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Vendeur : Arader Galleries Drawings & Watercolors, New York, NY, Etats-Unis
Hardcover. Etat : Very Good. The Sir William Jardine archive is a comprehensive collection encompassing several elements: a group of seven clamshell boxes containing 57 prints, drawings, and watercolors on paper prepared for British Salmonidae; an album of nature sketches with landscape compositions designed for Jardine s printed works, and Jardine s own copy of the exceedingly rare British Salmonidae. Together this archive is a visual story of creating this scientific and artistic feat celebrating sport fishing. The three parts of this remarkable archive are described in full on the following pages. A MAGNIFICENT ARCHIVE OF ORIGINAL MATERIAL: ORIGINAL DRAWINGS, WATERCOLORS, AND PROOFS FOR JARDINE S MAGNUM OPUS THE BRITISH SALMONIDAE. 1839-1841 57 exceptionally fine prints, drawings, and watercolors on paper. A fine and important collection relating to one of the finest of salmonid works and illustrating the artistic history of Jardine s monograph from conception to completion. This archive comprises hand-colored engraved plates, some with variant coloring, original pencil drawings, original watercolors, intermediary states of the plates with engraved fish and watercolor backgrounds, uncolored proofs of the plates on India paper mounted, hand-colored proof plates inscribed to the colorist Bayfield, and related drawings and engravings, all mounted. [WITH]: JARDINE, Sir William (1800-1874). Sketches from Nature by W. Jardine Bart. 1841 . Folio (19 x 13 1/4 inches). EXCEPTIONALLY FINE ALBUM OF 37 ORIGINAL WATERCOLOR AND 37 PENCIL DRAWINGS BY JARDINE depicting highland and lowland Scottish scenery sketched by Jardine on his fishing tours, including his Sutherland tour, the Tweed and his home territory of Dumfriesshire and the Solway Coast, tipped-in to an album, mounted one and two to a page (9 loose), with his manuscript captions and dates in ink below each. Contemporary half red morocco, tan embossed cloth, gilt (a little scuffed at the edges). Provenance: According to a note signed by Christopher T. Dalgety, loosely inserted: Sir William Jardine (1800-1874); his eldest daughter Jane Home Jardine; her son William Jardine Herries Maxwell (1852 1933), of Munches in Buittle (both sons killed in action at Gallipoli in 1915); Munches estate sale ca 1945; Christopher Thomas Dalgety (1907-1980), an ornithologist and explorer in the Arctic in the 1920s and 1930s, his sale Bonhams Edinburgh, 18th May 2016, lot 103. [WITH]: JARDINE, Sir William (1800-1874). British Salmonidae. Edinburgh: W.H.Lizars, 1839-1841. 2 parts (all published) in one volume. Folio (27 2/8 x 20 inches). 12 EXCEPTIONALLY FINE hand colored engraved plates by Lizars after Jardine (laid down on linen), each with accompanying leaf of letterpress text, three engraved vignettes, including one hand-colored. Modern half brown morocco original brown cloth boards. Provenance: According to a note signed by Christopher T. Dalgety, loosely inserted: Sir William Jardine (1800-1874); his eldest daughter Jane Home Jardine; her son William Jardine Herries Maxwell (1852 1933), of Munches in Buittle (both sons killed in action at Gallipoli in 1915); Munches estate sale ca 1945; Christopher Thomas Dalgety (1907-1980), an ornithologist and explorer in the Arctic in the 1920s and 1930s, his sale Bonhams Edinburgh, 18th May 2016, lot 103. Sir William Jardine, was the 7th Baronet of Jardine Hall near Lockerbie, Scotland. Jardine was the leading authority on salmon and trout in the British Isles. An excellent sportsman, his preeminent knowledge of the species was intimate and personal, and his expertise in the field was so noted that in 1860 he was appointed to the Royal Commission on the Salmon Fisheries of England and Wales. Jardine, perhaps best known for his Naturalist s Library series, was also an ardent angler. His estates were in the fertile fishing areas near the rivers Annan and Tweed.CONTACT GALLERY FOR FULL CATALOGUE Loca: 6.5V.3D, 6.3BH.12D, 6.3BH.12C.
Edité par John Murray, London, 1859
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale
First edition of "certainly the most important biological book ever written" (Freeman), one of 1250 copies. Octavo, bound in original cloth, half-title, one folding lithographed diagram, without advertisements. In very good condition with cracks to inner hinges and a touch of shelfwear. Housed in a custom clamshell box. A fine example of this landmark work. Darwin â revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been takenâ (PMM 344). â Without question a watershed work in the history of modern life sciences, Darwinâ s Origin elaborated a proposition that species slowly evolve from common ancestors through the mechanism of natural selection. As he himself expected, Darwinâ s theory became, and continues to be in some circles, the object of intense controversyâ (American Philosophical Society). â The five years [of Darwinâ s voyage on the Beagle] were the most important event in Darwinâ s intellectual life and in the history of biological science. Darwin sailed with no formal training. He returned a hard-headed man of scienceâ ¦ The experiences of his five years in the Beagle, how he dealt with them, and what they led to, built up into a process of epoch-making importance in the history of thoughtâ (PMM).
