilia, and someone who loves to read, admire, and collect books is a bibliophile. Bibliophilia is sometimes called bibliomania but should not be confused with the obsessive-compulsive disorder by that name, which involves the excessive accumulation and hoarding of books. The term bookman, which once meant a studious or scholarly man, now means one who writes, edits, publishes, or sells books. A book dealer is one whose profession is the buying and reselling of rare or used books. A book scout is someone who scours an area's thrift stores, garage sales, used bookstores, classified ads for underpriced collectible books. A book rat (colloquial) is a person who works in many, if not all, of the used bookstores in a particular area. This particular type of book person is becoming as rare or scarce as the shops in which he or she once worked. This type of book person is almost invariably, and certainly inevitably, also a bibliophile. The scout, on the other hand, often is not. True book collecting is distinct from casual book ownership and the accumulation of books for reading. It can probably be said to have begun with the collections of illuminated manuscripts, both commissioned and second-hand, by the elites of Burgundy and France in particular, which became common in the 15th century. Duke Philip the Good of Burgundy appears to have had the largest private collection of his day, with about six hundred volumes. With the advent of printing with movable type books became considerably cheaper, and book collecting received a particular impetus in England and elsewhere during the Reformation when many monastic libraries were broken up, and their contents often destroyed. There was an English antiquarian reaction to Henry VIII's dissolution of the Monasteries. The commissioners of Edward VI plundered and stripped university, college, and monastic libraries, so to save books from being destroyed, those who could began to collect them. Book collecting can be easy and inexpensive: there are millions of new and used books, and thousands of bookstores, including online booksellers like Abebooks, Alibris, Amazon, and Biblio.com. Only the wealthiest book collectors pursue the great rarities: the Gutenberg Bible and Shakespeare's First Folio are, for example, both famous and extremely valuable. Collectors of average means may collect works by a favorite author, first editions of modern authors, or books on a given subject. Book prices generally depend on the demand for a given book, the number of copies available, and their condition. There are millions of books, so collectors necessarily specialize in one or more genres or sub-genres of literature. A reader of fiction, who enjoys Westerns, might decide to collect first editions of Zane Grey's novels. A lover of modern English poetry might collect the works of Dylan Thomas. A Californian who prefers non-fiction might look for books about the history of the San Francisco Bay Area. Individual interests may include: A particular author A particular genre or field of study (science, medicine, history, etc.) A particular illustrator Award winning books Books as Art Bindings and/or Book design. The Grolier Club has since 1884 been interested in the ... study of the arts pertaining to the production of books.... Comic books and Graphic novels Cover or dust jacket art First editions Fore-edge paintings Illustrated books Incunabula: books printed before 1501 Limited editions Local/Regional interests Marginalia Miniature books The publisher and/or printer Fine press books Private press books Small presses Paper, parchment, or vellum Series Photoplay editions Signed books: inscribed/signed by an author or illustrator Special editions, similar but not always the same as limited editions. Stages of publication: advance review copies, galley proofs Related collecting interests include collecting autographs, and ephemera. Book prices generally depend on the demand for a given book, the number of copies available for purchase, and the condition of a given copy. As with other collectibles, prices rise and fall with the popularity of a given author, title, or subject. Because of the huge number of books for sale, there is no single comprehensive price guide for collectible books. The prices of the copies listed for sale at the online bookseller sites provide some indication of their current market values. As with other collectibles, the value of a book ultimately depends on its physical condition. Years of handling, moving, and storage take their toll on the dust jacket, cover, pages, and binding. Books are subject to damage from sunlight, moisture, and insects. Acid from the papermaking process can cause the pages to develop brown spots, called foxing, gradually turn brown, called tanning, and ultimately crumble. Common defects include general wear, jacket/cover edge wear, scratches, and tears, the previous owner's written name, bookplate, or label, soil and stains, dogeared pages, underlining, highlighting, and marginalia, water damage, torn hinges, endpapers and pages, and pages, illustrations, or whole signatures free of the binding, or missing entirely. A book in good condition should be a rectangular