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                  <text>La collection de livres rares comprend près de 14000 livres imprimés et manuscrits datant du XVe au XXIe siècle.  Incluant des milliers d'ouvrages touchant différents sujets comme la médecine, le droit, la littérature, la philosophie, les sciences naturelles, la géographie, les sciences, l'architecture, l'histoire, les arts, la collection comprend des ouvrages publiés en Europe et en Amérique mais également des Canadiana. On y trouve en majorité des monographies mais également des périodiques européens et canadiens des 17e, 18e et 19e siècle.</text>
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                <text>Aiegidii Menagii juris civilis amoenitates ad Ludov. Mublaeum, advocatum Parisiensem</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Published in Paris, this work does not have an ex-libris per se, but it does have a note written on the inner cover which might offer some insight into the person that owned it. The inscription reads “Il y a deux éditions postérieures l’une de Paris 1677 in-8 estimée 3 à 4 fr. L’autre de Francfort 1737 in-8. Ce livre est intéressant il y a beaucoup d’érudition” (“There are two previous editions, one from Paris 1677 in octavo, estimated at 3 to 4 francs. The other is from Frankfurt 1737 in octavo.”) The annotation undoubtedly stems from a bibliophile or bookseller who had this book in their possession. The note serves to indicate which was the first edition of this work and notes the prices of subsequent editions. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cet ouvrage publié à Paris ne comprend pas d’ex-libris à proprement parlé mais la note inscrite sur le plat intérieur supérieur peut quand même offrir une idée de la personne qui l’a eu entre ses mains à un certain moment. L’inscription; « Il y a deux éditions postérieures l’une de Paris 1677 in-8 estimée 3 à 4 fr. L’autre de Francfort 1737 in-8. Ce livre est intéressant il y a beaucoup d’érudition » est sans doute une annotation de bibliophile ou de libraire. Cette note permet d’indiquer qu’il s’agit là de la première édition et de noter le prix des éditions subséquentes.</text>
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                <text>Ménage, Gilles (1613-1692)</text>
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                <text>Archives and Special Collections, University of Ottawa [K0 .M 45 1664]/Archives et collections spéciales, Université d'Ottawa [K0 .M 45 1664]</text>
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                <text> Luteciae Parisiorum, apud guillelmun de Luyne</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;In the 20th century, in addition to the pasted-in ex-libris bookplate, we find many different styles and formats of ex-libris indications. The stamped ex-libris turns out to be not only a less onerous form but also one that is much more practical. We find them chiefly in library materials (don’t hesitate to search for the stamp of the University of Ottawa in its collections, chiefly found in pink), but they were also used by private owners, as in this example, Jean-Claude Dubé. M. Dubé used many ways to signal ownership of his items, one of these being this stamp with stylized letters. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Au XXe siècle, en plus des ex-ibris de type vignette, on trouve des ex-libris de divers styles et formats. La création de tampon s’avère une forme moins onéreuse mais également plus pratique. On les trouve principalement dans les livres de bibliothèque (ne manquez pas de jeter un coup d’œil aux livres de la bibliothèque de l’Université d’Ottawa lors de votre prochaine virée. Ils sont généralement tamponné à l’encre- rose). Toutefois certains individus en feront usage comme c’est le cas de Jean-Claude Dubé qui utilise diverses autres façons de signaler l’appartenance de ses livres, dont ce tampon très stylisé.</text>
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                <text>Archives and Special Collections, University of Ottawa [KK 253 1356]/Archives et collections spéciales, Université d'Ottawa [KK 253 1356]</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Luxembourg, Chez André Chevalier &amp; Marchand Librairie</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Fulviae Moratae foeminae doctissimae ac plane divinae Opera omnia quae hactenus inueniri potuerunt […]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Leathers and parchments could be dyed so as to add colour to their external covers; they could also be painted. This third edition of the works of Olympia Morata, humanist, poet and linguist, of Italian origin, is an example of a parchment that has actually been painted green, by hand, which was a technique much used in the Germanic lands. This is a lace-cased binding of limp parchment, perhaps originally meant to be a temporary binding. However, it has been much embellished and clearly meant by it owners to remain in this particular housing. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Les parchemins peuvent également être teints en différentes couleurs ou encore peints à la main, comme en témoigne cette couverture colorée en vert. Cette troisième édition des œuvres d’Olympia Morata, humaniste, poète et linguiste d’origine italienne, offre un bel exemple de cette technique plus largement utilisée dans les pays germaniques. La couture est réalisée sur des rubans. La reliure était peut-être considérée au départ comme une reliure d’attente, mais celle-ci a été enjolivée et conservée de façon permanente.</text>
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                <text>Archives and Special Collections, University of Ottawa [PQ 4630 .M79 O69 1570]/Archives et collections spéciales, Université d'Ottawa [PQ 4630 .M79 O69 1570]</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Bringing to life the adage of “waste not, want not”, this book’s binding is made of parchment that originally was someone’s correspondence. With paper and leather being expensive commodities due to the ever-increasing amount of titles being published and the demand by binders for materials to cover these in, it makes perfect sense for binders to reuse materials whenever possible. In general, bindings made of “recycled” materials were generally so chosen by the person requesting an item be bound. The owner of this item may have even supplied this piece of used parchment himself. The book owner ordering such a binding would have had economy at the top of list of priorities. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cette reliure donne tout son sens au proverbe « waste not, want not », qu’on pourrait traduire de façon approximative par « ne pas gaspiller pour ne pas être dans le besoin ». La couverture est composée d’un parchemin usagé sur lequel on peut encore voir l’ancienne écriture. Les matériaux étant devenus de plus en plus chers, en raison de la demande provoquée par la multiplication des livres par les imprimeurs et, par conséquent par la demande de reliures, les relieurs tentaient autant que possible de réutiliser toutes les retailles disponibles. Le relieur étant au service de son client, celui-ci avait son mot à dire dans le choix des matériaux recyclés et il est possible que ce parchemin ait été fourni par le propriétaire lui-même, qui pouvait s’en tirer à moindre coût.</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This exquisite binding in red morocco is a modern binding, probably dating to 350-400 years after the book was initially printed. Tooled and stamped in gilt, with elaborately gilded edges, this was a binding executed for someone with a love of luxury and a disposable income of note. Its interior also sports a spectacular endpapers with embossed gold, an image of which can be seen in image 15 in the “Printers and Marblers” frame. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cette magnifique reliure en maroquin rouge est une reliure moderne, réalisée probablement au XXe siècle, soit 350 à 400 ans après l’impression du livre en Italie. Richement décorée, cette reliure a été réalisée pour un propriétaire ayant un amour du luxe évident... et un revenu tout aussi important. On peut d’ailleurs voir un papier doré embossé sur les plats intérieurs, reproduit dans le cadre d’exposition consacré aux « Papetiers et Marbreurs » (no 15).</text>
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                <text>Elégie au génocide des nasopodeses</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This collection of poetry from Québec poet, musician and actor Michel Garneau, is printed on loose leaves of paper and illustrated by Maureen Maxwell. All is housed in a leather “case” of a mosaic design, executed by artist Lise Rodrigue. This is copy 51 of a total 60 copies created for this edition. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Ce recueil de poésie du poète, musicien et comédien québécois Michel Garneau, a été imprimé sur des feuilles volantes et illustré par Maureen Maxwell. Il a été inséré dans un étui de cuir mosaïqué réalisé par l’artiste Lise Rodrigue. Cette copie de livre d’artiste porte le no 51 de 60 copies.</text>
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                <text>Éditions de l'Aurore, Montréal</text>
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                <text>ARSC_RB_PS 8563 .A78 E55 1974</text>
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                <text>&lt;span style="text-decoration:underline;"&gt;English&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;This speckled calf binding is created using a technique of depositing fine drops of acid on the binding’s leather to achieve the visual effect. A late 19th or early 20th century rebinding, this binding is executed in the “Cambridge” style. Very popular at the end of the 17th century, Cambridge bindings were generated using different panels of leather of contrasting colours or designs. The designs stamped in the panel corners are also typical of this style of binding. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt; &lt;br /&gt;&lt;br /&gt;Cette reliure en veau moucheté présente une technique qui consiste à déposer de fines gouttelettes d’acide sur le cuir pour créer des motifs. Créé à la fin du XIXe siècle ou au début du XXe siècle, mais exécuté dans le style dit de Cambridge, un style très populaire à la fin du XVIIe siècle en Angleterre, elle consiste en l’utilisation de panneaux de cuir de diverses couleurs ou de motifs contrastants. Les décorations tamponnées dans les coins sont également typiques de ce type de reliure.</text>
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&lt;p&gt;This binding is a geometric juxtaposition of blue and red morocco leathers with a centerpiece, also sporting tooled decoration in gilt, in white parchment. The binding is signed by G. Samucewicz, and although one sees mention of the binder in various auction catalogues, no further information on her/him has been found. &lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration:underline;"&gt;Français&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Cette reliure moderne montre une juxtaposition de pièces de maroquin bleu et rouge ainsi qu’une pièce centrale en vélin décoré d’or. Il s’agit d’une reliure signée G. Samucewicz. Bien qu’il semble exister plusieurs reliures signées par cet artiste sur le marché, nous n’avons trouvé aucune information permettant de l’identifier précisément.&lt;/p&gt;</text>
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                <text>Éditions du Mou-flon, Paris </text>
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This binding in blonde calf, with hand-tooled motifs generated by many decorative finishing tools, is an example of “fanfare” binding. A “frame” is generated by a series of straight lines tooled into the leather, while the covers are completely decorated in a complicated geometric pattern that was been executed with straight and curved lines by “gouges” and “fillets”. This style of decorative binding was popular in France at the end of the 16th century.
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&lt;p&gt;Cette reliure en veau blond au riche décor à petits fers est une reliure dite « à la fanfare ». On y voit un encadrement de filets droits avec des couvertures, entièrement ornés d’une composition géométrique de filets droits et courbes réalisés aux petits fers. Ce type de décor apparaît en France à partir des années 1570.&lt;/p&gt;</text>
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                <text>Discours de l'estat de paix &amp; de guerre / de M.N. Machiavelle, secretaire &amp; citoyen de Florence. Traduicts d'Italien en François. Ensemble vn traité du mesme auteur, intitulé le Prince. De nouueau corrigez, &amp; illustrez de maximes politiques en marge</text>
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                <text>A Paris, Chez Claude Rigaud, ruë sainct Iacques au Chesne verd, &amp; au Palais pres la Chappelle sainct Michel</text>
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            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="376">
                <text>French/Français</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="377">
                <text>Text/Texte</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="378">
                <text>ARSC_RB_JC143.M16141614</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
    <tagContainer>
      <tag tagId="4">
        <name>Ownership</name>
      </tag>
      <tag tagId="3">
        <name>Propriétaires</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