Edité par [Germany, ca. 1480/90]., 1480
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
Small 4to (140 x 195 mm). 91 leaves, 149 written pages in two hands, the main body of the text complete, up to 29 lines per page, ruled space 85 x 155 mm. Incipit: "In nomine domini amen. Noch dem also gesprochen ist daß alle kunst kunftigk ist von got und ist by im on ende.". Rubrics touched in red, calligraphic initials in red and some with flourishing, 25 watercolour illustrations of scientific apparatus, 10 mathematical and architectural diagrams in pen. 15th century German calf over wooden boards, tooled in blind with vertical rows of hunting scenes within a triple-filet frame, remains of two fore-edge clasps. Stored in custom-made half morocco clamshell case. A Renaissance alchemist's handbook, quoting Al-Razi by name and deeply rooted in the Islamic tradition of alchemical art. An intriguing manuscript which bears witness to early practical chemistry in 15th century Germany and to the immense influence of Arabic alchemy, illustrated with talented watercolour diagrams of the associated apparatus. - Indeed, the word 'alchemy' itself is derived from the Arabic word 'al-kimia', and it was Al-Razi who claimed that "the study of philosophy could not be considered complete, and a learned man could not be called a philosopher, until he has succeeded in producing the alchemical transmutation". Alchemy and chemistry often overlapped in the early Islamic world, but "for many years Western scholars ignored Al-Razi's praise for alchemy, seeing alchemy instead as a pseudoscience, false in its purposes and fundamentally wrong in its methods, closer to magic and superstition than to the 'enlightened' sciences. Only in recent years have pioneering studies conducted by historians of science, philologists, and historians of the book demonstrated the importance of alchemical practices and discoveries in creating the foundations of modern chemistry" (Ferrario). The quest to transmute base metals into gold and to obtain the Philosophers' Stone was a practical as well as theoretical pursuit, as attested by the existence of this manuscript. The main body of the text opens on fol. 5 with an introduction to the art of alchemy, whose practice requires reference to the ancient authorities. Recipes for the various pigments, solutions, acids and alkalis are listed in groups, before descriptions are given of the planets relevant to the alchemist's art, starting with Saturn, and their effect on the elements, again with reference to the ancient authorities including Al-Razi, Origen, Aristotle, Albertus Magnus, and Hermes Trismegistus. There follow notes on the ease of obtaining various elements, before lists of alchemical compounds - including 'sal petri' and 'aqua lunaris' - are grouped according to their nature. Practical instructions, organised by chapter, begin on fol. 17v with the manufacture of vermillion and 'spangrün'; the first of the illustrations depicts two vessels for the burning of cinnabar. Further recipes involve the burning of various substances - illustrated with drawings of furnaces, cucurbits and other vessels, and distillation apparatus - before moving on to the manufacture of acids, bases and oils, mentioning the use of quicksilver, then, finally, turning to the manufacture of gold. The end of the text on fol. 69 is marked with the words 'Alchimia & Scientia' in red ink with calligraphic flourishes, above a floral device. - Collation: written by another scribe and bound before the alchemist's handbook (ff. 5-69) are astrological calculations, including those charting the trajectories of the Sun and the Moon (ff. 1-4, obviously incomplete). At the end, 9 leaves with geometrical calculations, illustrated with pen diagrams (ff. 70v-78, apparently incomplete, 2 leaves loose). The last 12 leaves are blanks (ff. 79-91). - Condition: The binding is sound and intact, but shows significant losses to the upper cover; spine entirely lost. Two leaves loose at the end of the manuscript, outer margins waterstained and tattered, surface soiling most notable to f. 1. Occasionally loose and split at gatherings; presence of bookworm damage on some pages; very occasional wax stains. - Provenance: 1) The script, watermark and binding indicate that the manuscript was made in Germany in the final two decades of the 15th century. The watermark visible on certain pages - a heart beneath a crown, above 'Ib' - is closest to a motif widely used in Germany around 1480-1500 (cf. Piccard 32464-32481), and the binding is contemporary. The pastedowns, taken from a Litany of Saints, are also roughly contemporary. 2) This compendium of cryptic knowledge seems to have lain undisturbed for many years after its compilation: the contemporary stamped leather binding is preserved and no booklabels or ownership inscriptions mark the manuscript changing hands. 3) Zisska & Schauer, 4 May 2010, lot 6. 4) Braunschweig Collection, Paris. - The first pigment recipe books in German would not be published until the 1530s (cf. Schießl, Die deutschsprachige Literatur zu Werkstoffen und Techniken der Malerei, 1989). While the manual at hand never appeared in print, a much later manuscript of the same text, apparently copied by no less an authority than the botanist Hieronymus Bock (1498-1554), survives in Heidelberg's University Library under the title of "Ordenlicher proces der waren alten heimlichen kunst der alchymey in drey bucher gestelt" ("Alchemistisches Kunstbuch", Cod. Pal. germ. 294, dated to the middle or third quarter of the 16th century). Unlike the vividly coloured and deftly shaded illustrations in the present volume from the 15th century, the unsophisticated pen drawings in the later Palatina manuscript were clearly executed by the scribe himself rather than by a trained artist. Also, our manual contains additional illustrations at the end, showing some of the most necessary equipment on a double-page spread, as well as five additional pages of recipes for "lutum sapientiae", "postulatz golt" etc., some parts written in a secr.
Edité par Berlin: 1785-1797., 1797
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
12 parts in 6 volumes. Folio (18 x 10 6/8 inches). Half-titles. 12 title-pages with engraved vignettes, 432 EXCEPTIONALLY FINE engraved plates with original hand-colour, some HEIGHTENED IN GOLD, SILVER AND BRONZE to reflect the metallic sheen of fish scales. Contemporary tree calf with the arms of the Duchesse de Berry (the arms of France and Spain) stamped in gilt on each cover, all edges gilt (foot of spine of volume III chipped with minor loss, other extremities with minor scuffing). Provenance: with the supra libros of Maria Carolina Ferdinanda Luisa, the Duchesse de Berry (1798-1870) on each cover; Belgian Royal Library. "the finest illustrated work on fishes ever produced" (Nissen) THE DUCHESSE DE BERRY'S COPY of the first edition in French, published contemporaneously with the German edition. A FINE AND ATTRACTIVE, COMPLETE COPY OF BLOCH'S MONUMENTAL WORK. Bloch was a German medical doctor and naturalist. He is generally considered one of the most important ichthyologists of the 18th century and is best known for his encyclopedic work in ichthyology. The drawings were taken from Bloch's collection of some 1500 fish, the largest collection of its time, which he put together from purchases made at home and from returning travellers and missionaries from all over the world including Sir William Hamilton in Naples. ". the finest illustrated work on fishes ever produced. The plates, by a variety of artists and engravers, are outstandingly coloured, and are heightened with gold, silver, and bronze to produce the metallic sheen of fish scales" (Nissen). From the distinguished library of the Duchesse de Berry, daughter of the future King Francis I of the Two Sicilies and his first wife Maria Clementina of Austria. In 1816 she married Charles Ferdinand d'Artois, Duc de Berry, the heir to the French throne. Only the year before his uncle Louis XVII had been restored to the French throne, and on this death in 1824, the Duc's father became the last Bourbon monarch, as Charles X. tragically the Duc did not inherit the crown, but was assassinated at the Paris Opera in 1820. The Duc and Duchesse's only son, the Comte de Chambord, "the miracle baby" was born seven months after his father's murder and became the Legitimist Bourbon heir. During this period the Duchesse became patron to the world's greatest botanical artist Pierre-Joseph Redoute. Not only did she support him with the purchase of his celebrated 170 watercolours of 'Roses' on vellum, but she also obtained for him the post of 'maitre de Dessin' at the Museum of Natural History in 1824, even becoming one of his students. (Nissen) Nissen ZBI 416; Wood p. 244. Catalogued by Kate Hunter.