solid when at rest, whether upright or on its back, with the covers at right angles to the spine. If a book is out of square, usually from resting crooked on a shelf, or leans to the right or left when on its back, it is cocked, or shelf-cocked. If the covers bend in or flare out, usually from rapid humidity changes, a book is bowed (bent like a drawn bow). Thick hardbound books also tend to have their pages sag downward in the middle even if they are sitting level on a shelf. New books are readily available from bookstores and online. Many bookstores specialize in out-of-print, used, antiquarian, rare and collectible books. Online booksellers, including Abebooks, Alibris, Amazon, and Biblio, encourage other stores and individuals to sell books through their websites, and charge a commission. Antique and collectible stores may have a few books for sale. Major auction houses sell quality collectible books, and local auction houses may sell books by the carton. Thrift shops and second-hand stores commonly have book sections. Other sources include estate, yard, garage, or rummage sales, and charity fund-raisers. Antiquarian book collecting may be roughly defined as an interest in books printed prior to 1900 and can encompass interest in 19th, 18th, 17th, 16th, and 15th-century books. Antiquarian book collectors are not exclusively interested in first editions and first printings, although they can be. European books created before 1455 are all hand-written and are therefore one-of-a-kind historical artifacts in which the idea of edition and printing is irrelevant. There is also an interest among antiquarians for books beautifully made with fine bindings and high quality paper. For many books printed before about 1770, the first edition is not always obtainable, either because of price and/or availability. Later editions/printings from an era of interest are still often desirable to the antiquarian collector as they are also artifacts. For example, a first edition of Paradise Lost (1667) by John Milton can fetch equivalent to a down payment on a house. However, the first illustrated folio edition of 1688, technically a later edition, is worth a fraction of the first edition, but still fetches in the thousands of dollars as an illustrated book from the era in which Milton lived. There were many editions of Alexander Pope's translation of The Iliad and The Odyssey. The first edition of 1715-1720 is worth a small fortune whereas slightly later 18th-century editions are a lot less expensive but still garner premium prices. The John Ogilby 17th-century translations of Homer's The Iliad and The Odyssey garner hefty prices, but not as much as the first edition of the Pope translation. This may be in part due to a significant number of copies of Ogilby's first edition probably perished in the Great Fire of London of 1666. The first English movable-type printer was Caxton in the late 15th century. Editions of his books from the 15th century are virtually unobtainable. Occasionally, 16th-century editions similar to Caxton's books appear among antiquarian book dealers and auctions, often fetching very high prices. The last Shakespeare First Folio of 1623 (first edition of the collected works of William Shakespeare) garnered a record-breaking 5.5 million in 2006. Later 17th-century folios of William Shakespeare's works can still fetch about the price of a small house but are more readily available and relatively obtainable, whereas almost all extant copies of the First Folio are owned by libraries, museums or universities and thus are unlikely to appear on the market. For the antiquarian collector, how a particular book's production fits into a larger historical context can be as important as the edition, even if it may not be a first edition. Also of interest are books previously owned by famous persons, or personages of high stature, such as someone from royalty or the nobility. Tracing the history of an antiquarian book's possession history, referred to as provenance, can markedly affect the value of a book, even if it is not a first edition per se. For example, a copy of a less-important 18th-century book known to have been owned by Voltaire would achieve a value many times its stand-alone market value, simply because it was once in Voltaire's possession. Previous owners of books often signed their copies, and it is often not difficult to identify a prominent previous owner if the provenance is well documented. Provenance is the same term used for the possession history of other kinds of older collectible items, such as paintings and furniture. Book design is the art of incorporating the content, style, format, design, and sequence of the various components of a book into a coherent whole. In the words of Jan Tschichold, book design though largely forgotten today, methods and rules upon which it is impossible to improve have been developed over centuries. To produce perfect books these rules have to be brought back to life and applied.