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Edité par Engraved by G. Vandergucht, [London], 1754
Vendeur : Arader Books, New York, NY, Etats-Unis
Carte Edition originale
No binding. Etat : Near fine. First. "THE MOST DISTINGUISHED OF ALL PRINTS OF THE CITY OF PHILADELPHIA" [London:] Engraved by G. Vandergucht, Sep.br 1.st 1754. First state ("Skull" for "Scull" twice on sheet 3). Four sheets (ca. 29 1/2" x 23 1/2" each). Framed floating. An old transverse crease about 9" below the top edge, reinforced verso. Some small repairs to the sky. Tanning at the corners from an early mount. With good upper and lower margins throughout; sheets 1-3 trimmed to right-hand plate-mark; sheet 4 trimmed to left-hand plate-mark. Occasional very mild patches of tanning. An extraordinary set. From its founding in 1680 between the Delaware and Schuylkill Rivers, Philadelphia was strategically poised to be a hub of trade. By the mid-XVIIIc it had become the major Atlantic port, fueling a golden age of growth and eminence in the arts and sciences -- the Athens of America. The Penn family had long dominated the colony, and Thomas Penn, the founder's son, commissioned a grand view of the city in 1750 to commemorate and to enhance its stature (the Penn arms at the lower left corner of the third plate underscore their dominance). George Heap undertook the project; he had been Philadelphia's coroner. The ambition of the project matched the city's stature: it was the grandest illustrated view of an American city that had ever been attempted. Nicholas Scull (perhaps an uncle by marriage) superintended the work, and Heap began advertising for subscribers (20 shillings, 10 payable in advance) and with that money set sail for England (there being no means to print it in Philadelphia) with his drawings. Heap got only as far as Delaware, and died on-board; he was buried in Philadelphia on Boxing Day 1752. Thereafter Scull shepherded the vast work through the engraving and publishing process. The Dutch engraver Gerard Vandergucht was commissioned to cut the plates, which finally emerged in June of 1754 (the King hung it in his own apartments). Wainright begins his article on the prospect by hailing it as "the most distinguished of all prints of the city of Philadelphia in terms of age, rarity, and historic importance." In 1755 the view was shrunk by about two-thirds, and placed above a plan of the city and a view of the state house and the batter, engraved by Thomas Jefferys. This is far more common; of the Heap-Scull-Vandergucht view we have located only six copies in institutional collections: the American Philosophical Society (.748:P53:1754), Haverford College, Colonial Williamsburg, the Historical Society of Pennsylvania (second state), Independence National Historic Park and the New York Public Library (Stokes Collection, second state). Deák I:99 (second state). See Wainright, Nicholas B. "Scull and Heap's East Prospect of Philadelphia" in The Pennsylvania Magazine of History and Biography 73, no. 1 (January 1949) 16-25.
Edité par London, 31. III. 1873., 1873
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
8vo. 1¼ pp. on bifolium. To the publisher Maurice Lachâtre, detailing his conditions for an envisaged biography of Karl Marx and a history of the Communist Party: "Dans votre lettre du 16 mars, vous paraissez croire que 'je vous présente un livre sur le parti communiste' tandis que c est vous qui, en me demandant d écrire une biographie sérieuse de Marx, m aviez demandé l histoire de ce parti. Marx ayant mené une vie essentiellement active, raconter sa vie, c est faire l histoire du mouvement philosophique & révolutionnaire allemand & international depuis 1842 pour y tracer sa participation personnelle & l influence de ses écrits. Si vous ne désirez qu une biographie de reporter, c est déjà fait. L Illustration en a publié une, & si vous m en envoyez un exemplaire, je suis prêt d y faire les corrections nécessaires. L étude que je comptais faire devant être un travail sérieux, j aurais cru vous faire injure en supposant que vous qui dans cette affaire commerciale prenez le rôle de capitaliste, vous auriez voulu échapper à cette première règle sociale, appliquée même dans notre société bourgeoise, que le capitaliste paie le travailleur proportionnellement à son travail. Cependant, comme vous dites que vous n agrandissez votre capital que pour le mettre au service de la communauté, je consens à donner mon travail, à la condition que vous consacrerez une somme à la fondation d un organe international hebdomadaire dont le besoin est impérieux pour le parti, & que Marx rédigerait [.]". ("In your letter of March 16 you appear to believe that 'I present you a book on the Communist Party' although it is you who, in asking me to write a serious biography of Marx, has asked me for a history of the party. As he led an essentially active life, to recount Marx's life is to write the history of the German and international philosophical and revolutionary movement since 1842, so as to trace his personal participation and the influence of his writings. If you just expect a reporter's biography, that has already been done. 'L'Illustration' published one and if you send me a copy of it I am willing to do the necessary corrections. The study that I hoped to undertake must be a serious work. I would have believed to have wronged you in supposing that you, who in this commercial matter takes the role of the capitalist, would have wished to escape from that first social rule which is applied even in our bourgeois society that the capitalist pays the worker in proportion to his labor. However, since you say that you only increase your capital in order to allocate it to the community, I consent to give my labour under the condition that you will grant a sum to the foundation of an international weekly organ that is urgently needed by the party and that Marx would edit [.]"). - In a letter to Lachâtre from 16 March 1872, Engels had quite enthusiastically agreed to the project in principle but urged the publisher to set out his conditions. The response apparently left Engels dissatisfied. Although he was still willing to collaborate with Lachâtre, the project never came about. The present letter reveals the interesting detail that Engels planned to publish a weekly organ for the First International with Karl Marx as editor. Between 1872 and 1875 Maurice Lâchatre published the first French translation of "Das Kapital" and was therefore in close contact with Marx. - Slightly creased with traces of dog-ears to the lower corners. - Not in: Marx/Engels, Werke vol. 33 (Briefe Juli 1870 - Dezember 1874).
Edité par 1602 [but c1621]., Amsterdam,, 1602
Vendeur : Daniel Crouch Rare Books Ltd, London, Royaume-Uni
Manuscrit / Papier ancien
Amongst the rarest to survive Terrestrial and celestial globes, each with 12 hand-coloured engraved gores heightened in gold, with two polar calottes, over a papier mâché and plaster sphere, rotating on brass pinions within a brass meridian ring with graduated scale, and a graduated brass altitude quadrant, set into a seventeenth century Dutch wooden base with an engraved horizon ring, adumbrating scales, calendar, almanacs etc. With usual defects: paper equinoctial tables present gaps that are filled and restored, small splits along the gores, several partially deleted entries, small scattered spots but in general in good condition for such an early globe pair, modern hour circles and pointers. Biography Willem Janszoon Blaeu (1571-1638) started "one of the most successful publishing houses of the seventeenth century" (Dekker). Originally trained in astronomy, he quickly became a leading maker of maps, atlases and instruments. At the time the Low Countries hosted the best cartographers in Europe, and Blaeu produced ever more accurate and more beautiful globes, spurred by his rivalry with fellow Dutch cartographer and publisher Jodocus Hondius. Blaeu's globes were luxury items for wealthy and intellectual merchants and nobility who benefited from Blaeu's access through the Dutch East India Company to the latest navigational discoveries and geographical information. As van der Krogt observes, "During the preceding century, more than half of the known world, including the entire western hemisphere, had been charted and, more recently, during Blaeu's own time, large portions of the Pacific were being explored". Dutch explorers had played a key role in the expanding European worldview: from Olivier van der Noort's circumnavigation of the earth, to Willem Barentsz's attempts to find the Northeast Passage. Blaeu also had the advantage of considerable personal technical skill: he studied under the astronomer Tycho Brahe to create a star catalogue for his first celestial globe. Even at the time, Blaeu's globes were an expensive purchase: the terrestrial globe cost 16 guilders and the celestial globe cost nine guilders. However, it was also the most advanced cartographic document of the age: it was a monument and tool, to be used as much as admired. Blaeu's pair of nine-inch table globes are amongst the rarest to survive in comparison with the smaller or larger globes by Blaeu (four, six, 13.5, and 26 inches). Geography Willem Jansz Blaeu collected information that Dutch mariners gathered from around world and brought back to Amsterdam. Crews were instructed to record information about the lands they visited and the skies they saw. Blaeu incorporated these observations in maps and globes. Through his web of contacts and thanks to assiduous research, he was also able to obtain the most recent information about the latest discoveries in the western hemisphere and the South Pacific, where Dutch explorers were particularly active at the time. Since the globe was published after 1618, Blaeu was able to include the discoveries made by Henry Hudson in his attempt to find a passage to the East Indies. He also included recent Pacific discoveries of the celebrated voyages of Willem Cornelis Schouten and Jacob Le Maire, who both traversed the South Pacific and the Atlantic. The findings of Schouten and Le Maire in the Tierra del Fuego region are also incorporated. The Strait of Le Maire is drawn and the hypothetical southern continent is labelled "Terra Australis Incognita Magalanica". Olivier van Noort's track is drawn and labelled. His route is indicated with a broken line and the words: "Navigationis Olivierij ductus" (several times). There are various decorative features, such as animals on the different continents, many ships on the high seas and allegorical and mythical figures around the cartouches. The nine-inch globe is not just a smaller version of the one published in 1599. Drawings of animals and people do often correspond to those on the earlier globe, but Blaeu made several significant changes. - The west coast of North America is drawn differently and the river system of Brazil is altered. - The hypothetical southern continent is labelled: Terra Australis Incognita Magallanica. - There are nine ocean names in handsome curling letters: Mare Congelatum, Mare Atlanticum, Oceanus Aethiopicus, Mare Arabicum et Indicum, Mare di India, Oceanus Chinensis, Mar del Zur, Mare Pacificum, Mar del Nort. - Willem Blaeu, always eager to display the latest discoveries, traced the route of Van Noort's route with a broken line. The findings of the voyage of Schouten and Le Maire in the Tierro del Fuego region are included, despite the 1602 date (names: Fr. Le Maire, Mauritius, Staten Landt, C.Hoorn, I.Barneveltij). Astronomy The first maker of globes from the northern Netherlands was the cartographer Jacob Floris van Langren (before 1525-1610). He published his first terrestrial and celestial globes in 1586 with a diameter of 325mm, the terrestrial globes being based on the work of Mercator. The second edition of the celestial globe was improved after the observations of the southern hemisphere by Pieter Dirkz Keyser and Frederik de Houtman were incorporated by the geographer Petrus Plancius (1552- 1622), who was also influential as a globe maker. Two other famous Dutch mapmakers produced celestial globes: Jodocus Hondius the Elder (1563-1612), one of the most notable engravers of his day, and Willem Jansz Blaeu (1571-1638). Publication history According to Peter van der Krogt, the following states are known: Terrestrial First state: 1602 (no known examples). Second state, c1618-1621 (no known examples). Third state: 1602, but c1621 (the present example). All the states are dated 1602 but the second state must have been published after 1618, since it includes the discoveries of Schouten and Le Maire (1615-1617), but not the name "Blaeu". Elly Dekker makes no distinction between the different states. The third s.