Edité par Anatolia possibly Konia dated Jumada II 754 AH July AD, 1353
Vendeur : Shapero Rare Books, London, Royaume-Uni
Livre
Single volume, decorated manuscript on thick polished fibrous buff paper, in Farsi, 311 leaves (with two later endleaves at each end), 250 by 175 mm; text in four columns, 31 lines cursive naskh script, headings in red, catch-words throughout and leaves foliated in a later hand, columns double-ruled in red, a few later marginal annotations, some later ink inscriptions in red and black ink, these in Ottoman Turkish and Farsi, a few scattered ink smudges else very clean and attractive condition internally; early sixteenth-century Ottoman leather over pasteboards, covers with cut-out central medallions and corner-pieces willed with filigree detailing against a gilt backdrop, ruled in gilt, marbled paper pastedowns, an attractive early binding. islam24 08 Exceptionally early medieval manuscript copy of one of the most important works of sufi poetry by Rumi. Jalal al-Din Rumi (1207-1273) was a Persian poet, originally from greater Khorasan, who is best known for his Sufi poetry that has transcended linguistic and cultural borders since it was compiled in the 13th century, giving Rumi the alternative names 'Mawlana ' and 'Mawlavi' which translate as the 'Master'. His Mathnavi (collected poems, also the term assigned to a form of Persia meter) is a pillarstone of Sufi literature, formed of a vast collection of self-reflective lyrical anecdotes of Sufi wisdom inspired by the Qur'an and Islamic teachings. Rumi formed his verses in a spontaneous manner as a reflection of events or thoughts that appeared to him over the course of his everyday life, a style of authorship that very much set him aside from his contemporaries. The revelatory nature of the composition and loosely connected narrative of didactic stories made Rumi's works immensely popular with Eastern and Western audiences alike, making him one of the most collected poets internationally since his death in 1273 AD. The present text is an early recension of Rumi's Divan'e Kabir, also known as the Divan'e Shams'e Tabrizi, which was likely compiled in circa 1246 during the poet's time in Anatolia. The text is a collection philosophical musings by Rumi that explore themes of love and loss. Shams'e Tabrizi (1185-1248 AD) was a Sufi dervish and poet, known to have formed a close bond with Rumi when they were both in Konya, acting as his spiritual teacher and leader. In 1246 Shams abruptly left Konya and Rumi started compiling verses in the form of love letters pleading for his friend and master's return. Shams returned a year later only to disappear again in 1248, never to be seen by Rumi again and presumed dead. Upon Shams' second disappearance Rumi returned to his poetry and wrote many verses lamenting the loss of his partner. These combined collections of poems about Shams are called Divan'e Shams'e Tabrizi and portray very strong themes of Sufi love, loss, friendship and a longing for divine unity that have transcended temporal barriers to remain one of the poet's most celebrated literary achievements. The colophon at the end of this manuscript stipulates that it was copied by Khalil al-Malawi in the year 654 AH (1256 AD), however this same scribe is known to have copied multiple other manuscripts during the mid-fourteenth century: thus one can assume that the intended date for this manuscript was in fact 754 AH, when this scribe was active. This dating indicates that the manuscript was copied only 80 years after the death of Rumi, making it one of the earliest dated copies of this text. The only other dated manuscripts to precede the present example are from 1304, 1323, 1327 and 1340 respectively, making this the fifth earliest dated Rumi manuscript of the Divan'e Shams'e Tabrizi. The other records are all housed in institutions, including Tehran University Library (two copies) and another in the Museum of Konya, where they will likely remain for the foreseeable future; opportunities to acquire manuscripts of this literary significance are few and far between. Though there is little documentation about the scribe, the regular hand and composition of this manuscript indicate that Khalil al-Malawi was a skilled calligrapher in medieval Anatolia. The paper on which this manuscript has been copied is thick fibrous Damascan buff paper, polished to create a sheen and of a very high quality for this period. Although the binding is later, likely mid- to late- sixteenth century, it is a very fine example of it's kind and probably of Ottoman origin with contemporary marbled paper doubleurs.
Hardcover. Etat : Very Good. 4 volumes. 8vo (7 6/8 x 5 inches). Engraved title-page in each volume, letterpress title-pages in volume II and III., half-title in volume IV (lacking letterpress title-page and 8 leaves of preliminaries in volume one). 226 engraved plates (some folding) after drawings by P. Paillou, G. Edwards, and Desmoulins, EXTRA-ILLUSTRATED WITH 71 WATERCOLOR PLATES and an engraved sheet of music (some minor spotting). Contemporary calf (rebacked in the 20th-century to style). Provenance: Thomas Pennant's own copy, with his manuscript notes throughout; H. Bradley Martin. "To observe and relish the wonders of nature; aided by philosophy" (Pennant) Fourth edition, revised and enlarged. THE AUTHOR'S COPY, copiously annotated throughout by him with scholarly notes, observations and recording sightings of various birds and animals in the local vicinity. EXTRA-ILLUSTRATED with original watercolor drawings of the engravings, one of the "Black Cock" bird (plate 42 volume one) by Pennant's friend and illustrator of many of his works Moses Griffith, one or two fish, and more than 60 fine pages of unsigned watercolors of shells, possibly by Paillou. In addition many of the engravings are in their proof state before letters, the captions supplied in pencil in Pennant's hand. The "British Zoology" was Pennant's first book, and was first published as a lavish two volume production in 1761-1766, all subsequent editions were smaller in format and lest costly to produce, however Pennant never compromised on the illustrations to his prolific writings on natural history and topography, as the illustrations to this the fourth edition clearly demonstrate. Pennant was the consummate naturalist of his day, interested in all that surrounded him, and wishing to educate the publish at large: "To those of a sedentary disposition, this study would not only prove agreeable, but salutary: men of that turn of mind are with difficulty drawn from their books, to partake of the necessary enjoyments of air and exercise; But this inconvenience would be remedied, could we induce them to observe and relish the wonders of nature; aided by philosophy, they would find in the woods and fields a series of objects, that would give to exercise charms unknown before." (Pennant "Preface"). Anker 392 note. From the distinguished library of H. Bradley Martin. Loca: 6.3BC.19E.
Edité par [Southern France, ca. 1406-1430]., 1430
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Folio (300 x 406 mm). Italian manuscript on vellum and paper. 233 ff., text in two columns of 50 to 56 lines, ornate lettering. The first 216 ff. consist of quires of 6 ff., each comprising 2 outer leaves of vellum in which are inserted 4 ff. of paper. The last 17 ff. have 7 vellum leaves. Two additional vellum leaves for the endpapers. Numerous finely drawn red and blue initials and 38 initials and colour and gilt. Bound in early 18th century full vellum. First part (of two) of Bartolus's commentary on the Infortiatum, the second part of the Digest or Pandects. The subjects under discussion in this part include matrimonial law, divorce, dowries, guardianship, wills, and intestate succession. This early 15th century manuscript is finely illuminated with initials in colours and gilt; the opening initial shows a jurist handing a scroll to a woman. The manuscript is remarkable not only for the additional commentary provided in the margins by a contemporary scholar, but also for the numerous occasional drawings he has casually sketched in the margins, often of a whimsical and sometimes drastic nature: there are several expressive caricatures and grotesque faces; a passage discussing a recovery of the dowry following a divorce shows a man plunging a dagger into the head of his (ex-)wife. - Explicit on fol. 229: ''Explicit prima pars lecture Bartoli super Inforciato. Deo gratias et beatissime Marie ejusque genetrici et virgini Katerine''. The 1406 date on the binding does not appear in the explicit and may be taken from the 5 pages of glosses and text added at the end. - Bartolus de Saxoferrato (1313/14-57), who taught at Perugia and Pisa, was one of the principal authors in the transmission of Roman law. His commentaries on the Code of Justinian were frequently republished until the 17th century. The Manuscripta Juridica database hosted by the Max-Planck-Institut für europäische Rechtsgeschichte lists about 40 copies of this first part preserved in public libraries up to the year 1500. - Margins a bit trimmed (occasionally touching marginalia). Provenance: from the manuscript collection of Thomas Phillipps, with his MS no. 4420 on the front vellum flyleaf; sold at Sotheby's sale of his collection held in June 1908 (lot 68). - Catalogus librorum manuscriptorum in bibliotheca D. Thomae Phillipps (Middle Hill, 1837), 4420.