[1] Richard Hendel describes book design as an arcane subject and refers to the need for a context to understand what that means. The front cover is the front of the book, and is marked appropriately, by text and/or graphics, in order to identify it as such, namely as the very beginning of the book. The front cover usually contains at least the title and/or author, with possibly an appropriate illustration. On the inside of the cover page, extending to the facing page is the front endpaper sometimes referred as FEP. The free half of the end paper is called a flyleaf. Traditionally, in hand-bound books, the endpaper was just a sheet of blank or ornamented paper physically masking and reinforcing the connection between the cover and the body of the book. In modern publishing it can be either plain, as in many text-oriented books, or variously ornamented and illustrated in books such as Picture books, other children's literature, some arts and craft and hobbyist books, novelty/gift-market and coffee table books, and Graphic novels. These books have an audience and traditions of their own where the graphic design and immediacy is especially important and publishing tradition and formality are less important. The spine is the vertical edge of a book as it normally stands on a bookshelf. It is customary for it to have printed text on it. In texts published and/or printed in the United States, the spine text, when vertical, runs from the top to the bottom, such that it is right side up when the book is lying flat with the front cover on top. In books of Europe, vertical spine text traditionally runs from the bottom up, though this convention has been changing lately.[3] The spine usually contains all, or some, of four elements (besides decoration, if any), and in the following order: (1) author, editor, or compiler, (2) title, (3) publisher, and (4) publisher logo. On the inside of the back cover page, extending from the facing page before it, is the endpaper. Its design matches the front endpaper and, in accordance with it, contains either plain paper or pattern, image etc. The back cover often contains biographical matter about the author or editor, and quotes from other sources praising the book. It may also contain a summary or description of the book. Books are classified under two categories according to the physical nature of their binding. The designation hardcover (or hardback) refers to books with stiff covers, as opposed to flexible ones. The binding of a hardcover book usually includes boards (often made of paperboard) covered in cloth, leather, or other materials. The binding is usually sewn to the pages using string stitching. A less expensive binding method is that used for paperback books (sometimes called softback or softcover). Most paperbacks are bound with paper or light cardboard, though other materials (such as plastic) are used. The covers are flexible and usually bound to the pages using glue (perfect binding). Some small paperback books are sub-classified as pocketbooks. These paperbacks are smaller than usual - small enough to barely fit into a pocket (especially the back pocket of one's trousers). However, this capacity to fit into a pocket diminishes with increasing number of pages and increasing thickness of the book. Such a book may still be designated as a pocketbook. Some books such as Bibles or dictionaries may have a thumb index to help find material quickly. Gold leaf may also be applied to the edges of the pages, so that when closed, the side, top, and bottom of the book have a golden color. On some books, a design may be printed on the edges. Some artist's books go even further, by using fore-edge painting. Pop-up elements and fold-out pages may be used to add dimensions to the page in different ways. Children's books commonly incorporate a wide array of design features built into the fabric of the book. Die-cut techniques in the work of Eric Carle are one example. Bookbinding is the process of physically assembling a book from a number of folded or unfolded sheets of paper or other material. It usually involves attaching a book cover to the resulting text-block. Origins of the book There is no way to be certain where book crafting originated but it can be said with accuracy that this was an evolving art encompassing techniques from a variety of cultures and civilizations. The craft of bookbinding may have originated in India, where religious sutras were copied on to palm leaves (cut into two, lengthwise) with a metal stylus. The leaf was then dried and rubbed with ink, which would form a stain in the wound. The finished leaves were given numbers, and two long twines were threaded through each end through wooden boards, making a palm-leaf book. When the book was closed, the excess twine would be wrapped around the boards to protect the manuscript leaves. Buddhist monks took the idea through Persia, Afghanistan, and Iran, to China in the first century BC. Similar techniques can also be found in ancient Egypt where priestly texts were compiled on scrolls and books of papyrus. Another version of bookmaking can be seen through the ancient Mayan codex, only four are known to have survived the Spanish invasion of Latin America. Writers in the Hellenistic-Roman culture wrote longer texts as scrolls, these were stored in shelving with small cubbyholes, similar to a modern winerack. The word volume, from the Latin word volvere (to roll), comes from these scrolls. Court records and notes were written on wax tablets, while important documents were written on papyrus or parchment. The modern English word book comes from the Proto-Germanic *bokiz, referring to the beechwood on which early written works were recorded.