Edité par [Wittenberg, ca 1 Sept. 1543]., 1543
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
Folio (200 x 307 mm). 2 pp. German manuscript (brown ink) on paper (watermark: letter F in circle). An extensive, uncommonly well-preserved letter to Georg Buchholzer (1503-66), Provost of St Nikolai in Berlin, regarding the latter s altercation with the Brandenburgian court preacher Johann Agricola from Eisleben (1492-1566, also known as "Magister Eisleben") about the treatment of the local Jews. Prince Elector Joachim II, who in 1539 had introduced the Reformation to Brandenburg and whose tolerant politics toward Jews enraged the population, had long desired a reconciliation between Luther and his former disciple Agricola, and he must have suspected that Provost Buchholzer was poisoning Luther s mind against his court preacher. Buchholzer therefore wrote to Luther requesting an interpretation of some Biblical verses by which Agricola justified his pro-Jewish stance, and in his answer Luther insists that Buchholzer has done well to preach against the Jews and shall continue to do so, ignoring the habitual liar Agricola: "Grace and Peace. My dear Provost! I must be brief with writing, for the sake of my weak head. You are aware that you have no previous association with me, nor I with you, other than that you recently wrote to me asking for an explanation regarding several statements. And even if you were to write me many things about M. Eisleben, how could I believe you alone? For whoever says that you or anyone in Berlin or in all of Brandenburg is inciting me against Eisleben, if he says so unwittingly, may God forgive him, but if he says it knowingly, then he is a roguish liar, as well as M. Eisleben himself has lied frequently, here in Wittenberg. M. Eisleben needs nobody to incite me against him; he himself is much better at that, much better than anyone whom he might suspect of such dealing. He knows that full well. [.] In my opinion, he will give up his life before he gives up his lying. You have preached against the Jews and fought serious battles over that with the Margrave. [.] And you were quite right to do so. Stand fast and persevere! The words against you which you quoted to me, allegedly protecting the Jews, I will not hope to be true, nor shall I believe that M. Eisleben ever will preach or ever has preached such. I do not yet consider him so deeply fallen. May God prevent him! [.] For then M. Eisleben would not be the Elector s preacher, but a true devil, letting his sayings be so shamefully misused to the damnation of all those who associate with Jews. For these Jews are not Jews, but devils incarnate who curse our Lord, who abuse His mother as a whore and Him as Hebel Vorik and a bastard, this is known for certain. And anyone who is capable of eating or drinking or associating with such a foul mouth is a Christian as well as the devil is a saint. [.] You may show this letter to whomever you wish. I do not know, nor do I care, who wrote the other three letters from Wittenberg to Berlin. You will undoubtedly confess this to be the first letter you ever received from me. For your name and person were previously unknown to me [.]" (translated). - Luther had apparently forgotten that several years previously, in late 1539, he had answered a letter of Buchholzer s inquiring about Catholic rites still in use in Reformed Brandenburg. More notably, although Luther is writing to a fellow scholar, this letter is written in German so as that the recipient may show it "to whomever he wishes" that is to say, to the Elector himself, thus providing Buchholzer with a writ of protection against any suspicion which Joachim may harbour against him. - The Hebrew words "Hebel Vorik" (vanity and emptiness) are taken from Isaiah 30:7. They were part of a Jewish prayer in which Jews thanked God for having made them different from those peoples who worshipped "Hebel Vorik", though Luther construed the words as a code for Jesus Christ. - Luther s anti-Judaism had not always been this rabid as a young man he had spoken out judiciously against the traditional defamation of Jews and against all forms of forcible conversion but he soon grew increasingly bitter, and by 1543 his attitude was one of undisguised loathing. His most notorious antisemitic pamphlet, "On the Jews and Their Lies", was published only months before the present letter was written. With the same rhetorical skill with which he had previously ridiculed the papacy he now invoked a grotesque abhorrence of Judaism. As an embodiment of his sentiments in his later years, demonstrating how precisely the antisemitic church politics and discourse of the 1540s matched Luther s instructions, the letter has been quoted or paraphrased by several important biographies of the Reformer (cf. M. Brecht, Luther, vol. 3 [1987], p. 344; most recently: L. Roper, Luther [2016], p. 532 n. 33). - Less than two years later, in a letter dated March 9, 1545, Luther would write to Elector Joachim II directly, warning him against the "tricks" of the Jews, in whom he is said to have too much confidence, adding that he is "glad that the Provost [Buchholzer] is so severe on those Jews, which is a proof of his loyalty to your Grace; and I encourage him to continue in the path he has chosen". - Condition report: several corrections in the text by Luther s own hand. Date of receipt noted by Buchholzer at the foot of the verso page: "Received by me in Berlin on Wednesday after St Egyd [5 September] anno etc. 43." Slightly browned and brownstained throughout; traces of contemporary folds. Not noticeably wrinkled; no significant edge tears; a beautifully preserved specimen. - Provenance: before 1914 nothing more of the letter was known than the words branding Agricola an incorrigible liar ("will give up his life before he gives up his lying"), which Buchholzer had hurled at his adversary during a disputation as late as 1562, offering to show him the passage in Luther s letter. In the early 19th century, the editors of Agricola s writings confessed that such a.
Edité par London, 4. VIII. 1873., 1873
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
12mo. 1 page. To an unnamed addressee: "Ci-inclus la biographie que vous avez demandée. Longuet l'a faite, mais il ne font pas le nommer. J'ai ajouté un de mes photographes dont la reproduction dans le 'Capital' est tres mauvaise. L'état de ma santé ne me permet pas encore de travailler que quelques heures de la journée. De là manque de manuscrit pour M. Lahure. Néanmoins, il reçoit aujourd'hui des épreuves qui comprennent déjà une partie de la trente deuxième feuille. Après les avoir renvoyés, il n'y aura donc aucune raison pour ne pas publier fasc. V et VI. J'espère lui pouvoir fournir jusqu'à la fin de la semaine de nouveau manuscrit [.]" ("Enclosed is the biography you asked for. It was written by Longuet [i.e., the journalist Charles Longuet] but he does not need to be mentioned. I have added one of my photos, the reproduction of which in 'Capital' is very poor. My state of health does not allow me to work more than a few hours a day. Hence the lack of a manuscript for M. Lahure. Still, he receives proofs that already include part of leaf 32 today. After having sent them, there will be no reason not to publish fasc. V and VI. I hope to present him with the new manuscript by the end of the week [.]"). - With old note of inventory. - Not in: Marx/Engels, Werke vol. 33 (Briefe Juli 1870 - Dezember 1874).
Edité par n.p., New York, 1896
Vendeur : Manhattan Rare Book Company, ABAA, ILAB, New York, NY, Etats-Unis
Edition originale Signé
Etat : Fine. First edition. STUNNING LARGE HISTORIC PHOTOGRAPH OF TESLA, SIGNED AND INSCRIBED BY TESLA TO EDWARD EVERETT BARLETT. Albumen print, signed and inscribed by Tesla on the original gray mount: "To my friend E. E. Bartlett, New York, June 9, 1896, Nikola Tesla." The photograph shows Tesla in profile seated before the spiral coil of his high-voltage transformer at his East Houston St., New York, laboratory. The photograph, in addition to being arguably the most famous and dramatic portrait of Tesla, is scientifically significant, for it served as a demonstration of the power of his new technique of providing illumination with vacuum tubes. A reproduction of the photograph appeared in the May 20, 1896 issue of Electrical Review, alongside an article where a reporter interviewed Tesla about the novel circumstances of the creation of this photo: "As to his continuous efforts to improve his system of lighting by vacuum tubes, with which he has been identified during a number of years, Tesla said that he has been more successful than he had ever dared to hope. His methods of conversion from ordinary to high-frequency currents are rendered simple in the extreme, the devices are thoroughly reliable and require no attention. Last, but most important of all, he has succeeded in increasing the candle-power of the tubes to practically any intensity desired. "A remarkable and most telling result of the advances he has made in the last direction is a portrait, which he has reluctantly allowed us to use, and which was obtained by two seconds' exposure to the light of a single vacuum tube of small dimensions. Tesla stated further that photographs obtained by the light of such powerful tubes show an amount of detail which no picture taken by the sun or flash light is capable of disclosing. This feature is only faintly shown in the reproduction on this page. The photograph was made by Tonnelé & Company, artists' photographers, who aided Mr. Tesla in his attempts to photograph by the light of phosphorescent tubes about two years ago. "When asked, Mr. Tesla said, in explanation of the picture, speaking with deep feeling, that the volume he was reading was one of the 'Scientific Papers,' of Maxwell, given to him as a token of friendship by Professor Dewar; the chair a gift of his warmest friend, Mr. E. D. Adams; and as to the queer coil to his left, Mr. Tesla hesitatingly remarked that it was the object 'dearest of all in his laboratory,' having been a most valuable instrument in his many-sided investigations. "Mr. Tesla added, good humoredly, that, had it not been for the extraordinary manner in which the photograph was taken, he would not have given this explanation even to such an important personage as the representative of the ELECTRICAL REVIEW." Tesla was correct in insisting that the lighting from the vacuum tubes produced a high-level of detail in the photograph; the intricacies of the coil, in particular, appear remarkably sharp. Overall, the photograph has an orange tint, almost certainly the result of his novel lighting technique. Although this is the only signed example of this photograph we are aware of, it has been reproduced in recent years many times, including serving as the cover image for Marc J. Seifer's groundbreaking biography of Tesla, Wizard. Provenance: The recipient, Edward Everett Bartlett (1863-1942) was a celebrated New Yorker (both he and Tesla were featured in Moses King's Notable New Yorkers, 1896-1899), who founded Bartlett & Co., (later Bartlett Orr Press) on lower Broadway, in 1888. Variously described as an artist, illustrator, printer, and engraver, Bartlett was internationally known as "an expert on newspaper type, and he was credited with the development of much of the linotype type used in newspaper offices throughout the country"; additionally he published several works on the art of the book. (New York Times, Obituary, 1942). Size: Image, 7 3/4 x 9 1/2 inches; with mount, 8.5 x 11 inches. Archival matting and framed with UV-.
Edité par No place, ca. 1570., 1570
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
4to (210 x 135 mm). French manuscript on paper. 90 ff. Flemish Bastarda in black ink, 26 lines. Bound with 16 strictly contemporary specimens of Turkish silhouette paper, a series of 28 watercolours, heightened in gilt and two extensive, early 19th century manuscript additions (complete transcript of the the travelogue and a biography of the author). Slightly later vellum with ms. title. Unique, fascinating and unpublished manuscript containing the account of a diplomatic journey to the Ottoman Empire in 1570. Braeckle (1540-71), a Flemish physician, "assisted Charles Rym Baron de Bellem, Ambassador of Maximilian II in Constantinople, probably as a secretary. He wrote an account of his journey, which contains interesting details about the places he visited, the manners and customs of the inhabitants, incidents, etc." (Aug. Vander Meersch, in: Belgian National Biography II, 903). Leaving Prague on 13 March 1570, the mission passed through Vienna and then Hungary and Czechoslovakia before entering Ottoman territory, visiting the mosques and caravanserais of Sokollu Mehmed Pasha (c. 1505-79), Grand Vizier of Sultan Selim II (1524-74) who ruled the Turks at the time of Rym's and Braeckle's journey. Their stay in Constantinople lasted from 31 May to 12 August 1570, permitting the author to describe several monuments and works of art. During the journey back they travelled through Bulgaria, Serbia (they were held in Belgrade for nearly a month), and Hungary. The mission ended with their return to Germany on 23 October 1570. Jacques de Braeckle died shortly afterwards, in 1571. - The ms. is accompanied by a beautiful set of 28 original watercolours heightened in gilt. Showing Turkish people in traditional costumes, such illustrations were usually fashioned for sale to travellers in Constantinople or passed on to western merchants. However, as the present set includes the caravanserai of the diplomatic legation, it is extremely likely that these were created with the sole purpose of illustrating the diplomatic mission of Charles Rym, described within the present manuscript. The figures are captioned next to the subjects (16th century Italian script in black ink), indicating that the legends were recorded after the plates were collated and sewn together, or that they were included in books before insertion into the present volume. Among the illustrations are the caravanserai of the ambassadors to Constantinople, Sultan Selim II, the Mufti, costumes of Ottoman dignitaries and the military, a Persian, a Moor of Barbary, a lady in burqa, a Bulgarian, a giraffe, etc. The author of the Italian captions may have been the ambassador Edoardo Provisionali: he was responsible for several diplomatic missions and is known to have appreciated the Ottoman culture; furthermore, de Braeckle left Constantinople in his company (cf. Yerasimos). The manuscript is also bound with 16 remarkable specimens of 16th c. Turkish paper (title in French in pen on the first sheet: "papier de Turquie"). At the beginning of the volume is a transcription, calligraphed in an elegant French cursive of the early 19th century (18 unnumbered ff., black ink, 21 lines per page). The volume ends with a short biography of the author (2 pp., black ink, with the arms of de Braeckle). Yerasimos provides a detailed chronology of the journey, listing the major cities visited as well as monuments and curiosities noted by the travellers. - Only three manuscript copies of the present travelogue are recorded, mostly restricted to family use: two copies are in the National Archives of Belgium in Brussels (Fonds 692 Lalang, 8f., cf. Yerasimos); a third copy is bound in a miscellany and kept at the communal Archives of Ghent. - Binding rubbed, spine detached, in excellent condition internally. - Stéphane Yerasimos, Les Voyageurs dans l'Empire Ottoman (XIVe-XVIe siècles), Ankara, 1991, pp. 286f. Not in Blackmer or Atabey.