Date d'édition : 1859
Vendeur : Maggs Bros. Ltd ABA, ILAB, PBFA, BA, London, Royaume-Uni
First edition. Folding lithographed table. 8vo. A very good copy in publisher's green cloth, headcap sensitively repaired, front free endpaper renewed, first quire a little ragged from opening, ownership inscriptions to half-title, some ms. marginalia to read free endpaper. Housed in a custom quarter morocco clamshell box. x, 490, [491-502 index], 32ads.pp. London, John Murray, John Murray originally printed 1250 copies of the book which ?caused a greater upheaval in man's thinking than any other scientific advance since the rebirth of science in the Renaissance? (Ernst Mayr). It is also considered ?the most influential scientific work of the 19th century? (Horblit) and ?certainly the most important biological book ever written? (Freeman). Despite its 490 pages, it was intended only as an ?abstract? of a far larger work. Yet for years Darwin had showed a marked reluctance to print anything on the subject of evolution. Although he developed his theory on the origin of the species in 1838, he communicated it to no one. In 1842 he drew up a rough sketch of the argument, expanding this into an essay only to be published in the event of his death. Once he had prepared the third part of the Geology of the Voyage of the Beagle for publication, he shelved the species question ?and started on eight tedious years' study? of living and fossil barnacles. His painstaking work on their structure and classification enabled him to acquire first-hand knowledge of the amount of variation to be found in nature. In April 1856 he described his theory of natural selection to Charles Lyell, and that summer began work on the book that Lyell urged him to write. On 18 June 1858 he received the shock letter from Alfred Russell Wallace which appeared to be ?a perfect summary of the views which he had worked out during the preceding twenty years? (DSB III, p.573). In a compromise that was fair to both, Darwin presented his own and Wallace's papers before the Linnean Society of London on 1 July 1858, and they were published together on 20 August of that year. Unable to squander any more time over the writing of his ?big book,? Darwin then set about writing the ?abstract? which we know as the Origin with the encouragement of Joseph Hooker. Its impact can hardly be overstated. Ernst Mayr writes in his introduction to the 1964 facsimile edition: ?The publication of the Origin of Species ushered in a new era in our thinking about the nature of man. The intellectual revolution it caused and the impact it had on man's concept of himself and the world were greater than those caused by the works of Copernicus, Newton, and the great physicists of more recent times . Every modern discussion of man's future, the population explosion, the struggle for existence, the purpose of man and the universe, and man's place in nature rests on Darwin.? A very good copy of this landmark work with the ads dated June, 1859. It was previously owned by the scientist Lancelot Albert Forscey, and John Rizzo Naudi. Dibner, Heralds, 199; Eimas Heirs, 1724; Freeman 373; Garrison-Morton, 220; Grolier Science, 32b; Horblit 23b; Norman, 593; PMM, 344; Sparrow Milestones, 49; Waller, 10786.
Edité par Printed for W. Strahan; and T. Cadell, London, 1776
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale
First edition of Adam Smith's magnum opus and cornerstone of economic thought. Quarto, 2 volumes, bound in full brown calf, elaborately gilt-decorated spines, front and rear panels, red morocco spine labels, marbled endpapers. In near fine condition. Remarkably clean throughout with some light toning. Housed in a custom half morocco calf clamshell box, elaborately gilt decorated spines. An exceptional example of this landmark work. "First published in 1776, Adam Smith's masterpiece The Wealth of Nations, is the foundation of modern economic thought and remains the single most important account of the rise of, and the principles behind, modern capitalism. It took Smith ten years to produce An Inquiry into the Wealth of Nations. His commentary during such an incremental time, the first years of the Industrial Revolution, sought to reform outdated theories of mercantilist and physiocratic economic thought with broader concepts that we are all familiar with today, such as the division of labor, productivity, and free markets. An important theme that persists throughout the work is the idea that the economic system is automatic, and, when left with substantial freedom, able to regulate itself. This is often referred to as the â invisible hand.â The ability to self-regulate and to ensure maximum efficiency, however, is limited by a number of external forces and â privilegesâ extended to certain members of the economy at the expense of others. The 1776 publication of An Inquiry into The Wealth of Nations was the first of only five editions that were published in Adam Smithâ s lifetime and greatly influenced a number of economists and philosophers of his time and those that followed, including Jean-Baptiste Say, Alexander Hamilton, Thomas Malthus, and Ludwig von Mises. "The history of economic theory up to the end of the nineteenth century consists of two parts: the mercantilist phase which was based not so much on a doctrine as on a system of practice which grew out of social conditions; and the second phase which saw the development of the theory that the individual had the right to be unimpeded in the exercise of economic activity. While it cannot be said that Smith invented the latter theory.his work is the first major expression of it. He begins with the thought that labour is the source from which a nation derives what is necessary to it. The improvement of the division of labour is the measure of productivity and in it lies the human propensity to barter and exchange.Labour represents the three essential elements-wages, profit and rent-and these three also constitute income. From the working of the economy, Smith passes to its matter -'stock'- which encompasses all that man owns either for his own consumption or for the return which it brings him. The Wealth of Nations ends with a history of economic development, a definitive onslaught on the mercantile system, and some prophetic speculations on the limits of economic control.The Wealth of Nations is not a system, but as a provisional analysis it is complete convincing. The certainty of its criticism and its grasp of human nature have made it the first and greatest classic of modern economic thought" (PMM).