[1] The book was not needed in ancient times, as many early Greek texts--scrolls--were thirty pages long, which were customarily folded accordion-fashion to fit into the hand. Roman works were often longer, running to hundreds of pages. The Greeks used to comically call their books tome, meaning to cut. The Egyptian Book of the Dead was a massive 200 pages long and was used in funerary services for the deceased. Torah scrolls, editions of the Jewish holy book, were also held in special holders when read. Scrolls can be rolled in one of two ways. The first method is to wrap the scroll around a single core, similar to a modern roll of paper towels. While simple to construct, a single core scroll has a major disadvantage: in order to read text at the end of the scroll, the entire scroll must be unwound. This is partially overcome in the second method, which is to wrap the scroll around two cores, as in a Torah. With a double scroll, the text can be accessed from both beginning and end, and the portions of the scroll not being read can remain wound. This still leaves the scroll a sequential-access medium: to reach a given page, one generally has to unroll and re-roll many other pages. In addition to the scroll, wax tablets were commonly used in Antiquity as a writing surface. Diptychs and later polyptych formats were often hinged together along one edge, analogous to the spine of modern books, as well as a folding concertina format. Such a set of simple wooden boards sewn together was called by the Romans a codex (pl. codices)--from the Latin word caudex, meaning 'the trunk' of a tree, around the first century AD. Two ancient polyptychs, a pentaptych and octoptych, excavated at Herculaneum employed a unique connecting system that presages later sewing on thongs or cords.[2] At the turn of the first century, a kind of folded parchment notebook called pugillares membranei in Latin, became commonly used for writing in the Roman Empire.[3] This term was used by both the pagan poet Martial and Christian apostle Paul the Apostle. Martial used the term with reference to gifts of literature exchanged by Romans during the festival of Saturnalia. According to T. C. Skeat, ...in at least three cases and probably in all, in the form of codices and he theorized that this form of notebook was invented in Rome and then ...must have spread rapidly to the Near East...[4] In his discussion of one of the earliest pagan parchment codices to survive from Oxyrhynchus in Egypt, Eric Turner seems to challenge Skeat's notion when stating ...its mere existence is evidence that this book form had a prehistory and that early experiments with this book form may well have taken place outside of Egypt.[5] Early intact codices were discovered at Nag Hammadi in Egypt. Consisting of primarily Gnostic texts in Coptic, the books were mostly written on papyrus, and while many are single-quire, a few are multi-quire. Codices were a significant improvement over papyrus or vellum scrolls in that they were easier to handle. However, despite allowing writing on both sides of the leaves, they were still foliated--numbered on the leaves, like the Indian books. The idea spread quickly through the early churches, and the word Bible comes from the town where the Byzantine monks established their first scriptorium, Byblos, in modern Lebanon. The idea of numbering each side of the page--Latin pagina, to fasten--appeared when the text of the individual testaments of the Bible were combined and text had to be searched through more quickly. This book format became the preferred way of preserving manuscript or printed material. Western books from the fifth century onwards were bound between hard covers, with pages made from parchment folded and sewn on to strong cords or ligaments that were attached to wooden boards and covered with leather. Since early books were exclusively handwritten on handmade materials, sizes and styles varied considerably, and there was no standard of uniformity. Early and medieval codices were bound with flat spines, and it was not until the fifteenth century that books began to have the rounded spines associated with hardcovers today.