Edité par Washington, D.C., 1943
Vendeur : Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, Etats-Unis
Edition originale Signé
Unbound. Etat : Near Fine. A remarkable collection of letters and limited edition books from Franklin Delano Roosevelt to his longtime friend and personal secretary, Marvin H. "Mac" McIntyre. The collection includes 10 Inscribed books (each issued in an edition of 100 copies or less), a large, early Inscribed portrait, nine Typed or Autograph Letters Signed, and several additional items related to their long friendship and professional relationship. The collection is overall near fine. McIntyre (1878-1943) was born in Kentucky and studied at Vanderbilt. While working as Special Assistant to Secretary of the Navy Josephus Daniels, he befriended then-Assistant Secretary of the Navy Franklin D. Roosevelt. McIntyre went on to work on Roosevelt's 1920 Vice Presidential campaign; this collection includes a striking 1920 portrait of Roosevelt warmly Inscribed: "For the only Mc [sic], in memory of our work together, past present, and to come. Franklin D. Roosevelt. August 3, 1920." McIntyre remained in Washington during Roosevelt's subsequent tenure as governor of New York, but as Roosevelt's 1932 campaign gained steam, he tapped Mac to be his Press Officer. Upon taking office in March 1933, Roosevelt appointed McIntyre as his Appointments Secretary, essentially putting him as close to the President as Missy LeHand or Grace Tully. McIntyre was away from the White House from 1938-1941 due to illness, but returned to his post in 1941. McIntyre died in December 1943, in the middle of Roosevelt's third term. McIntyre had several titles over the years: Assistant Secretary in Charge of Appointments, Traveling Secretary, Appointments Secretary, and Correspondence Secretary, and it is clear that the two men were close. In addition to warmly Inscribed copies of Roosevelt's cruise logs and famed "Christmas books" (including the highly sought-after *Addresses of Franklin D. Roosevelt and Winston Churchill* of 1942), the correspondence, some of it written during McIntyre's convalescence in North Carolina, shows Roosevelt's esteem for the man. In 1938 he writes: "I am often touched, but seldom have I been so touched as by your letter to Miss Le Hand. It was one of a very small number of letters which occasionally she shows to me. Both of us were dissolved in tears. Your one hundred per cent support in the mountains of North Carolina means more to me than carrying Vermont." The letters, four four Autograph Letters Signed and five Typed Letters Signed which span the years 1933-1942, are brief and very cordial catch-ups; FDR writes of his confidential travel plans, a fishing expedition, and thanks him for a Christmas gift. One letter was sent from the London Economic Conference sometime in July 1933, and another is a Signed copy, of a letter of thanks that FDR sent to the Dean of Atlanta Law School, who was conferring an honorary doctorate on McIntyre. All of the letters save one are in their original envelopes; the envelopes show light wear, the letters, aside from a single original fold, are fine. Also included are four notes Initialed by Roosevelt and five typed carbons of letters from FDR to McIntyre (likely made by the family), the originals not present here. Another testament to their friendship is that several items were gifted to McIntyre's widow after her husband's death. Roosevelt Inscribes his 1943 "Christmas book" to her: "For Dodie McIntyre - This was on the list for good old Mac, and I want you to have it in his memory. Franklin D. Roosevelt." He would also send her an Inscribed copy of the following year's "Christmas book," sadly his last. Also included is a holiday letter written by FDR's long-time Press Secretary Stephen T. Early to McIntyre's widow Dodie five years after his passing: "I treasure your friendship as one of my most satisfying possessions." Dodie was also invited to the White House for a 1966 presentation of a portrait of Eleanor Roosevelt to the White House collection; this invitation is also included. A remarkable collection of rare and desirable Roosevelt publications, warmly Inscribed, and letters and related material, the fruit of a longtime personal and professional relationship.
Edité par 1571 - 1947, 1571
Vendeur : Second Story Books, ABAA, Rockville, MD, Etats-Unis
Edition originale Signé
The Russell Collection contains over 300 books, broadsides, and pieces of ephemera produced between the waning decades of the ancien regime and the fall of Napoleon Bonaparte. The collection was assembled in the early 1950s by William F. Russell (1890 - 1956), President of Columbia University's Teacher's College from 1949 to 1954. With material spanning the 16th to the early 20th century, the majority of the collection was produced between 1775 and 1800. Highlights include early editions of the 1791 and 1793 French Constitutions, letters written and signed by pioneering economist Anne Robert Jacques Turgot, and official documents signed by Robespierre and other members of the Comite du Salut Public. The Collection is comprised of the following components: 1) The French Monarchy and the Ancien Regime; 2) Ideological Roots of Revolution; 3) The Transition to Republicanism and Collapse of the Monarchy; 4) The National Convention and the Committee for Public Safety; 5) Historical and Contemporary Context; and, 6) Miscellanea (Ephemera, Manuscripts, and Books). Most of the printed material was published by one of the two major publishing houses in Limoges. This concentration of material from a single city offers perspective on the publication and distribution of political and governmental texts in a particular city or departement (one which was especially impacted by the Crown's frequently shifting tax and trade policies). It also provides important insight into the early work and career of Anne Robert Jacques Turgot, who served as intendant of Limoges from 1761 - 1774. Limoges was home to several printing houses which, at various times during the Monarchy and Revolution, were designated as official printers of government documents for the region. Most notable among these were the Barbou and Dalesmes families. Both families had been established printers for centuries, but the Barbou appear to have been too closely aligned with the ecclesiastical hierarchy - after 1791, all of the officially published material printed in Limoges was released by members of chez Dalesme. 1) The French Monarchy and the Ancien Regime A significant portion of the collection is made up of documents from the reign of Louis XVI, issued by the crown, members of the regime, and the Parisian Parlement in the two decades leading up to the Revolution. These items, ranging from royal decrees to trial testimonies, illustrate governmental practice under the monarchy, especially as it relates to trade policy and criminal justice. 2) Ideological Roots of Revolution The Russell Collection includes a number of books and tracts from writers crucial to the development of revolutionary thought and discourse in France during the 18th-century. First or early editions by Mirabeau, Raynal, Mounier, Marat, and Condorcet, written before and during the upheavals of the early 1790s, reveal the increasingly liberal and radical intellectual currents among France's intelligentsia. First or early editions of works by Jacques Necker and Turgot also appear, shedding light on abortive efforts at modernization during the various governments under Louis XVI. 3) The Transition to Republicanism and Dissolution of the Monarchy The full span of the National Assembly, from its foundations during the Brienne and Necker governments to its ceding of legislative authority to the National Convention, is captured through official printed documents (Royal and republican), periodicals, regionally-drafted complaints and instructions, and published addresses. Also included are first or early editions of the French Constitutions of 1791 and 1793, as well as various edicts and documents issued by Louis XVI during l'Assemblee Nationale. The formal inauguration of the National Convention (and the removal of all executive powers from the King) is represented both by an Extrait of the relevant Assembly session, and in an officially published broadside explaining "des motif d'apres lesquels l'Assemblee Nationale a proclame la convocation d'un Convention nationale, et prononce la suspension su Pouvoir executive dans les mains du Roi." 4) The National Convention and the Committee for Public Safety; A substantial component of the Russell Collection is comprised of material created by, or related to, the Convention Nationale and the Comite du Salut Public. Nearly 90 official decrees from the legislative body are present, in addition to numerous printed addresses, departmental complaints, and two officially published broadsides related to the trial of Louis XVI. Other highlights include printed decrees and orders from the Committee for Public Safety, a document issued by the Parisian Communards, and an order signed by seven members of the Committee. 5) Historical and Contemporary Context; A subset of the Collection is made up of books and pamphlets responding to the events of the Revolution, from contemporaneous accounts to late 19th-century histories. The works published during the 1790s and early 1800s, whether biographies of revolutionaries or socio-political commentaries, reveal the mix of horror, regret, enthusiasm and hope stirred up among emigres, international observers, and participants in the revolutionary melee. The texts printed after 1840 reflect the intensive, documentary approach of the French historians in the latter half of the century. 6) Miscellaneous Documents (regional, subject-specific, etc.). Also included are a number of items (ephemera and manuscripts) that are either subject specific and tangentially related to the French Revolution (i.e.; treatises on the French language, moral philosophy deduced from botanical studies, 17th century medicine), or specific to Limoges and the Haute-Vienne. The latter includes several 16th and 17th century manuscripts from Limoges and Orleans. Several 20th century books, inscribed to the collector W.F. Russell, appear in the collection as well. All items are in good or better condition, unless otherwise stated. To view.
Vendeur : Antiquariaat FORUM BV, Houten, Pays-Bas
[2 blank], [34]; [5 blank], [62 incl. a few blank], [1 blank] pp. plus 8 double leaves of decorated paper and [36], [4 blank]; [2], [2 blank] pp. of 18th-century additions.A unique, fascinating and unpublished manuscript containing the account of a diplomatic mission to Constantinople in the Ottoman Empire in the year 1570. De Braeckle (1540-1571), a Flemish physician, assisted Charles Rijm (Karl Rym), Baron de Bellem (ca. 1533-1584), Maximilian II's ambassador to Constantinople, probably as his secretary. He wrote an account of his journey, which contains fascinating details about the places he visited, the manners and customs of the inhabitants, incidents, etc. Leaving Prague on 13 March 1570, the delegation passed through Vienna, Hungary and Czechoslovakia before entering Ottoman territory, where they visited the mosques and caravanserais (inns) of Sokollu Mehmed Pasha (ca. 1505-1579), Grand Vizier of Sultan Selim II (1524-1574) who ruled the Turks at the time of Rijm and Braeckle's journey. From 31 May to 12 August 1570 they stayed in Constantinople, where De Braeckle describes several monuments and works of art. He returned via Bulgaria, Serbia (the party was held in Belgrade for nearly a month) and Hungary, arriving on 23 October 1570. He died shortly afterwards, in 1571.The set of 28 beautiful original drawings in pen, coloured gouaches and gold begins with a view of the caravanserai for the ambassadors to Constantinople, then shows mostly costume figures. Although similar illustrations were sometimes made for sale to travellers in Constantinople or passed on to western merchants, the inclusion of the delegation's caravanserai suggests this set was produced to illustrate Charles Rijm's diplomatic mission, described in the accompanying text. Each of the 8 half-sheet specimens of Turkish decorated "silhouette" paper has four vertical rectangles in reddish brown in the centre (perhaps intended for two columns of written text on each page) and yellow-green plant silhouettes around the margins. Haemmerle shows a similar example in a book of Turkish costume drawings from ca. 1580, also with the silhouette paper folded to make two leaves.Only three manuscript copies of the present travelogue are recorded, probably intended for members of De Braeckle's family. In very good condition.l Stéphane Yerasimos, Les voyageurs dans l'Empire Ottoman (XIVe-XVIe siècles), (Ankara, 1991), pp. 286-187; nothing similar in Atabey; Blackmer; for the "silhouette" paper: Haemmerle, Buntpapier, pp. 39-41, fig. 25 illustrating a similar example from ca. 1580.
Edité par London: Robert Havell, 1834, 1834
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
Plate legend: Long-billed Curlew. Numenius Longirostris. 1 Male 2 Female City of Charleston Robert Havell. London, 1834 37 ½ x 24 ¾ inches sheet, 49 ½ x 37 inches framed. First edition aquatint engraving with original hand color, annotated with title and description on bottom margin, numbered on top right corner (excellent condition). Guidance: Guernsey s, May 11, 2013 - $109,800 Christie s, June 25, 2004- $89,625 This work is a first edition elephant folio engraving from Audubon s awe-inspiring series Birds of America, the single most important visual study of North American ornithology ever produced. It features a life-size portrait of North America s largest shorebird, the long-billed curlew, whose distinguishing feature is its exceptionally elongated bill, which rivals that of the Far Eastern curlew as the the longest bill of any shorebird. The present composition shows two adult curlews (one male, one female) feeding near a shore with tall grass. We look up at their striking poses from a "worm s-eye view," which heightens our sense of their impressive stature (Olson, 280). The birds oblong heads, slender necks, soft and patterned plumage, scaled legs, and powerful gaze are all rendered with remarkable precision and detail (Audubon, 35). Across the water is a cityscape painted by the talented naturalist George Lehman, which provides a charming view of early 19th century Charleston. Visible on the left is the historic Castle Pinckney, a fort garrisoned during numerous military conflicts, including the War of 1812 and the Civil War (Sanders and Ripley, 73). Audubon encountered the curlews in November 1831 while on a trip with friends at Cole's Island, about twenty miles outside of Charleston, South Carolina (Audubon, 36). It was here that he found the birds used as models for the present composition (Low, 133). In his study of these and other birds, Audubon s work was considerably enriched by his friend and collaborator Reverend John Bachman. A Lutheran minister and avid scholar of natural life, Bachman contributed a wealth of knowledge to Audubon s ornithological investigations, including discovering the now likely extinct Bachman s Warbler, which Audubon named in his honor (Sanders and Ripley, 38). The South Carolina native also provided lodging to Audubon and his two assistants in his Charleston home during a crucial period of artistic production. In fact, it was in Bachman s study on the ground floor of the house that Audubon painted many of the original watercolors for The Birds of America (Sanders and Ripley, 37). Of his time with Bachman in Charleston, Audubon wrote in 1831: "the extraordinary hospitality which awaited us there.led to.a few of the happiest weeks I ever passed" (Sanders and Ripley, 33). It is arguable that Audubon would not have achieved his towering reputation as the preeminent North American natural history artist had it not been for his collaborator Bachman s scholarly devotion to scientific truth. As Sanders and Ripley note: "Bachman s concern for accuracy kept the sometimes-hasty Audubon out of hot water on several occasions" (Sanders and Ripley, 38). With respect to the present work, it was Bachman who accompanied Audubon to Cole s Island to observe the curlews. Bachman also enlightened the artist about the birds breeding and nesting habits, having studied their breeding grounds first hand on the islands along the coast of South Carolina, and provided ample material for Audubon s descriptions of these birds in Bird of America s accompanying text, Ornithological Biography (Audubon, 36). References: John James Audubon, The Birds of America: From Drawings Made in the United States and their Territories Vol VI (New York, 1861); Roberta, J. M. Olson, Audubon s Aviary ( New York, 2012); Albert E. Sanders and Warren Ripley, Audubon: The Charleston Connection (The Charleston Museum, 1985); Susanne M. Low, A Guide to Audubon s Birds of America, (New Haven and New York, 2002). Catalo.