Edité par London: T. Bensley for the author, published by White, Cochrane and Co., E. Lloyd and W. Lindsell, [1804]-1812 [but plates watermarked 1822]., 1822
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
BROOKSHAW, George (1751-1823). Pomona Britannica; or, A Collection of the Most ESteemed Fruits at present cultivated in this Country; together with the Blossoms and Leaves of such as are necessary to distinguish the various sorts from each other. Selected principally from the Royal Gardens at Hampton Court, and the remainder from the most Celebrated Gardens round London. Accurately drawn and coloured from Nature, with full descriptions of their various qualities, seasons, &c. London: T. Bensley for the author, published by White, Cochrane and Co., E. Lloyd and W. Lindsell, [1804]-1812 [but plates watermarked 1822]. Broadsheets (22 2/8 x 18 inches). With the author's printed slip explaining the absence of three pineapple plates, 1 page of index (frontispiece, title-page and dedication leaf with old vertical crease). 90 magnificent aquatints with stipple engraving by Brookshaw, printed in colors and finished by hand. Contemporary brown morocco, elaborately paneled in gilt and blind (attractively rebacked to style). Provenance: with the engraved armorial bookplate of famous bibliophile and Philadelphian Moncure Biddle (1882-1956) on the front paste-down Plates watermarked H.S. & S. 1822, text watermarked J.Whatman 1811. Originally published in parts between 1804 and 1812 and dedicated to the Prince Regent. Many of the specimens were taken from the Royal Gardens at Hampton Court and Kensington Gardens, among other great British gardens, and include: 256 varieties of fruit are depicted in the 90 plates, the subjects include 7 plates of Cherries; 10 of Plums or Apricots; 15 of Peaches and Nectarines; 5 of Pineapples; 17 of Grapes; 9 of Melons, 11 of Pears and 7 of Apples. George Brookshaw's splendid "Pomona Brittanica" is a masterpiece among 19th-century British flower books. The publication of the "Pomona" marked the re-emergence of the acclaimed artist into the public eye after a total disappearance of nearly a decade. Initially a cabinet-make specializing in painted furniture decorated with borders of flowers, Brookshaw appears to have abandoned this career at about the same time as he parted company with his wife and began living with Elizabeth Stanton, and under the assumed name of G. Brown (c.1794-1804). During this time he earned a living as a teacher of flower-painting and on the proceeds of his first painting manual "A New Treatise on Flower Painting", 1797. Characterized by the highest standards of production and artistic quality, the superb illustrations that Brookshaw drew and engraved for the "Pomona" remain perhaps the most sumptuous and distinctive of the early 19th century. This magnificent and stylistically unique work took Brookshaw nearly ten years to produce. Rivaled only by Dr. Robert Thornton's "Temple of Flora," Brookshaw's 'Pomona' is considered to be the finest British botanical work from a time when England dominated the field with a very large number of great books. Brookshaw's fine illustrations make excellent use of the rich, modulated tones that the aquatint process creates. The elegantly arranged and richly colored fruits emerge from deep brown backgrounds or float on a softly mottled light ground, creating a presence unlike that of any other botanical illustrations. Brookshaw asserts in the preface that the "Pomona Britannica" was an enduring work created for the enjoyment and edification of "succeeding generations." Nissen 244; Pritzel 1182. Catalogued by Kate Hunter.
Edité par Benjamin White, 1771
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre
Hardcover. Etat : Near Fine. 3rd Edition. 2 volumes. Folio (22 3/8" x 15 1/4"). Text in English and French. Folding engraved map with original hand-colour. 220 hand-colored engraved plates after Catesby. Modern red calf; modern red cloth cases. Third edition. In 1712, the English-born artist and naturalist Mark Catesby embarked on a series of expeditions to the southern colonies of British North America. Catesby was enthralled by the wildlife of the New World, and he spent years traveling by foot through parts of present-day Virginia, Georgia, the Carolinas and the Bahamas. Over the course of his journeys, he encountered and documented uncountable varieties of animal and plant life that were entirely unknown to Europeans. His drawings and written observations were the raw material for an unprecedented project: a scientific account of previously uninvestigated wildlife, with illustrations taken from life. Catesby initially encountered some difficulty in interesting sponsors in his monumental Natural History. Determined nonetheless to persevere in his project, and also wishing to maintain control over the translation of his drawings into print, the artist learned to engrave copper plates and set out to complete the Natural History himself. He produced all but two of the plates, and painted the impressions himself to further insure their fidelity to his models. The result was the most sweeping, complete and unique natural history study ever done. Despite Catesby's initial difficulties in finding subscribers, his striking finished product received widespread acclaim. Cromwell Mortimer, Secretary of the Royal Society, declared the publication to be "the most magnificent work I know since the Art of printing has been discovered." Catesby's charming, distinctive style sets his work apart from all artists who later followed his example. The overt simplicity of his compositions is deceiving; the artist arranged each of his images with great care, often combining seemingly incongruous elements to create the most artful scene possible. A sense of Catesby's enthusiasm for his subjects is palpable in his engravings. Very few artists were so personally involved in the completion of a published work, and Catesby's images convey what the artist must have experienced in America: the colors and varieties of the exotic species of birds, fish, animals, insects and plants of the New World. Widely considered the great achievement of 18th-century art and science, Catesby's Natural History of Carolina, Florida and the Bahama Islands has lost none of its power to delight in the 250 years since its publication. This remarkable study of American plants and animals is a monument to Catesby's intelligence, scientific devotion and love of nature. The Natural History has provided an important model for ornithologists and scientists, including John James Audubon, who followed in Catesby's footsteps a century later. Catalogued by Kate Hunter.
Edité par Charles Scribner's Sons, New York, 1925
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition, second issue of Fitzgerald's masterpiece with all six second issue points present, including: â echolaliaâ on page 60, â southernâ on page 119, â sickantiredâ on page 205, and â Union Stationâ on page 211. Octavo, original dark green cloth with gilt titles to the spine. Presentation copy, lengthily inscribed by the author on the front free endpaper, "For Theodore L. Liedemedt in memory of that week we went rowing in a bull-fiddle through the lovely lakes of Central Park, from Stravinski (Alias F. Scott Fitzgerald) May 1885 'Stuttgart.'" The recipient, Theodore L. Liedemedt, was a German-born musician and close personal friend of Fitzgerald's. Kept in Liedemedtâ s family for over ninety years, family lore has it that the two first met on board a transatlantic ship crossing in the 1920s (Fitzgerald traveled to Europe in 1921, 1924, 1928, and 1929). Liedemedt was a working musician who performed on some of those crossings. He died in 1929, just making it to 30. Fitzgerald, older only by three years, just outlived his friend, dying in 1940 at 44. A South New Jerseyian in the later part of his short life, Liedemedt arrived on American shores in 1915 during the First World War. He worked first on the crew of a German merchantman, interned in the Delaware River, then from June 1916 at a day job in Philadelphia. When the United States entered the First World War officially on April 6, 1917, Liedemedt was detained by the FBI on April 7. He was released a few days later when they found that he did not hare the political convictions of his home country and was, therefore, not a threat to the United States. Fitzgerald took up residence in New Jersey in in 1911 when he attended the Newman School, a Catholic prep school in Hackensack. After graduating he attending Princeton University, only a few miles from Liedemedtâ s stomping grounds, where Fitzgerald abruptly left in 1917 to join the American Army. Having avoided active service in Europe he moved to New York City where he would begin his career as a writer. Fitzgerald and Liedemedt were never more than roughly 80 miles from each other, from Liedemedtâ s landing in 1915 to his early death 14 years later. The nature of the inscriptionâ "knowing, familiar, full of inside referencesâ "points to an intimacy not documented in an other sources in Fitzgeraldâ s archives. In very good condition. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An exceptional inscription from Fitzgerald. In 1922, Fitzgerald announced his decision to write "something new--something extraordinary and beautiful and simple and intricately patterned." That extraordinary, beautiful, intricately patterned, and above all, simple novel became The Great Gatsby, arguably Fitzgerald's finest work and certainly the book for which he is best known. A portrait of the Jazz Age in all of its decadence and excess, Gatsby captured the spirit of the author's generation and earned itself a permanent place in American mythology. Cyril Connolly called The Great Gatsby one of the half dozen best American novels: "Gatsby remains a prose poem of delight and sadness which has by now introduced two generations to the romance of America, as Huckleberry Finn and Leaves of Grass introduced those before it" (Modern Movement 48). Consistently gaining popularity after World War II, the novel became an important part of American high school curricula. Today it is widely considered to be a literary classic and a contender for the title "Great American Novel". In 1998, the Modern Library editorial board voted it the 20th century's best American novel and second best English-language novel of the same time period. It was the basis for numerous stage and film adaptations. Gatsby had four film adaptations, with two exceptionally big-budget versions: the 1974 version starring Robert Redford and Mia Farrow, as well as Baz Luhrmannâ s 2013 version starring Leonardo DiCaprio, Tobey Maguire and Carrie Mulligan. Fitzgeraldâ s granddaughter praised Lurhmannâ s adaptation, stating â Scott would be proud.â Second printing, with â echolaliaâ on p. 60, â northernâ for â southernâ on p. 119, â sickantiredâ on p. 205, and â Union Street stationâ for â Union Stationâ on p. 211.