[6] Because the vellum of early books would react to humidity by swelling, causing the book to take on a characteristic wedge shape, the wooden covers of medieval books were often secured with straps or clasps. These straps, along with metal bosses on the book's covers to keep it raised off the surface that it rests on, are collectively known as furniture. The earliest surviving European bookbinding is the St Cuthbert Gospel of about 700, in red goatskin, now in the British Library, whose decoration includes raised patterns and coloured tooled designs. Very grand manuscripts for liturgical rather than library use had covers in metalwork, often studded with gems and incorporating ivory relief panels or enamel elements. Very few of these have survived intact, as they have been broken up for their precious materials, but a fair number of the ivory panels have survived, as they were hard to recycle, the divided panels from the Codex Aureus of Lorsch are among the most notable. The 8th century Vienna Coronation Gospels were given a new gold relief cover in about 1500, and the Lindau Gospels (now Morgan Library, New York) have their original cover from around 800. Luxury medieval books for the library had leather covers decorated, often all over, with tooling (incised lines or patterns), blind stamps, and often small metal pieces of furniture. Medieval stamps showed animals and figures as well as the vegetal and geometric designs that would later dominate book cover decoration. Until the end of the period books were not usually stood up on shelves in the modern way. The most functional books were bound in plain white vellum over boards, and had a brief title hand-written on the spine. Techniques for fixing gold leaf under the tooling and stamps were imported from the Islamic world in the 15th century, and thereafter the gold-tooled leather binding has remained the conventional choice for high quality bindings for collectors, though cheaper bindings that only used gold for the title on the spine, or not at all, were always more common. Although the arrival of the printed book vastly increased the number of books produced in Europe, it did not in itself change the various styles of binding used, except that vellum became much less used. Cai Lun (ca. 50 AD - 121) improved the first significant improvement and standardization of papermaking by adding essential new materials into its composition. In the 8th century Arabs learned the arts of papermaking from the Chinese and were then the first to bind paper into books at the start of the Islamic Golden Age.[10] Particular skills were developed for Arabic calligraphy, miniatures and bookbinding. The people who worked in making books were called Warraqin or paper professionals. The Arabs made books lighter--sewn with silk and bound with leather covered paste boards, they had a flap that wrapped the book up when not in use. As paper was less reactive to humidity, the heavy boards were not needed. The production of books became a real industry and cities like Marrakech, Morocco, had a street named Kutubiyyin or book sellers, which contained more than 100 bookshops in the 12th century, the famous Koutoubia Mosque is named so because of its location on this street. Because the Qur'an itself was considered a sacred object, in order to beautify the book containing the holy scripture, a culture of calligraphy and lavish bookbinding developed. With the arrival (from the East) of rag paper manufacturing in Europe in the late Middle Ages and the use of the printing press beginning in the mid-15th century, bookbinding began to standardize somewhat, but page sizes still varied considerably. With printing, the books became more accessible and were stored on their side on long shelves for the first time. Clasps were removed, and titles were added to the spine. The reduced cost of books facilitated cheap lightweight Bibles, made from tissue-thin oxford paper, with floppy covers, that resembled the early Arabic Qurans, enabling missionaries to take portable books with them around the world, and modern wood glues enabled paperback covers to be added to simple glue bindings. A Bradel binding (also called a bonnet or bristol board binding, a German Case binding, or in French as Cartonnage à la Bradel or en gist) is a style of book binding with a hollow back. It most resembles a case binding in that it has a hollow back and visible joint, but unlike a case binding, it is built up on the book. Characteristic of the binding is the material covering the outside boards is separate from the material covering the spine. Many bookbinders consider the Bradel binding to be stronger than a case binding. The binding may be traced to 18th century Germany. The originator of the binding is uncertain, but the name comes from a French binder working in Germany, Alexis-Pierre Bradel (also known as Bradel l'ainé or Bradel-Derome). The binding originally appeared as a temporary binding, but the results were durable, and the binding had great success in the nineteenth century.[2] Today, it is most likely to be encountered in photo albums and scrapbooks. The binding has the advantage of allowing the book to open fully, where traditional leather bindings are too rigid. It is sometimes modified to provide a rounded spine. This lends the appearance of a book where the paper is not suited to spine rounding, this is also to provide a rounded spine to a book too thin for a spine rounding to hold.[citation needed] The binding may also provide an impressive-looking leather spine to a book without incurring the full expense of binding a book in full or partial leather. Hôtel des Ventes d'Enghien, Salle de vente
, Enghien-les-Bains, FR
🔓Accès libre sans carte bancaire.
Titre de la vente : Livres anciens, cartes postales, meubles et objets d'art...
Date de la vente : 23/02/2012
🔓Accès libre sans carte bancaire.
Référence de l'enchère
: Live Sale