Edité par London, 1916
Vendeur : Bromer Booksellers, Inc., ABAA, Boston, MA, Etats-Unis
Signé
Sangorski, Alberto (illustrateur). Small quarto. (11)ff., + 3ff. Signed at the colophon, after the certification statement, by Alberto Sangorski. A unique illuminated manuscript on vellum, in which Sangorski engages with and inserts himself into a genealogy of Neoclassicism. His devotion to the tradition of the medieval manuscript is at once classical and modern, and deeply entrenched in naturalistic aesthetics; the title page features a lush floral border surrounding a field of vines, and a similar border ornaments each page of text. Nine large illuminated initials are intertwined with the greenery, the language itself relying on and supporting the landscape of the page. Sangorski's four miniatures depict scenes of Classical Greek pastoral life, save for the title-page portrait of Gray. These images likewise seat Sangorski himself among the Romantics and Pre-Raphaelites, but also serve the greater purpose of establishing Gray's position as a sort of proto-Romantic. Although that title alone is too simple a reading of Gray's entire corpus, in the context of the specific poetry transcribed by Sangorsk,i the label bears out, the illustrations underscoring the Pindaric structure foundational to the text. The miniatures offer a further valence to the Romantic heritage Sangorski signalsâ "he has styled them rather obviously after Lawrence Alma-Tadema, being equally devoted to texture, reflective surfaces, and tableaux of ancient Greece. Uncommon to Sangorski's series of manuscripts is the penultimate leaf, which bears a short biography of Gray. Bound by Rivière & Son relievo-style, in full blue morocco with an inlaid red morocco and gilt-ruled border around a dense frame of gilt floral and leaf designs, grounded in pointillé and punctuated with dots in dark blue and petals in red. The frame on the upper cover surrounds an arabesque recessed panel containing molded a leatherwork design of a rose bush on which alight a bird, a butterfly, and bees with mother-of-pearl wings. The lower cover identically framed around an arabesque recess, this with molded leatherwork showing blue morning glories inhabited by a moth, a caterpillar, ladybugs, and more bees with mother-of-pearl wings. Spine in six compartments, two with titling in gilt and remaining four with borders of red and gilt around gilt panels. Maroon morocco doublures, blue silk flyleaves, edges gilt. Fine. Housed in a silk-lined box. A.e.g. Bookplate of Cornelius J. Hauck on front flyleaf. (Hauck 668, Lahey 63).
Edité par Philadelphia: Frederick W. Greenough; Daniel Rice & James G. Clark, 1838-1842-1844., 1844
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre
Hardcover. Etat : Very Good. Dust Jacket Included. 3 volumes, folio (20 1/4 x 14 1/4 in.; 51.4 x 36.2 cm). 120 hand-colored lithographed plates, 1 page of lithographed maps, and 17 pp. of subscribers' signatures, Volume I in state C with "War Dance" plate and "Red Jacket" plate in State D; vol II in state B; and vol III in state A. This copy has coloring darker and richer than is sometimes seen; a few plates toned, or with scattered light foxing, minimal offset from text to plates, first volume with "Kiontwogky" plate incorrectly pulled with text smeared below image, "Okeemakeequid" plate with slight shadow to text, "Buffalo Hunt" plate (lightly), and the subsequent text leaf, "Katawabeda" plate creased not affecting image, contents leaf creased. Early crimson half morocco over marbled boards, spine gilt-lettered and with Native American and tomahawk and peace pipe devices, by J. Wright; hinges cracked, all volumes with shelfwear to bindings, a few stray stains, joints and corners rubbed and with some flaking, some oxidation to gilt. Custom red cloth clamshell boxes. Soon after Thomas L. McKenney was appointed Superintendent of Indian Trade in 1816, he struck upon the idea of creating an archive to preserve the artifacts, implements, and history of the Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney through his tenure as Superintendent and also when he served as the first head of the Bureau of Indian Affairs beginning in 1824. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the archives. King would, for the following twenty years, capture the likenesses of the many visiting Indian dignitaries, as well as rework the less skillful watercolors created in the field by the less able James Otto Lewis. Many saw the great value in preserving what was already known to be a vanishing race, but others in government criticized the expenses incurred. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work was a financial failure-its exorbitant price prohibited all but the wealthy and public libraries from subscribing to it. REFERENCES: BAL 6934; Howes M129; Reese Stamped with a National Character 24; Sabin 43410a; Viola The Indian Legacy of Charles Bird King. BAL 6934; Howes M129; Reese Stamped with a National Character 24; Sabin 43410a; Viola,The Indian Legacy of Charles Bird King. PROVENANCE: Bruce McKinney, his sale The American Experience: 1630-1890, Bonham's 2 December 2010, lot 223. Acquisition: Sotheby's New York, 21 May 1993, lot 103 (L64F11bisC).
Edité par J.J. Audubon and J.B. Chevalier, Philadelphia, 1840
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. Etat : Very good. First. THE MAJ. GEN. A.A. HUMPHREYS COPY. AN EXTRAORDINARY SUBSCRIBER'S SET WITH ALL 100 PART-WRAPPERS BOUND IN. 7 volumes. Voll. I-V: New York: J.J. Audubon and Philadelphia: J.B. Chevalier, 1840-1841-1841-1842-1842; voll. VI-VII: New York and Philadelphia: J.J. Audubon, 1843-1844. First octavo edition. Royal octavo (10" x 6 3/8", 255mm x 162mm). With 500 hand-colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly et al., printed and colored by J. T Bowen. Bound by Bradstreet's (signed at the upper edge of the verso of the front free end-paper; late XIXc?; re-backed, with the original back-strips laid down) in contemporary half green crushed morocco over marbled boards. On the spine, five raised bands. Title gilt to the second panel, author gilt to the third, number gilt to the fourth and imprint gilt to the tail. Top edge of the text-block gilt. Marbled end-papers to match the boards. Re-backed, with the original back-strips laid down. Scuffed at the extremities, but altogether a solid set. Foxed mildly throughout, though mostly to the text. Damp-staining to the upper fore-corner of II.191-212 (pp. 113-128), not affecting the text. Part 28 rear wrapper (vol. II) with a repaired hole; scattered small splits and repairs to the remaining wrappers. First free end-papers of voll. 1, 2 and 6 detached. Ownership signature of A.A. Humphreys to many of the wrappers (sometimes obliterated). John James Audubon (1785-1851) was a larger-than-life figure; tall, wildly-dressed, bear fat as hair pomade. His project of illustrating the birds of America, which in its original double elephant folio format was issued in parts 1827-1838, electrified British and continental audiences, and it is from them that the subscriptions to sustain that Atlantean effort were drawn. Once his dominance of the field was established, Audubon could turn to the more natural audience for the subject: Americans. This is the only octavo edition Audubon himself issued, and it allowed him to establish his reputation with those who could not afford the folio edition. The octavo edition is, in a sense, the homecoming of the work. Audubon added 65 plates to the double elephant's 435, bringing the number to 500. Audubon's son John Woodhouse reduced the original plates using a camera lucida, separating out multi-species plates and in many cases recomposing the backgrounds. The original division of the Birds project as plates-only, with the Ornithological Biography issued as a quasi-separate work (in order to avoid copyright deposit requirements), has been cured, so to speak; Audubon's Synopsis of the Birds of America (1839) provided the framework for reorganizing and reintegrating text and image. The project was a success, attracting some 700 subscribers willing to pay $100 for the 100 parts (14 each in voll. I-VI, 16 in vol. VII) issued over five years. The present set is in many ways exceptional, not least for the preservation of the 100 parts' wrappers printed on blue, buff and grey paper (i.e., 200: front and back). The wrappers for the text and plates are bound continuously at the rear of their respective volumes. Rare Book Hub records copies with wrappers bound in coming to auction 12 times, usually incomplete. The present copy belonged to Major General Andrew Atkinson Humphreys (1810-1883), who eventually rose to be Chief Engineer of the United States Army; he is listed among the subscribers of Washington, D.C. Humphreys led his brigade at Antietam, Fredericksburg and, catastrophically, at Gettysburg. Acquired at the Sotheby's New York sale of John Golden (22 November 2022, lot 1). Mr. Golden, long a client of Arader's, has through his life worked in the field of printing. His collection, amassed over forty years, contains examples of finely printed works of natural history. Ayer/Zimmer, p. 22; Bennett, p. 5; Church 1352; McGill/Wood p. 208; Nissen, IVB 51; Reese, American Color Plates Books 34; Sabin 2364.
Edité par Thomas Martyn, 10 Great Marlborough Street, London, 1796
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
3 volumes. Folio. (13 1/2 x 10 5/8 inches). 102 watercolors over etched line. 90 distinct watercolors with 12 variants. 1795 Volume: Unpaginated, 86 pp. Manuscript title page and 42 watercolors over etched line. 1796 Volume I: Unpaginated, 130 pp. Manuscript title and 30 watercolors over etched line, each with manuscript description on preceding leaf. 1796 Volume II: Unpaginated, 68 pp. 29 watercolors over etched lines with 3 ink manuscript leaves with descriptions. All finely bound in contemporary straight-grained red Morocco, 1795 Volume with gilt fillet, 1796 Volumes with gilt fillets and Greek key pattern borders on covers, all spines gilt in compartments, 1796 Volumes with drawer-handle motifs, all titled in gilt in second compartment [MARTYN'S PLANTS], 1795 Volume with marbled black and red endpapers, 1796 Volumes with marbled cobalt endpapers. 1795 Volume and 1796 Volume I with binder's ticket of Charles Hering (1763-1815) of 10 St. Martin Street in London on front pastedowns of each. An unparalleled collection of 102 magnificent watercolor botanical illustrations by Thomas Martyn and his academy. One of the rarest botanical books by a renown master; only four other examples in the census of copies. The Thomas Martyn (fl. 1760-1816) who produced Figures of Plants is not the Thomas Martyn (1735-1825) who wrote the commonly found Flora Rustica (1792) and was a professor of botany at Cambridge, like his father John Martyn (1699-1768). Our Martyn was born in Coventry, England. He was an artist and publisher of the natural sciences known best for the Universal Conchologist which illustrated exotic sea shells and won medals from many European leaders. His illustrations of plants, butterflies, shells, and spiders, remain among the most exquisite issued in book format. The plates of Martyn's books were lightly etched and watercolored by a group of young apprentice artists trained by Martyn for an operation he called the Academy for Painting Natural History. Martyn opened the academy in 1786 and by 1789 he employed 10 apprentices. Martyn recruited these youths because he desired a "uniformity and equality of style, conception, and execution which it would be in vain to expect from a variety of independent artists." Subsequent publications Martyn and his academy published include The English Entomologist (1792); Aranei or a Natural History of Spiders (1793); and Psyche: Figures of Nondescript Lepidopterous Insects (1797). The 1795 Volume has chain-laid endpapers with a "Lepard" watermark and wove paper with "J. Whatman" watermarks. The 1796 Volumes have "J. Whatman" watermarks on wove paper. The 1795 Volume is credited to "Mr. Martyn" at "No 10 Great Marlborough Street London" while the 1796 Volumes are credited to "Thomas Martyn" at "Great Marlborough Street London" with no street number. Each of the manuscript description leaves in the 1796 Volumes include the plant's common name, its Latin binomial, and a brief description as to its prevalence, habitat, size, and season. All of the drawings in 1796 Volume 1 have a leaf of manuscript description; only 3 in 1796 Volume II do. Figures of Plants Census: 1. British Library copy: 43 plates, no descriptions, 1795. Shelf number: 44.i.18 2. Newberry Library copy formerly owned by Henry Probasco: 2 folios, 65 plates, 1795-1796. 3. John Townley copy sold at Christie's October 19, Lot 28 in 1999: 2 volumes in 1, 65 plates, 1796. Sold at $157,965. 4. Fattorini copy sold at Sotheby's May 8, Lot 20 in 2002: 1 volume, 51 plates, 1795. Sold at $87,162. 5. Our copy: 3 volumes, 102 plates, many with descriptions, 1795-1796. Plate names: 1795 Volume: 42 distinct figures, hand-numbered in pencil with plate names. Unlike the 1796 volumes, these figures are depicted within gilt-rulings: 1. Sublinear Aster. 2. Heart Leaved Aster. 3. One Flowered Aster. 4. Indian Aster. 5. Umbrella Aster. 6. Pyrenean Aster. 7. Thready Flap. 8. Broad Leaved Pokeweed. 9. Short Rayed Aster. 10. Dolled Aster. 11. Curled Leaved Aster. 12. Canada Teucrine. 13. Teattering Aster. 14. Long Beaked Cranebill. 15. Caroline Sun Flower. 16. Hyssop Skullcap. 17. Oval Rockweed. 18. Wavy Leaved Aster. 19. Tuft Sword Leaf. 20. Common Willow Wart. 21. Long Spiked Aster. 22. Drooping Leaved Aster. 23. Pinnfield Bryong. 24. Blustery Aster. 25. Hairy Sleeps Rampion. 26. Expanded Hopwort. 27. Flaxy Aster. 28. Embroidered Cranebell. 29. Superb Tuft Flower. 30. Blue Sapifrage. 31. Arrow Broom. 32. Five Leaved Rattlewort. 33. Hoary Linwood. 34. Painted Cranebell. 35. Tall Bare Rocked. 36. American Hyssopine. 37. Entire Leaved Starry Scabious. 38. Alpine Downwort. 39. Ramping Leopard's Bane. 40. Helianthoide Ox Eye. 41. Hooked Mariot. 42. Pale Mullein. 1796 Volume I: 31 figures, 20 of which are distinct, 11 are variants. Hand-numbered in pencil with preceding ink manuscript name and description. 1. Sublinear Aster. 2. Pale Mullein. 3. Dingy Wellwood. 4. Coval Bears Sanicle. 5. Dark Loose Stripe. 6. Short Rayed Aster. 7. Heart Leaved Aster. 8. Broad Loose Stripe. 9. Indian Aster. 10. Hairy Aster. 11. Red-disk'd Aster. 12. Tufty Sword Leaf. 13 Heathy Aster. 14. Five Leaved Rattlewort. [Skips plate 15.] 16. Woody Tobacco. 17. Ramping Leopard's Bane. 18. Warted Thorn Apple. 19. Folded Sanicle. 20. Leafy Knight Weed. 21. Hyssop Skullcap. 22. Helianthoide Ox-Eye. 23. Fine Saned Pleuridge. 24. Violet Bell Flower. 25. Moors Teucrine. 26. Decumbent Mud-Weed. 27. Egg-Leaved Light Wort. 28. Stinging Tobacco. 29. Painted Cranebill. 30. Oriental Taperweed. 31. Azure Pink Weed. 32. Sea Scording. 1796 Volume II: 29 figures, 28 of which are distinct, 1 is a variant, with 3 ink manuscript title leaves and plates hand-numbered in pencil: 33. Long-Flowered Marvel of Peru. 50. Prickly Molucca Baum. 54. Water Mint. The rest of the figures are untitled. Boulger, Dictionary of National Biography, 1885-1900, Volume 36. Dall, "Thomas Martyn and the Universal Conchologist," Proceedings of the US National Museum, No. 1425, 1905, 415-432. Nichols, Li.