Edité par by I[ohn] Wolfe for Edward White, London, 1588
Vendeur : Arader Books, New York, NY, Etats-Unis
Edition originale
Hardcover. First. THE FIRST EUROPEAN BOOK TO PRINT CHINESE TEXT -- London: Printed by I. Wolfe for Edward White, 1588. First edition in English. Octavo (7 1/8" x 5 3/8", 181mm x 136mm). [Full collation available.] Bound in later (XVIIc?) paneled speckled calf. On the spine, five raised bands. Title gilt to the second panel. Blind roll to the edges of the boards. All edges of the text-block speckled red. Headpiece and fore-corners strengthened. Surface-cracking at the hinges, with some erosion to the boards (perhaps from moisture). Upper front fore-corner worn. Paste-downs renewed. Mildly evenly tanned throughout. Signs of damp to the lower margin through quire E, most pronounced to the title-leaf. Marginal ink-stain to L3-7. Paper flaws to H4 (marginal) and to M4 (about five lines high, two to three words across). Lacking the final blank. Armorial bookplate of Edward William Harcourt with a graphite shelf-mark to the front paste-down. Juan Gonzáles de Mendoza (1545-1618) was an Augustinian friar who, despite the subject of the present work, never went to China. He was, rather, appointed Bishop of Chiapas (Mexico, 1607) and then of Popayán (Colombia, 1608) -- and so might rather have become a scholar of the Americas. Indeed, the final part of the work does discuss the Caribbean and Mexico at some length, so much so that Ortelius crowns the present work the most informative in the preparation of his own atlas. In the end it was not the Augustinians but the Jesuits who made the greatest Western inroads to China, such that the opening decades of the XVIIc would see a surge in Chinese interest fueled by the publications of Matteo Ricci most of all. Yet for the curious Elizabethans, Parke's translation of the work (first published in 1585 in Spanish) -- made at the behest of Richard Hakluyt, who published a compendium of explorations (the Principall Navigations of 1589) -- was the largest window onto the kingdom of whose fifteen provinces Gonzales writes "every one of them is bigger then [sic] the greatest kingdome that we doo understand to be in all Europe" (p. 13). The second part (in two "bookes," pp. 136-237 and 238-304) expands the geographic remit with Spanish voyages to the Philippines. For all the accusations that the text is fundamentally derivative, it is still of considerable note for being the first to print, with western type, Chinese characters (pp. 92 & 93). The third part, drawn as it is from personal experience or at least personal research in "New Spain," has a more compelling authority. His description of Mexico City as a sort of Venetian Eden (p. 317) is particularly alluring. The Augustinians, like -- albeit to a lesser degree than -- the Jesuits, had a strong network of sources in the region that allowed for a comprehensive study of the region's topography, nature and people. As such, the volume is as much an important work of Elizabethan Americana (Sabin writes that it is "so rare that we have never seen it") as it is of Sinica. The volume was in the vast library (noted on p. 211 (sub Parke) of the 1883 catalogue) of Edward William Vernon Harcourt (1825-1891) of Nuneham House in Nuneham Courtenay in Oxfordshire. Harcourt was an MP from 1878-1885 for Oxforshire and then for Henley. His library shows him to be a passionate naturalist and Orientalist; he owned in addition to this English edition two Italian editions of the work. The work is indeed rare; it has come to auction only seven times in this century (commanding prices as high as $216,600!) and only 37 examples are recorded on OCLC. Purchased at Sotheby's London 4 November 2014, lot 189. Cordier, Sinica 13; ESTC S103230; Sabin 27783.
Edité par Frankfurt/Oppenheim, 1591-1625., 1625
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Signé
Folio. Bound in 9 uniform magnificent late 19th century full green morocco bindings with gilt centrepieces, gilt lines to edges of boards and gilt line-frames to inside of boards. All edges gilt and all volumes signed W. Pratt. A lovely set, exquisitely and uniformly bound, magnificently restored in the most gentle and respectful of manners, of the entire original run of De Bry's "Great American Voyages" (supplied by extra variant copies of volumes IV and VIII), the magnificent work that is responsible for shaping the European image of the New World, inventing it in the minds of the masses. Presenting a broad view of European conquests in America and the first contact with the American Indians, De Bry's Great American Voyages represents the first attempt to introduce in Europe - and on a large scale - a pictorial image of the New World as a whole. With it, the first iconography of the American Indian had been created, and most Europeans glimpsed for the first time the wonders of the New World in the illustrations present here. For more than a century, the European view of the New World was dominated by the present work. Theodor de Bry himself published the first six parts (in German and Latin simultaneously), and after his death, his widow and his two sons issued the three following parts. "It appears that they intended to stop there" (Sabin III, 20). However, 17 years later, Johann Theodor decided to publish another three volumes (1619-24). These are not present here. The present set is a mix of the German and Latin volumes (which appeared simultaneously), and as always in a mix of editions and issues. Due to the great scarcity as well as the complex bibliographical nature of "The Great American Voyages", no sets of this great work are said to be alike. They are always made up of different languages, editions, and issues, and there is said to be no such thing as a "complete set". Copies of sets are almost always in very poor condition. - Gentle washing, pressing, and a few restorations; some maps neatly mounted, 2 maps supplied in facsimile (being the map in both copies of vol. VIII, which is not always present and thus technically not lacking), and a few leaves supposedly supplied from other copies. Occasional slight cropping. All in all a very handsome and well preserved copy. - With the bookplate of John Jay Paul (dated 1913 and 1914) to each volume, and each volume with a tipped-in manuscript note describing issue points and/or the main restoration work (one dated 1919).