Edité par Augsburg, Anton Sorg, 25. IX. 1482., 1482
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Edition originale
Folio (214 x 296 mm). 391 ff., lacking only the final blank, otherwise complete. With 19 large Maiblumen initials, large woodcut frontispiece and 275 woodcut illustrations, all in contemporary colour. Contemporary boards, original covering replaced in the 17th century with tooled Spanish leather, boards with supralibros and a complicated brocade design of parallel curved and straight lines, small squares and discs, fixed with a metallic film and glue, painted in reddish gilt, silver, and black; somewhat worn, joints restored, clasps removed, preserved in a dark green cloth Solander box. An influential early work on the lives of the Saints of Christendom, each woodcut in vibrant contemporary colour. The first edition with this illustration cycle; second German edition overall. - This stimulating work is a collection of biographies of the so-called Desert Fathers, both male and female: early Christian hermits who retreated from secular life into the deserts to practice ascetism and a life of devotion. The earliest versions of these "Vitae" were written in the third and fourth centuries and were extremely popular in early monastic circles. There was never a standardized order or set of these texts; rather, they were adapted according to the varying focuses of the convents for which they were made. A special appeal of the printed editions is the great number of often highly vivid woodcut illustrations, which made it easier and more enjoyable to read and hear these stories. Our copy is furthermore heightened with handsome contemporary colouring. - Transmitted under the Latin title of "Vitae sanctorum patrum" or "Vitas patrum", this collection consists of stories about early Christian hermits who, from the third century on, had retreated from cities and villages to the deserts of North Africa and Asia Minor to lead a life of devotion and ascetism. There was never a canonical combination of texts that formed the corpus of the "Vitas patrum"; instead, the choice of texts could vary according to the focus of the respective institution that owned the book. From the sixth century onward, the Rule of St. Benedict recommended the "Vitas patrum" as essential reading for monks. St. Dominic was ardently devoted to the lives of the Desert Fathers, and the influence of these texts on the development of Western monastic culture can hardly be overestimated. Virtually every monastery owned a copy of this "textbook for ascetism" (another designation for these compilations of narratives). In the Middle Ages, these accounts of the lives, deeds, and sayings of the Saints were attributed to St Jerome, although he in fact wrote only three of the biographies: he was responsible for the lives of SS. Hilarion, Malchus, and Paul the Hermit. - The present German edition was preceded only by the one printed in Strasbourg before 1482, by the unknown "printer of the Antichrist". That edition contained only a reduced number of exempla from the original collection, but boasted sayings from sources other than the "Vitas patrum", making this a different and shorter work. For the considerably extended Augsburg edition at hand, the printer Anton Sorg added the Bavarian "Verba seniorum", a collection of about 750 exempla originating in Bavaria, ca. 1400. The printer s purpose was clearly to offer the most complete combination of the German texts on the subject. Apparently, this edition satisfied the demand with regards to content, as later editions were not augmented. - This is one of the most lavishly illustrated incunables printed in Augsburg. It is adorned with 276 woodcuts printed from 204 blocks. The opening full-page woodcut depicts six of the hermits in a landscape; apart from the full-page title cut (195 x 140 mm) and the author portrait showing St. Jerome (100 x 80 mm), the text illustrations measure ca. 73 x 68 mm. - Many of the stories are long adventures, calling for more than one illustration. The story of Malchus the monk, for example, is accompanied by four illustrations: against the insistent warnings of the abbot, Malchus leaves his convent in the desert to visit his native town in Syria to comfort his widowed mother. On their way, the travel group is taken captive by the Saracens. The abductors keep Malchus as their slave and shepherd, after a while urging him to marry a young Christian woman among the other captives. Since she is still married to another man, Malchus is appalled and tries to refuse the alliance. His captors threaten him badly, however, so he yields, and he and his new wife live together in chastity, eventually deciding to escape from the Saracens' camp. In preparation, Malchus slaughters two of his goats, makes bags of their skin, and takes the meat as supplies for their flight. On their way to freedom, they must cross a wide river, and they inflate the goat bags, floating to the other side in safety. - This narrative is remarkable because it invites the illustration of nudity, which would normally be considered indecorous within a pious book from a medieval point of view. While Adam and Eve and perhaps tortured martyrs might appear nude, the theme did not extend much further. Our story, however, explains that the Saracens' slaves were often naked, since their garments would fall to pieces and they were not provided with new ones. - The master of the Sorg cuts knew and used the Strasbourg compositions as models. It is clear that he did not make mere copies, but rather had to adapt the composition from a horizontal image to one that was nearly square. The resulting composition, focused squarely on the bodies in flight, offers a more vivid, physical illustration of the escape. The models for the second part, the exempla, must have been adapted from another source, possibly a manuscript, as the Strasbourg edition provided only four pictures for this part. It is also conceivable that the talented artist who designed the illustrations for the first part also invented the designs for the remaining w.
Edité par Philadelphia: Frederick W. Greenough; Daniel Rice & James G. Clark, 1838-42-44, 1838
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre Edition originale
Hardcover. Etat : Very Good. 1st Edition. 3 volumes, folio (19 ¾ x 14 in.; 50.2 x 35.6 cm). 120 handcolored lithographed plates heightened with gum arabic, including 117 portraits after C.B. King and 3 scenic frontispieces after Rindisbacher, leaf of lithographed maps and table, 17 pages of facsimile signatures of subscribers, leaf of testimonials regarding the genuineness of the portrait of Pocahontas, state C of vol. 1 title-page, state D of the War Dance frontispiece and state F of Red Jacket, vol. 2 title-page in state B, vol. 3 title-page in state A; vol. 3 frontispiece plate trimmed and repaired, faint text offsetting to 4 plates in same, WITHAL AN IMMACULATE, BRIGHT COPY WITH VIVID COLORING. Half green morocco over pebbled green cloth, gilt titles in decorative border on upper covers, the spine in 7 compartments gilt (2 lettered), yellow-coated endpapers; rebacked and recornered to style; covers rubbed, a few water spots on front cover of vol. 2, dampstaining to flyleaves in all three volumes. FIRST EDITION, "OF THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION AND ONE OF THE MOST IMPORTANT OF THE CENTURY" (Reese), with Volumes I and 2 in the second issue, and Volume 3 in the first issue. Its long publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most important and distinctive books in Americana. Soon after his appointment as Superintendent of Indian Trade in 1816, Thomas L. McKenney struck upon the idea of creating an archive to preserve the artifacts and history of Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney throughout his tenure as Superintendent and then in 1824 as first head of the Bureau of Indian Affairs. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the Archives. For the next twenty years, King would capture the likenesses of the many visiting Indian dignitaries who had come to Washington to meet the "Great Father" (i.e., the president), as well as rework the less skillful portraits of James Otto Lewis. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work wasn't a financial success. Its exorbitant price prohibited all but the wealthy and public libraries from subscribing. REFERENCES: BAL 6934; Bennett 79; Field 992; Howes M129; Lipperheide Mc4; Reese, Stamped with a National Character 24; Sabin 43410a; Viola, The Indian Legacy of Charles Bird King (L64F11bisE).
Edité par [Various], [Various], 2011
Vendeur : Type Punch Matrix, Silver Spring, MD, Etats-Unis
Etat : About very good overall. Collection of almost 230 books from the library of legendary singer and songwriter Amy Winehouse - a narrative of her life and career through her personal reading, from her school days through her rise to fame and career. Winehouse was a known reader; both she and her family commented on this aspect of her personality over the years in interviews. These, her own copies of her books, make it easy to recognize the teenager who loved Salinger, the nerd who acquired numerous graphic novels, the training vocalist reading multiple Frank Sinatra biographies, and the touring musician just looking for a good read to pass the time on the road. Among the books are well-read favorites (like Jackie Collins) and gifts from friends (such as a photobook inscribed by Dave LaChapelle, who directed her music video "Tears Dry on Their Own"). Winehouse's annotated copy of LITTLE SHOP OF HORRORS, in which she starred for a school production, shows the 1960s roots of a music and style that would go on to deeply influence her, especially on BACK TO BLACK. Fragments of lyrics and rhymes to an unfinished song are written into a copy of Allen Ginsberg's HOWL; her beloved grandmother's email is penned on a bookmark; the guest list for a party is written on the last page of one book; in another, there is an ownership stamp of one of the hospitals where Winehouse was once admitted. There are books from schools she attended (some with her annotations), books inscribed to her (including one from ex-husband Blake Fielder-Civil), and books about or by other musicians who struggled with addictions (Jimi Hendrix, Boy George, Alex James, Anthony Kiedis). More than merely biographical, however, the collection also suggests how her reading influenced her songwriting. Too often lost in discussions of Winehouse and too easily missed in the shadow of her amazing voice is just how great a songwriter she was - a talent arguably the equal of her singing. "Meet me downstairs in the bar and hurt / Your rolled up sleeves and your skull t-shirt," she wrote with a novelist's eye for detail in "You Know I'm No Good." In that same song, the lines are almost cinematic: "Then you notice little carpet burn / My stomach drop and my guts churn / You shrug and it's the worst / Who truly stuck the knife in first" - an attention to physical characterization that would not feel out of place in a screenplay. Such influences are present throughout the books in the collection: Charles Bukowksi's alcoholic ambivalence, echoed so effectively in her biggest hit "Rehab"; the Nabokovian self-awareness of lines like "I'll be some next man's other woman soon," or Salinger's finely tuned adolescent empathy heard in the heartbreak throughout the entirety of BACK TO BLACK. The collection was acquired at a 2021 auction by the singer's estate held to raise funds for the Amy Winehouse Foundation. The collection offered here reassembles approximately 75% of all of the books on offer that day. While it is not entirely comprehensive, it is certainly representative - and therefore important. The collection here is offered en bloc. An intimate, tender, and revealing look into the intersection of the public, private, and creative lives of one of the most indelible musical artists of the early 21st century. Collection of 227 books, all from the library of Amy Winehouse. Mix of hardcover and paperback bindings as well as formats. A complete inventory, prospectus, and additional images are available on request. Provenance: The Estate of Amy Winehouse via Julien's Auctions, Los Angeles (Property From The Life And Career Of Amy Winehouse, November 6th and 7th, 2021). A copy of the limited edition slipcased catalogue is provided. Various conditions, but most titles well-read and used.
Edité par J.J. Audubon and J.B. Chevalier, Philadelphia, 1840
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. Etat : Very good. First. AN EXCELLENT SUBSCRIBER'S SET FROM THE LIBRARY AT MONDAWMIN, BALTIMORE. First octavo edition. 7 volumes. Voll. I-V: New York: J.J. Audubon and Philadelphia: J.B. Chevalier, 1840-1841-1841-1842-1842; voll. VI-VII: New York and Philadelphia: J.J. Audubon, 1843-1844. First octavo edition. Royal octavo (10" x 6 3/8", 255mm x 162mm). With 500 hand-colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly et al., printed and colored by J. T Bowen. Bound in the publisher's green morocco. On the boards, two blind fillet borders with blind scrollwork corner-ornaments. On the spine, four raised bands. Title gilt to the second panel, author and number gilt to the fourth. Dotted gilt roll to the edges of the boards. All edges of the text-block gilt. Lacking the half-titles of voll. I-II and the subscribers' list of vol. VII. Mild tanning and offsetting (of both ink and pigment) throughout, but altogether clean. Nine horizontal plates shaved at the head. Plate 471 bound after pl. 475. Bookplate of Macaulay (motto: "BEING AND TO BE.") at Mondawmin, completed manuscript (nos. 235-241) to the front paste-down of each volume, offsetting tot the recto of the first free end-paper. Conserved in 2020 by Judith Ivry, with the front hinge of vol. I repaired. Some splits and chips consolidated and toned. An overall excellent set. John James Audubon (1785-1851) was a larger-than-life figure; tall, wildly-dressed, bear fat as hair pomade. His project of illustrating the birds of America, which in its original double elephant folio format was issued in parts 1827-1838, electrified British and continental audiences, and it is from them that the subscriptions to sustain that Atlantean effort were drawn. Once his dominance of the field was established, Audubon could turn to the more natural audience for the subject: Americans. This is the only octavo edition Audubon himself issued, and it allowed him to establish his reputation with those who could not afford the folio edition. The octavo edition is, in a sense, the homecoming of the work. Audubon added 65 plates to the double elephant's 435, bringing the number to 500. Audubon's son John Woodhouse reduced the original plates using a camera lucida, separating out multi-species plates and in many cases recomposing the backgrounds. The original division of the Birds project as plates-only, with the Ornithological Biography issued as a quasi-separate work (in order to avoid copyright deposit requirements), has been cured, so to speak; Audubon's Synopsis of the Birds of America (1839) provided the framework for reorganizing and reintegrating text and image. The project was a success, attracting some 700 subscribers willing to pay $100 for the 100 parts (14 each in voll. I-VI, 16 in vol. VII) issued over five years. The present set, in a publisher's binding, belonged to one of those subscribers, Dr. Patrick Macaulay (though the list of subscribers reads "Macauley;" 1795-1849). Macaulay was one of the great men of Baltimore: a physician, member of the City Council (First Branch, Ward 9) and a director of the B&O Railroad. Macaulay's Mondawmin estate in what is now northwest Baltimore was named, it is written, by Henry Wadsworth Longfellow after the Ojibwa corn god (properly "Mondamin"). The Greek revival house was likely designed by Robert Cary Long Jr., and its library held a vast collection of Americana. Catalogue of the personal property of the late Dr. P. Macaulay, to be sold by publi sale at Mondawmin. Cannon & Bennet. 11 October 1850, lot 319. Ayer/Zimmer, p. 22; Bennett, p. 5; McGill/Wood p. 208; Nissen IVB 51; Reese, American Color Plates Books 34; Sabin 2364.
Edité par Various, Various, 1965
Vendeur : Type Punch Matrix, Silver Spring, MD, Etats-Unis
Edition originale Signé
Etat : Very good. First edition run of all 24 novels in the Tarzan series, including TARZAN OF THE APES in the rare original dust jacket and five inscribed books - along with Burroughs's rare 1917 AUTO-BIOGRAPHY and two further Tarzan titles. Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies - beginning in 1918, during the early years of popular film - was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world - in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate & Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate & Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," - a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of TARZAN OF THE APES in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: BEASTS OF TARZAN (#3) and SON OF TARZAN (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are TARZAN AND THE TARZAN TWINS, which collects two Tarzan novellas for younger children; and THE OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon. 27 volumes, most 7.25'' x 5''. Original cloth bindings. All in original dust jackets except RETURN, BEASTS, and SON; EARTH'S CORE in a later Grosset & Dunlap jacket. TARZAN OF THE APES in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn. Additional first editions outside the Tarzan novels: AN AUTO-BIOGRAPHY (1917); TARZAN AND THE TARZAN TWINS (1963); and OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA (1939). Jackets of TARZAN OF THE APES, JEWELS, TERRIBLE, GOLDEN LION, and ANT MEN restored; a few others with tape repairs or chipping to edges. Condition ranges from fine copies (TRIUMPHANT, FORBIDDEN CITY) to very good minus (JUNGLE TALES, LORD); overall very good. Five inscribed books: BEASTS, SON, GOLDEN LION, INVINCIBLE, and LEOPARD MEN. AUTO-BIOGRAPHY and FOREIGN LEGION in custom clamshell boxes. A full inventory is available upon request.
Edité par Published for the Author [by Thayer & Eldridge], Boston, 1861
Vendeur : Burnside Rare Books, ABAA, Portland, OR, Etats-Unis
Edition originale
Etat : Very Good. First Edition. First edition. 306 pp. Bound in recent three-quarters leather over marbled boards. Very Good, page 96/97 lacking and provided in facsimile, several leaves either remargined or repaired at the gutter. Soiling, staining, creases and wear to contents throughout, contemporary former owner names to front free endpaper and top of title page, and vintage private ownership label to top margin of contents page. A truly scarce landmark of American literature, many times more rare in commerce and at auction than many of the 19th century ex-slave narratives with which is often compared such as Narrative of the Life of Frederick Douglass. It was long thought to be fictional, utilizing the narrative techniques of the sentimental novel as it does and published under a pseudonym, until the 1980s when historian Jean Fagan Yellin established it was Harriet Jacobs' autobiography. In particular, the attention Jacobs called to the sexual abuse and exploitation of female slaves was quite ahead of its time, not to mention effective at making her abolitionist and feminist argument in a visceral way readers could not ignore. One of the major documents with which we understand the 19th century American experience.
Edité par [Turkey: 1955], 1955
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
A significant Fleming manuscript, his notebook filled with observations, questions, and ideas from his observation of the 23rd annual conference for the International Criminal Police Commission in Turkey, gathering material which had a clear influence on From Russia, With Love and the remainder of the Bond series. The manuscript was studied and cited by Pearson in his biography of Fleming. The 1955 conference of the ICPC - the precursor to Interpol - drew together government representatives, agents, and related stakeholders from around the world. Fleming was sent to cover the conference for the Sunday Times, travelling in the company of Sir Ronald Howe, the Assistant Commissioner of Scotland Yard, and was introduced to a number of important businessmen and government officials. "The elaborately embossed blue pads which the Turks had distributed were ideal for a thriller-writer's notes and queries, and he brought several pages of these back with him" (Pearson, p. 272). Fleming was disappointed with the people he met at the conference. "The idea of an Interpol Conference sounds like a thriller-writer's private gold-mine. The reality must have given Fleming on more reminder that fiction is stranger and infinitely more satisfactory than truth. For the truth about the Interpol Conference was that it was a very serious, very unspectacular convention of dedicated professional men, and it needed all Fleming's ingenuity to discover sufficient news for an article on the conference agenda for that week's Sunday Times. all this left Fleming rather stunned, and he gave his private verdict on the Interpol Conference in a letter to Admiral Godfrey. It sums up the curious contempt which the man who dreams about crime must always feel when he meets the men who merely deal with it. 'The trouble with these policemen', he wrote, 'is that they have no idea what is really interesting in their jobs and regard criminal matters as really a great bore'" (Pearson, p. 270). Nonetheless, the manuscript notes show Fleming paying close attention to the intelligence community and especially the Russians, evidently with an eye to material for his novels. He jots down subjects on which information is needed including "types of cigarettes, cigars. is tea brought into meetings? Russian girls love Englishman - what for - what dislikes". He questions "Types of cigarettes, cigars, Black Sea villa - where, description, swear-words. In conversation-polite? Harsh?". He notes of Russian women "no women smoke not well regarded. Hair very important. Puritanical sexually. No lipstick. Good clean nails. girls must have scent". Fleming makes numerous comments regarding the operations of various global intelligence services, Russian language, and culture - "Colours of folders. Top Secret, etc. SMERSH. Show passes - what color - photo taken again. Use numbers? Or letters! for spies?". Aside from the conference, Fleming travelled around Istanbul, and witnessed a riot after news broke that the birthplace of Kemal Ataturk had been bombed by Greek terrorists. This, Pearson notes, was Fleming's first sight of real violence (p. 271). Most important was Fleming's guide for the trip, the Oxford-educated shipowner Nazim Kalkavan, who regaled Fleming with thrilling tales of Soviet spies and vengeful belly-dancers. Though Fleming notes in his personal copy of this title (held in the Lilly Library, University of Indiana) that the character of Darko Kerim was entirely fictional, Gilbert and Pearson both note that the number of similarities between the character and Kalkavan suggest otherwise. Another note "popular gold in teeth. Steel caps = service teeth" - seems a foreshadowing of the character Sol 'Horror' Horowitz in the Spy Who Loved Me, further adapted as the character of Jaws in later Bond films. Provenance: Sotheby's, London, July 20, 1989, lot 176. Gilbert A5. John Pearson, The Life of Ian Fleming, 1966. Top-bound notepad (275 x 198 mm), emblems of the International Criminal Police Commission (ICPC) and the Turkish Criminal Police Commission printed in dark blue to front paper wrapper and at head of each leaf, 3 initial leaves with autograph notes in blue ink (rectos only). Together with a bifolium (336 x 210 mm), 4 lined pages, pp. 1, 2 and 4 featuring autograph notes in red and blue ink. Housed in a black quarter morocco solander box by the Chelsea Bindery. Notepad: a few light marks to wrappers, minor creasing at head of block, couple of horizontal creases to wrappers, and to a few initial leaves where previously folded over, two short closed tears in margin of front wrapper corresponding with creases, first leaf detaching slightly from block on the upper left side but holding firm. Bifolium: mild toning, minor creasing to corners, central horizontal crease, leaves with short split starting along the fold at edge, just touching three letters on one page, light foxing to outer margins, tiny mark from adhesion of p. 2 and 3 in the upper inner corner, small spots to p. 4. Some pencilled notes to the documents from John Pearson's prior research, clippings and printouts on the notes also included. A number of initial leaves of this notebook were excised at a previous time and are now held in the Lilly Library. Overall in very good condition.
Edité par Frederick W. Greenough (vol.I) and Daniel Rice & James G. Clark (vols.II & III), Philadelphia, 1844
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
3 volumes, folio. (19 3/8 x 13 1/4 inches). 120 hand-coloured lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P.Rhindesbacher and R.M.Sully, drawn on stone by A.Newsam, A. Hoffy, Ralph Trembley, Henry Dacre and others, printed and coloured by J.T. Bowen and others, vol.III with 2 lithographed maps and one table, 17pp. of lithographic facsimile signatures of the original subscribers. Expertly bound to style in black half morocco over original cloth-covered boards, spines gilt in seven compartments with raised bands, lettered in the second and fourth compartments, the others with repeat decoration in gilt made up from various small tools First edition of "One of the most costly and important [works] ever published on the American Indians"(Field), "a landmark in American culture" (Horan) and an invaluable contemporary record of a vanished way of life, including some of the greatest American hand-coloured lithographs of the 19th century. A fine copy. After six years as superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, the Illinois journalist, lawyer, state treasurer and, from 1833, Cincinnati banker who had written extensively about the west. Both authors, not unlike George Catlin whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures amongst the Indian nations, followed by a general history of the North American Indians. The work is now famous for its colour plate portraits of the chiefs, warriors and squaws of the various tribes, faithful copies of original oils by Charles Bird King painted from life in his studio in Washington (McKenney commissioned him to record the visiting Indian delegates) or worked up by King from the watercolours of the young frontier artist, James Otto Lewis. All but four of the original paintings were destroyed in the disastrous Smithsonian fire of 1865 so their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to date, and its publishing history is extremely complex. The title pages give an indication of issue and are relatively simple: volume I, first issue was by Edward C. Biddle and is dated 1836 or more usually 1837, the second issue Frederick W. Greenough with the date 1838, and the third issue is by Daniel Rice & James G. Clark dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838 and the second issue by Rice & Clark and dated 1842. Volume III, first issue is by Daniel Rice & James G. Clark and dated 1844. BAL 6934; Bennett p.79; Field 992; Howes M129; Lipperhiede Mc4; Reese Stamped With A National Character 24; Sabin 43410a; Servies 2150.