Couverture rigide. Etat : Très bon. A Paris, Fixé à cent exemplaires de pres épreuves. Imprimez sur grand papier.2 volumes grand in-folio, vers 1735.261 planches gravées. - Vol. 1 : 1 titre gravé, 1 f. de texte gravé, 1 frontispice gravé. 38 planches ; Figures de mode, dessinées et gravées à l'eau forte par Vatteau (sic). Paris : Duchange et Jeaurat, s.d. : 1 titre gravé, 11 planches ; Figures Françaises et comiques, nouvellement inventées par M. Watteau. Paris, Duchange et Jeaurat, s.d. : 1 titre gravé, 7 planches. Autres vues. Paris Duchange, Gautrot et Joullain, s.d : 52 planches dont 8 doubles.- Vol. II : ?uvres des estampes gravées, d'après les tableaux et dessins de feu Antoine Watteau. Quatrième et dernière partie. Paris, Gersaint, s.d. : 1 titre gravé et 153 planches.Soit un total de 261 gravures.Reliure en veau marbré, triple filet doré en encadrement sur les plats, dos à nerfs et caissons ornés, pièce de titre rouge et tomaison citron. Reliure de l'époque.Provenances : Comte Henry Greffulhe (1848-1932) (ex-libris gravés à ses armes) ; André Langlois (ex-libris).637 x 468 mm. --- Edition originale.« Ce somptueux recueil en deux volumes est un des livres les plus beaux et les plus rares du XVIIIe siècle. Des cent exemplaires qui furent tirés, à peine une trentaine existe encore aujourd'hui (en 1910, il y a 109 ans) les autres ayant été cassés par les marchands d'estampes. » (Cohen).Il est à observer que le Tome I contient uniquement des pièces à regarder en hauteur et le tome II des pièces à regarder en largeur. Quand il y a deux pièces sur la même planche, au tome I, ce sont donc des pièces en largeur au tome II, des pièces en hauteur.- [Avec] : WATTEAU, Antoine. Figures de différents caractères de Paysages & d'Etudes dessinées d'après nature, par Antoine Watteau. Peintre du Roy en son Académie Royale de peinture et Sculpture, Gravées à l'Eau-forte par des plus habiles Peintres et Graveurs du temps, tirées des plus beaux cabinets de /// A Paris, Fixé à cent exemplaires de pres épreuves. Imprimez sur grand papier.2 large folio volumes [637 x 468 mm], circa 1735.261 engraved plates. - Vol. 1 : 1 engraved title, 1 leaf of engraved text, 1 engraved frontispiece, 38 plates; Figures de mode, dessinées et gravées à l'eau forte par Vatteau (sic). Paris : Duchange et Jeaurat, n.d.: 1 engraved title, 11 plates; Figures Françaises et comiques, nouvellement inventées par M. Watteau. Paris, Duchange et Jeaurat, n.d. : 1 engraved title, 7 plates. Autres vues. Paris Duchange, Gautrot et Joullain, n.d : 52 plates including 8 double.- Vol. II: ?uvres des estampes gravées, d'après les tableaux et dessins de feu Antoine Watteau. Quatrième et dernière partie. Paris, Gersaint, n.d. : 1 engraved title and 153 plates.A total of 261 engravings.Binding in marbled calf, triple gilt fillet around the covers, spines ribbed and decorated, red and citron morocco lettering pieces. Contemporary binding.Provenances: Comte Henry Greffulhe (1848-1932) (engraved ex-libris with his arms); André Langlois (ex-libris). --- First edition."This sumptuous collection in two volumes is one of the most beautiful and rare books of the 18th century. Among the 100 copies that were printed, barely thirty still exist today (in 1910, 109 years ago) the others having been broken by the engravings' merchants." (Cohen).It is to be observed that the Part I only contains pieces to look in height and the Part II pieces to look in length. When there are two pieces on the same plate, in Part I, they are therefore pieces in length in Part II, pieces in height.- [With] : WATTEAU, Antoine. Figures de différents caractères de Paysages & d'Etudes dessinées d'après nature, par Antoine Watteau. Peintre du Roy en son Académie Royale de peinture et Sculpture, Gravées à l'Eau-forte par des plus habiles Peintres et Graveurs du temps, tirées des plus beaux cabinets de Paris.A Paris, chez Audran, graveur du Roy en son Hôtel royal des Gobli.
Edité par London: Rickaby for Gardiner & Robinson; Sidney, 1802-1806., 1806
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
7 volumes in 4. Folio (18 2/8 x 11 2/8 inches). Text in English and French. 362 EXCEPTIONALLY FINE engraved plates with original hand-colour, including 37 PLATES IN COUNTERPROOF (some very occasional light spotting). FINE CONTEPORARY ENGLISH BINDING of green straight-grain morocco, elaborately decorated in gilt, including inner dentelles, with the gilt-stamped supra libros of John Proby on each front cover, all edges gilt. Provenance: with the supra libros of John Joshua Proby, first Earl of Carysfort (1751-1828) on each front cover; with the bookplate of John Taylor covered by the engraved armorial bookplate of E. Boehm on the front paste-down of each volume; Sir Abdy, his small library label on the front paste-down of volume one, his sale Paris, 11 June 1975, lot 107. AN EXCEPTIONALLY FINE, TALL AND ATTRACTIVE COPY, LIMITED TO 25 DELUXE COPIES, WITH MAGNIFICENTLY COLOURED PLATES, printed on paper watermarked "J. Ruse 1803" or "Ruse & Turners 1805". RARE. In his "Preface" to "Gleanings" Edwards writes: "Great parts of the prints in this present work were drawn and etched on the copper-plates immediately from the natural subjects which they represent; and many of the prints are coloured directly from nature, in their proper colours, by my own hand:; so that they may be deemed original drawings" (volume iv, page 9). In order to make these published images as close to the original watercolours as possible Robinson adopted the technique of counterproofing for 37 of the exquisite plates in this book: a method of "offset" printing whereby an image is printed from a freshly pulled print rather than from the copperplate. Counterproofs produce softer, lightly inked images with no platemarks, oriented in the same direction as Edwards'originals. John Joshua Proby, like his father before him, was a career politician. In 1789 he became joint guardian and keeper of the rolls in Ireland and was in Ireland when the rising broke out in 1798. He declared that the time was ripe for a union of Great Britain and Ireland, and on 21 April 1800 he described Pitt's measure as 'wise, politic, and advantageous to the two countries' (Cobbett, Parl. hist., 35.83). Carysfort wrote a pamphlet on parliamentary reform, published in 1783, and a collection of poems and dramatic works. He was 'esteemed a good and elegant scholar', but as a speaker 'his utterance is disagreeably slow, tedious and hesitating, perpetually interrupted by the interjections Ah! Ah!' (GEC, Peerage, 3.71). (G. F. R. Barker, rev. E. A. Smith for DNB). One of the most important of all eighteenth-century natural history works, "at its date of issue, the "Natural History" and "Gleanings" was one of the most important of all bird books, both as a fine bird book and as a work of ornithology. It is still high on each list" (Fine Bird Books). As a young man Edwards soon found himself in the company of the most influential natural historians, collectors and artists of the 18th-century. Among Edwards' first patrons was Sir Hans Sloane, he was taught to etch by the celebrated Mark Catesby (in 1754 he would publish the second edition of Catesby's "Natural History."), he worked with the Bartrams of Philadelphia and Linnaeus in Sweden. The first volume of "A Natural History of Uncommon Birds" was published to great acclaim in 1743, and gained him nomination for fellowship of the Royal Society although he withdrew his candidacy. Second and third volumes followed in 1747 and 1750 which won him the coveted Copley medal of the Royal Society. The last volume appeared in 1751 at which time he stated that age and infirmity precluded further work. However in 1758 he published the first volume of his "Gleanings of Natural History", the second in 1760, after which he sold his entire portfolio to the Marquess of Bute, ".resigned as bedell to the College of Physicians, and retired to a house in Plaistow. From there he still visited the college and the Royal Society and, stimulated by his drawings of South Ameri.