Edité par Edward C. Biddle, 1836; Daniel Rice, 1838; and James G. Clark, 1844, Philadelphia, 1844
Vendeur : Donald A. Heald Rare Books (ABAA), New York, NY, Etats-Unis
Edition originale
Folio; 3 vols. (20 1/16 x 14 1/4 inches). 120 hand-colored lithograph plates, map, and 17-page subscriber list present. State "A" of volumes one and three, state "B" (issued with part 16) of volume two. 19th-century half-Morocco to style over marbled boards, spines gilt. Within individual chemises and slipcases. First edition of this Americana highspot, a profusely illustrated record of prominent nineteenth-century Native Americans, which was "the grandest color-plate book issued in the United States up to the time of its publication." (Reese) Thomas McKenney, a Quaker, was Superintendent of Indian Affairs from 1816-1822. While in this post he became concerned for the survival of Western tribes after observing unscrupulous people taking advantage of Native Americans for profit. McKenney decided to create an archive to preserve the artifacts and history of Native Americans whose culture was disappearing due to settler-colonialism. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to his archive. McKenney helped start the first national collection in Washington, the Archives of the American Indian, and served as curator of this archive while he was Superintendent of Indian Affairs and head of the Bureau of Indian Affairs. Perhaps surprisingly, in his government role, McKenney advocated for Indians to be removed to somewhere west of the Mississippi and the portraits he commissioned make reference to the benefits of missionary and "civilizing" work. He was instrumental in the passage of the 1830 Indian Removal Act, but also criticized some government policies toward Indians, which led President Jackson to dismiss McKenney from his post in 1830. After leaving government, McKenney was able to turn more of his attention to his publishing project recording biographies and portraits of Native Americans. Within a few years, he was joined by James Hall, a journalist, lawyer, and the Illinois state treasurer, who had written extensively about the West. Both authors saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures among the Indian nations, followed by a general history of the North American Indians. The work is famous for its color-plate portraits of chiefs, warriors, and women of various tribes, which are faithful copies of original oils by Charles Bird King. King painted the illustrious Indians from life in his studio in Washington, D.C., where McKenney commissioned him to record visiting Indian delegations from 1821 to 1837. At times King's paintings were worked up from the watercolors of the young frontier artist, James Otto Lewis. All but four of the book's original paintings were destroyed in the disastrous Smithsonian fire of 1865; their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th-century. Among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to that date, and its publishing history is complex. Its production spanned eight years, multiple lithographers, and was funded by 1,250 subscribers. The title pages give an indication of issue: Volume I, first issue was by Edward C. Biddle and is dated 1836; the second issue was by Frederick W. Greenough with the date 1838; and the third issue is by Daniel Rice and James G. Clark and dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838; and the second issue is by Rice and Clark and dated 1842. Volume III, first issue is by Daniel Rice and James G. Clark and dated 1844. American Color Plate Books, 24; BAL 6934; Bennett, 79; Best of the West, 68; Bowers, 339-40; Field 992; Howes M-129 ("d"); Lipperhiede Mc4; Sabin 43410a; Servies 2150; Stack, 5.
Edité par Edward C. Biddle (Vol. I), Daniel Rice and James G. Clark (Vol.II), Daniel Rice and James G. Clark (Vol. III), Philadelphia, 1844
Vendeur : The First Edition Rare Books, LLC, Cincinnati, OH, Etats-Unis
Edition originale
Etat : Very good. History of the Indian Tribes of North America by Thomas McKenney and James Hall. (illustrateur). First Edition, First State. Large Folio (560 x 400mm), in three volumes. Original binding, leather overlay on spine with raised bands, title in gilt on all volumes, restoration to spine and wear at corners. 120 hand colored lithographic plates, with 117 after the portraits of C. King and 3 frontispieces after Rindisbacher and Bodmer, leaf of statements noting the genuineness of the portrait of Pocahontas, 17pp of facsimile signatures of subscribers, uncolored lithographic sheet with two maps and chart of "Localities of all the Indian Tribes of North America in 1833," "Present Localities of the Indian Tribes west of the Mississippi, " and "Statement showing the number of each tribe of Indians." Marbled endpapers, with repair to front free endpaper of Volume 1. Some foxing throughout to text and individual plates, light transference on specific plates. Detailed description of individual plates available. A brilliantly colored set of this important first edition. Original tan paper printed wrappers for all 20 parts included, with 1-19 numbered and #20 noting "Agents For The Indian Biography." All individually sealed in protective mylar covers. According to BAL 6934, the parts offered here were from the following editions: Title Pages (Volume 1, State A - Volume 2, State B - Volume 3, State A), "The War Dance Plate" with 'State A' formatting, the "Red Jacket Plate" with 'State C' printing and the text of "War Dance" with second printing formatting (footnote at bottom of Pg. 3). Considered to be the most important collection of Native American imagery ever compiled, History of the Indian Tribes of North America was the life work of Colonel Thomas McKenney. The book was published in 20 parts, beginning in 1836, and sent to subscribers, who are noted in Volume III of the book. From there, subscribers were to have the book bound by local bookbinders, which accounts for some of the variations in pagination that is common with this work. After the 1865 fire at the Smithsonian, this book became the only record of the likeness of many of the Indian Leaders who are depicted in this work. (Howes M129) (Sabin 43410a) (BAL 6934).
Vendeur : The Raab Collection, Ardmore, PA, Etats-Unis
This fragment states that ?leaders doing the [right thing] was proving infectious?Mahatma Gandhi was assassinated on January 30, 1948. Gandhi had been an astute political campaigner who fought for and won Indian independence from British rule, and championed the rights of the Indian poor. His example of non-violent protest set the example for Martin Luther King and others, and is still revered throughout the world today.Gandhi?s biography states: ?He stopped at the thresholds of the huts of the thousands of dispossessed, dressed like one of their own. He spoke to them in their own language. Here was living truth at last, and not only quotations from books, for this reason the Mahatma [Great Soul], the name given to him by the people of India, is his real name. Who else has felt like him that all Indians are his own flesh and blood? When love came to the door of India, that door was opened wide. At Gandhi's call India blossomed forth to new greatness, just as once before, in earlier times, when Buddha proclaimed the truth of fellow-feeling and compassion among all living creatures.?In early September 1947, Gandhi moved to Delhi to help stem the rioting there and in the neighboring province of East Punjab. The rioting had come in the wake of the British partition of India into a largely Hindu India and largely Muslim Pakistan. The creation of the new independent dominions of India and Pakistan involved large, chaotic transfers of population between them, and there was violence and uprooted populations. Some Hindus saw the sufferings of Hindu refugees escaping from Pakistan as unbearable.Meanwhile, by late 1947, India and Pakistan were already at war over the province of Kashmir. The government of India, led by Congress Party leaders, had withheld a payment due to Pakistan in January 1948 because it did not want to finance Pakistan, which was at war with India at that time. Gandhi opposed the decision to freeze the payment as inconsistent with agreement, and on January 13, 1948, went on a fast-unto-death to pressure the Indian government to release the payment to Pakistan. The Indian government, yielding to Gandhi, reversed this decision, and Hindu extremists interpreted this sequence of events to be a case of Gandhi controlling power and hurting India and Hindus. The very day Gandhi went on his hunger strike the plot to assassinate him began to be planned. The hunger strike ended January 18.On January 20, 1948, two days after the termination of the fast, an attempt was made to throw a bomb at Gandhi as he was addressing a prayer meeting in the Birla House compound. The bomb exploded some fifty yards away from where he was sitting, but nobody was injured. A Hindu youth, described as a refugee from the West Punjab, was arrested and an unexploded hand-grenade was recovered from his pocket. The explosion was loud enough to be heard at a far-off distance. Gandhi remained unruffled. When Gandhi spoke, he referred to his statement that he might now proceed to visit Pakistan. But that, he explained, could only happen, if the Pakistan Government were convinced that he was a man of peace and friend of the Muslims and would, therefore, like him to go to Pakistan. He would, however, in any case, have to wait, till the doctors declared him fit to undertake the journey. This willingness to go to Pakistan further angered Hindu extremists. He also stated, referring to the sufferings of the Hindu and the Sikh refugees, that Pandit Jawaharlal Nehru was doing all that was possible in order to bring them speedy relief.Gandhi?s biography offers this description: ?Speaking after prayers on January 21, Gandhi referred to the previous day?s bomb explosion. He had been receiving anxious inquiries and praise for being unruffled during the accident. He thought that it was military practice and, therefore, nothing to worry about. He had not realized, till after the prayers, that it was a bomb explosion and that the bomb was meant against him. God only knew how he would have behaved in front of a bomb aimed at him and exploding. Therefore, he deserved no praise?.What he wanted to convey was that no one should look down upon the misguided young man who had thrown the bomb. He probably looked upon the speaker [Gandhi] as an enemy of Hinduism. After all, had not the Gita said that whenever there was an evil-minded person damaging religion, God sent some one to put an end to his life??The youth should realize that those who differed from him were not necessarily evil?Continuing he said, that some Sikh friends came and said that he should not think that the Sikhs had anything to do with the bomb explosion. He knew that the youth was not a Sikh. But what did it matter, whether he was a Sikh or a Hindu or a Muslim? He wished well to all perpetrators. He had told the Inspector-General of Police also, not to harass the youth in any way. They should try to win him over and convert him to right thinking and doing. He hoped that the youth as well as his guides would realize their error. For, it was a wrong done to Hinduism and to the country. He expected the audience to go on with the prayers, in spite of bomb explosions or a shower of bullets.?The next day, January 22, was the first time after the fast that Gandhi was able to walk to the prayer ground. He said in his prayer speech that he was slowly gaining strength and, God willing, he hoped to return to his normal health before long. Again quoting from his biography, Gandhi?s remarks were in part related to government leaders setting the right example. The fragment offered here is highlighted in bold.Autograph manuscript fragment, written on scrap paper, being edits Gandhi was making for publication of his January 22 speech. It is undated but it is after January 22, so in the last 8 days of his life. Gandhi said that a friend had written to him that although Pandit Nehru and other ministers and the officials might lodge some refugees in their houses, that would not even touch.
Edité par By Wynkyn de Worde, 27 August, London, 1527
Vendeur : Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, Etats-Unis
Hardcover. Etat : Fine. An excellent, complete copy bound in late 18th c. russia, gilt, hinges neatly repaired, corners bumped. Illustrated with a full page woodcut on leaf A1 showing an assembly of saints and martyrs, and 85 woodcuts in the text. Wynkyn de Worde's woodcut printer's device (incorporating Caxton's initials) on verso of final leaf. Text printed in Black Letter, in 2 cols of 46 lines. Title and imprint from colophon. Provenance: George Henry Arnold of Ashby Lodge (1791-1844), bookplate on front paste-down. The text is in very fine condition with minor blemishes as follows: scattered light spotting, discreet marginal repairs on leaves Q6, Q8, and Oo4. Tiny single wormhole in the opening leaves, short worm-trail and small wormholes in blank margins of closing gatherings. Other tiny wormholes in the text of the last few gatherings. A few minor marginal repairs. Full-page woodcut, first text leaf, and verso of final leaf lightly soiled, nearly-invisible repair to blank upper margin of first leaf. William Caxton's English rendering of one of the most popular and influential books of the Middle Ages: Jacopo da Voragine's 13th c. collection of lives and legends of the saints, the "Legenda Aurea"(ca. 1267). Caxton tells us that for his English version, first printed in 1483, he drew on Jean de Vignay's (ca. 1282-ca. 1340) French translation, Voragine's Latin original, and the medieval English version known as the "Gilte Legende". Caxton also added new text authored by himself. These included a series of Old Testament lives, beginning with Adam and Eve, and a life of St. Rocke, to which he appended the note, "translated out of Latin into English by me, William Caxton." Caxton's English versions of the biblical stories are of great importance. They are, in essence, the first English translations of sections of The Bible to appear in print. "The most comprehensive of all versions of the 'Legenda', Caxton's 'Golden Legend' augments by about one-third the original Latin. The most obvious difference between the Latin text and Caxton's edition is the greater comprehensiveness of the English work. Although four of the one hundred and eighty-two chapters now regarded as constituting Voragine's work are omitted in Caxton's version, he more than supplies for this deficiency by adding ten chapters on feasts represented in the post-Voragine accretions to the 'Legenda' and fifty-nine legends not found in the Latin. Of the one hundred and seventy-eight chapters of Voragine represented in Caxton's version, seventeen are quite divergent."(Jeremy, "Caxton's Golden Legend", Speculum 1946) "He also restructured the work. Caxton collected the stories of Christ's life together, separating the feasts of the 'sanctorale' [feasts of saints] from the the 'temporale'[the other major days of the liturgical year], although certain fixed feasts that often belonged to the 'temporale'-including Stephen, John the Evangelist, Holy Innocents, Thomas Becket, and Candelmas-remained within the 'sanctorale' portion; he included new saints and new feasts, notably Corpus Christi; and he added a collection of Old Testament lives to be read on particular days of the year, beginning on Septuagesima, with Adam, and concluding on the last Sunday in October, with Judith."(Ring, "Annotating theGolden Legendin Early Modern England", Ren. Qtrly, Vol. 72, No. 3) The Printer: Wynkyn de Worde The book is a fine example of printing by Wynkyn de Worde, (d. 1534) William Caxton's protégé and eventually successor. De Worde worked for Caxton at Cologne, Bruges, and Westminster from 1471 until Caxton's death in 1492, at which point he took over Caxton's business. De Worde thrived as a printer and publisher, moving from Westminster to London (where he operated two presses) and established a dynamic marketing network. "Caxton'sdeath early in 1492 changedWynkyn'slife.Caxton'swill is not extant and althoughCaxtonhad a daughter,Wynkyntook over the business. The sacrist's rolls for Westminster Abbey indicate that from 1491/2Wynkynrented the shop by the chapter house, formerly rented byCaxton, at10s.a year. He paid this rent until 1499.Besides the premises formerly occupied byCaxton,Wynkyn rented rooms just outside the abbey from 1495/6 until 1499/1500. He began, afterCaxton'sdeath, by usingCaxton'sdevice, founts, and woodcuts. In 1500/01Wynkynleft Westminster for London, where he settled at the sign of the Sun in Fleet Street in St Bride's parish. By 1509 he also had a shop at St Paul's Churchyard at the sign of Our Lady of Pity [where this 1527 edition of the 'Golden Legend'.]"(Oxford Dictionary of National Biography) De Worde first printed an edition of Caxton's "Golden Legend" in 1493, omitting the stories from the Bible. From 1498 onward, De Worde published complete editions of the text. NINTH ENGLISH EDITION (1st 1483). Title and imprint from colophon.
Edité par [Colophon] Salamanca, (Juan de Porras), 1517., 1517
Vendeur : Richard C. Ramer Old and Rare Books, New York, NY, Etats-Unis
Edition originale Signé
Folio (29.5 x 20 cm.), contemporary blind-tooled morocco over boards, complex interlacing roll alternating with rows of circular punches between sets of 3 parallel lines; expertly rebacked, and corners mended; metal clasps refurbished. Magnificent large woodcut on first leaf of a scholar at his desk in a carefully depicted study, above the title (which runs to 6 lines of gothic type), all within woodcut borders. On verso of first leaf, a large Crucifixion above a smaller vignette of the Last Supper, all within woodcut borders. Full-page woodcut logical charts on ff. 54r and 119v. Text in 2 sizes of gothic type (for the Aristotle text and the commentary), woodcut initials, 2 columns. An extremely rare work, in very fine condition. Contemporary ink notations on front pastedown. 128 ll. [xciii misfoliated xcix, cxvii misfoliated cxviii], signed a4, b-q8, r4. *** First edition in this form of Aristotle's logical work De interpretatione, with commentary by Dullaert. It was edited by Dullaert's pupil Juan Martínez de Siliceo, who later became one of Spain's most famous Renaissance scholars. According to the Dictionary of Scientific Biography, Dullaert's commentary on De interpretatione was first published in Paris, 1509; the only copy of that edition we have been able to trace is located at the B.U.-Lille. The Catálogo colectivo lists Dullaert's commentary published by Étienne Baland (active in Lyons) in 1515, apparently edited by one Clodoaldus: the title-page reads, "a magistro Clodoaldo cenalis . de nouo puribus mendis absterse." This Salamanca, 1517 edition, according to the title-page, was edited by Juan Martínez Siliceo "ut paulo tersiora quaeque fuerint excuderentur." We have located no other edition of Dullaert's commentary edited by Martínez Siliceo.Aristotle's Peri hermeneias, also known under its Latin title De interpretatione, deals with language as the expression of mind, beginning with the definition of noun, verb, denial, affirmation, proposition and sentence. Although at least one early authority doubted its authorship, there is strong external evidence that it is by Aristotle (i.e., Theophrastus and Eudemus wrote works that presuppose it), and the style and grammar seem genuinely Aristotelian. It is generally considered an early work of Aristotle, still showing Plato?s influence.The magnificent title-page woodcut had already been used at Salamanca late in the fifteenth century. The Crucifixion - Last Supper cut on the verso is closely copied after the material used in the missals printed for Lucantonio Giunta at Venice. The complex diagrams are probably original blocks for this publication.Jean Dullaert (1470-1513), an Augustinian friar born in Ghent, is known for his contributions to logic and natural philosophy. "The logical subtlety of Dullaert's endless dialectics provoked considerable adverse criticism from Vives and other humanists, but otherwise his teachings were appreciated and frequently cited during the sixteenth century" (DSB IV, 237). He published commentaries on Aristotle's Physica and De caelo in 1506 (subsequent editions in 1511 and 1512) and on Aristotle's Meteorologica in 1512 (reissued by Vives in 1514), as well as editions of works by Jean Buridan and Paul of Venice.The editor, Juan Martínez Siliceo (ca. 1486-1557), was an outstanding pupil of Dullaert's; the Dictionary of Scientific Biography notes that he and Juan de Celaya were "both important for their contributions to the rise of mathematical physics." In this posthumous edition of Dullaert's commentary, Martínez Sicileo apparently cut some parts he felt were repetitive or unnecessary. A native of Villagarcía in Extremadura, he studied and taught at the Sorbonne before moving to the University of Salamanca, and then serving as tutor to the the Infante D. Felipe. In 1541 he was named bishop of Cartagena, and in 1545, bishop of Toledo. The year before his death he was raised to the rank of cardinal, an event celebrated with an eighty-foot arch and an elaborate procession that was so well attended that several people were asphyxiated. Aside from his commentaries on Aristotle, he published several important works on mathematics, including Arithmetica, Paris 1526.The binding closely resembles one done in Salamanca, ca. 1503, illustrated in Penney's Album of Bookbindings (plate VII). Three different sizes of the interlacing roll used in the Hispanic Society's binding are used on our binding.NUC lists no edition of this commentary by Dullaert, and only one copy each of a few of his other works: his commentary on Aristotle's Meteorologica, Paris 1514, at NN; and editions of his commentary on Aristotle's Physics, (Paris) 1506, at NNAM and (Lyons 1512) at MH. A microfilm copy of the British Library's copy of Dullaert on Aristotle's Physics (Paris: G.L. Nicolaus Depratis, 1506) is at NNC.*** Norton 507: citing copies at Barcelona-Biblioteca Universitaria; León-San Isidoro; Oviedo-Biblioteca del Cabildo; Seville-Biblioteca Universitaria; Lisbon-Biblioteca Nacional; and an incomplete copy at Burgos, Biblioteca Provincial. Ruiz Fidalgo 117: adds a copy at Salamanca-Biblioteca Universitaria; on Juan de Porras, see I, 37-43. Witten, Catalogue Six: One Hundred Important Books and Manuscripts 32 (1975). Not in Palau. Not in the Catálogo colectivo, which locates Dullaert's commentary edited by Clodoaldus, (Lyons): Bland, 1515, at the Biblioteca Pública of Palma de Mallorca (D.1638). Not in Adams. This work not listed with Martínez Siliceo's others by Simón Díaz (cf. XIV, 361-2). Cf. Picatoste y Rodríguez, Biblioteca científica española pp. 183-5 for other works by Martínez Siliceo. See also Lohr, Latin Aristotle Commentaries, II: Renaissance Authors, pp. 128-9; 246. CCPBE locates three copies: Oviedo Cathedral, Biblioteca Pública del Estado en Burgos, Real Colegiata de San Isidoro-León. Not located in Jisc. Not located in KVK worldwide (51 databases searched). Not located in NUC.
Couverture rigide. Etat : Très bon. 800x600 Normal 0 21 false false false FR X-NONE X-NONE MicrosoftInternetExplorer4 Exceedingly rare first French edition dedicated to Anne of Brittany and first issue of ?De la louenge et vertu des nobles et clères dames? by Giovanni Boccaccio printed on the 28th of April 1493 by Antoine Vérard. BMC VIII 79 ; B.n.F. Rés. G-365 ; Brunschwig 280 ; CIBN B-519 ; Fairfax Murray, FB 50 ; Goff B-719 ; GW (+ Accurti I) 4490 ; HC 3337 ; IGI 1769 ; Macfarlane 25 ; Pell. 2478 et 2478 A ; Hain-Copinger, n° 3337 ; Proctor n° 8425 ; Brunet, I, 990. This copy is the only one complete to appear on the international market since 30 years. The first Latin edition was published in 1473 under the title De Claris mulieribus (some famous women), in Ulm. ?The work, written between 1360 and 1362, amplified and modified in the following years, contain the biography of 104 renowned ladies of all times, from Eve to the Queen Joanna of Naples; it is dedicated to the very beautiful Andrée Acciaiuoli, sister of the Grand Seneschal Nicolas Acciaiuoli, second wife of an Altavilla Count. The model of Petrarch and of his treaty of Notorious Men greatly influenced Boccaccio, as he admitted himself. The narrative vein is expanding there with a certain, freedom, like in the pages dedicated to the life of the Popess Joan, to the voluptuous lengths on the loves of Thisbe, to the history of the naïve Paulina, Roman woman loved by God Anubis, recalling quite closely the tale of Lisette and Angel Gabriel from the Decameron. ( ) As a whole, the volume is a compromise between the historical scholarship and the tale, a pleasing erudition book, aimed not only at men but also women, - whom, declares Boccaccio, as an excuse, being used to hear stories have a greater need of it and enjoy themselves with a copious story.? T.F. G. Rouville. The volume is illustrated with 11 woodcuts that, since repeated, form an iconographical cycle of 80 engravings. Most of them measure 87 x 80 mm and represent a queen with a child in her arms (23 times), a queen standing with some ladies in front of her (22 times), a woman breastfeeding twins in front of a landscape (17 times). Two other engravings come from the Chevalier délibéré, printed in 1488. Two engravings of different sizes, 140 x 86 mm, show a bishop at his writing case topped with a sage and a woman; they come from the ?Ars moriendi? printed by Le Rouge for Vérard, in 1492. Nine of these engravings were specially executed for this book and are therefore here in first issue. ?Extremely rare volume, illustrated with a certain number of beautiful woodcuts which are among the most interesting ones from the works published by Vérard?. (Rahir n°263). Copy including the signs of the first issue: - The title is printed with the mistake « nouellemet », corrected in the copy of the Pierpont Morgan Library. The Gesamt Katalog, Pellechet Polain 2478 and Hain mention « nouuellemet » with two U. - Leave i4 is signed hIIII. First great Italian prose-writer, Giovanni Boccaccio (1313-1375) was very famous in France, more than Dante and Petrarch, and this since the beginning of printing. He wrote as much for the people, who enjoyed the entertaining reading of the Decameron, as for the aristocracy who, in the De casibus virorum illustrium (translated into French Le cas des nobles malheureux), found a kind of ethical encyclopedia of the great men from the Antiquity. This first edition was printed by Antoine Vérard who dedicated the work to Anne of Brittany, wife of King Charles VIII. It was for the most part due to writers engaged by Anne of Brittany, or attracted by the possibility of her patronage, as Antoine Vérard could be, that literature to the praise and defense of women was promoted in the French court. The title only contains two lines of text. On the back of the title begins the translator?s preface, suppressed in some copies and supplemented with a miniature. In this copy it is coming with a woodcut showing the Queen Anne of Brittany seated.
Edité par [Vienna], c. 1899-1902., 1902
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
Altogether c. 700 pp., mainly written in Weininger's meticulous handwriting, but also including some more perfunctory pages in Latin script, some shorthand. Numerous corrections and deletions. Some browning and wrinkling, occasional paper flaws to edges. Various formats, but mostly 4to (34:21 cm), as well as a few pieces in-8vo and small formats. Well preserved altogether. Extensive and previously unknown partial estate of the ill-fated Austrian philosopher. Of outstanding importance for a scholarly study of the textual development of Weininger's principal work as well as for the biography of the controversial philosopher. The present collection mainly comprises preliminary studies and working drafts for his dissertation "Eros und Psyche", as well as for "Geschlecht und Charakter" ("Sex and Character"), the notorious magnum opus which he expanded from his dissertation. Also included are numerous citations and excerpts from Weininger's literary studies, several library order slips, some exercise books and letters, a portrait, and a short autobiographical statement, as well as his father's written permission that Otto learns how to handle a gun. - Weininger's major work, a precocious study of the relationship of sex and character which earned the author his Ph.D. degree, was dismissed at first but gained immediate popularity after he shot himself at the age of 23. The work remains a key document of Vienna fin-de-siècle thinking. In spite of his rabid misogyny and antisemitism, Weininger was considered a genius by the philosopher Ludwig Wittgenstein as well as the writer August Strindberg. - Some browning and wrinkling, occasional paper flaws to edges. Well preserved altogether.