Edité par London: T. Bensley for the publisher, [1799]-1807., 1807
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
3 parts bound in two volumes, broadsheets (23 x 17 4/8 inches). Part I: engraved half-title "A British Trophy ."; engraved portrait of Thornton by F. Bartolozzi after Russell, and additional portraits of Millington, Grew, Ray, Vaillant, Bonnet, Hales, and Townsend; engraved plate "The Universal Power of Love"; engraved title-page "The Prize dissertation or the Sexes of Plates by Carolus von Linnaeus. 1759"; 3 engraved tables; and 22 fine engraved plates of flowers showing their separate components according to Linnaeus. Part II: mezzotint portrait of Linnaeus in Lapland dress by Dunkarton after Hoffman, engraved portrait of Linnaeus and further portraits of Pitton, Tournefort, de Jussieu, Larmarck, Rousseau, Hill, Bute, Martyn, Milne, Withering, Curtis, Smith, Lambert, Rutherford, Woodville, Shaw, and Erasmus Darwin; engraved half-title and title-page; 2 engraved tables; 66 engraved plates of flowers showing their separate components according to Linnaean classification. Part III: engraved title-page on 2 sheets; engraved table of contents; engraved dedication on 2 sheets; engraved part-title; 3 engraved plates: "Flora Dispensing her Favours on Earth" (aquatint and stipple engraved, hand-colored), and "Aesculapius, Flora, Ceres and Cupid ." and "Cupid Inspiring the Plants with Love" (color-printed stipple-engravings finished by hand); 28 mezzotint and/or aquatint engraved plates printed in colors and/or colored by hand, comprising: "The Snowdrop" [Dunthorne state I]; "The Persian Cyclamen" [III]; "Hyacinths" [II]; "Roses" [II]; "A Group of Carnations" [II]; "A Group of Auriculas" [two only, II]; "Tulips" [II]; "The Queen"; "The Aloe" [I]; "The Nodding Renealmia" [I]; "The Night Blowing Cereus" [Plate A, State II]; "The Oblique-Leaved Begonia" [III]; "Large Flowering Sensitive Plant" [III]; "The Blue Passion Flower" [III]; "The Winged Passion Flower" [III]; "The Quadrangular Passion Flower" [II]; "The White Lily" [III]; 'The Superb Lily' [B, III]; "The Dragon Arum" [IV]; "The Maggot-Bearing Stapelia" [II]; "American Bog Plants" [II]; "The Pontic Rhododendron"; "The American Cowslip" [I]; "The Narrow Leaved Kalmia"; "The China Limodoron"; "The Indian Reed" [II]; "The Sacred Egyptian Bean"; "The Blue Egyptian Water Lily" (endleaves and preliminaries creased, some marginal spotting). Contemporary maroon morocco gilt (hinges very weak). First edition. Only one of the justly celebrated plates of flowers ("The Roses") was by Thornton, the others are after paintings by Abraham Pether, Philip Reinagle, Sydenham Edwards, Peter Henderson and others, although he selected the subjects of the plates, their symbolism and dramatic landscapes. A doctor by training, a substantial inheritance allowed Thornton to achieve his dream of "an immense work in many volumes which in scope, illustration, paper and typography would surpass anything in any other European country" (Grigson). However the enterprise brought about his financial ruin and in spite of several lotteries designed to raise funds Thornton was forced to return to medical practice in order to support himself. "At the heart of the 'New Illustration' was Thornton's scheme to produce a specifically British botanical publication of a magnificence to surpass all previous examples. Teams of master engravers and colourists, including Francesco Bartolozzi, Richard Earlom, and John Landseer, used the full range of modern printing techniques to produce coloured illustrations after paintings by such prominent artists as Sir William Beechey, James Opie, Henry Raeburn, John Russell, Abraham Pether, and his two favoured illustrators, Peter Henderson and Philip Reinagle. The illustrations were not restricted to the 'choicest flowers' in the world, but included portraits of eminent botanists-including the famous portrait of Linnaeus in Lapp (Sami) dress-elaborate allegories, such as 'Cupid Inspiring the Plants to Love', and a bust of Linnaeus being honoured by Aesculapius, Flora, Ceres, and Cupid. The.
Date d'édition : 1849
Vendeur : Trillium Antique Prints & Rare Books, Franklin, TN, Etats-Unis
Art / Affiche / Gravure
Hardcover. Etat : Fine. This six volume set of 418 remarkable hand-colored lithographs is from the esteemed John Gouldâ s "Monograph of the Trochilidae, or Family of Hummingbirds". The work was printed in London by Taylor & Francis published for the author in London between 1849 and 1887. The work is bound in contemporary full green morocco, lavisly gilt. It contains the list of subscribers and contents to each volume. --- â The "Trochilidae" of Gould is his masterpiece, and must ever remain a feast of beauty and a source of wonder.â (Fine Bird Books) "Family of Hummingbirds" undoubtedly featured some of Gouldâ s most desired plates. Of particular note was the use of gold and silver leaf to create the appearance of the natural iridescence of the hummingbirdâ s feathers. The birds are also featured amidst intricately drawn fauna that accentuates the beauty of the composition. --- "There is no one appreciative of the beauties of nature who will not recall. with delight the time when a live humming-bird first met his gaze. The suddenness of the apparition, even when expected, and its brief duration, are alone enough to fix the fluttering vision on the mind's eye. The beautiful nests of humming-birds. will be found on examination to be very solidly and tenaciously built, though the materials are generally of the slightest - cotton-wool or some vegetable down and spider's webs" (Alfred Newton in 'The Encyclopedia Britannica 1911, vol. 13, p.887). The Hummingbird family includes members that are the smallest birds in the world. The largest measures no more than 8 1/2 inches and the smallest 2 3/8 inches in length. They are confined to the American continent and its islands, but are wide ranging within this limitation, with over 400 different species covering an area from the fuchias of Tierra del Fuego in the south to the althaea bushes of Toronto gardens in the north. --- The present image is from the work of which Gould himself was most proud. Hummingbirds remained a fascination for him throughout his professional life, as evidenced by his collection of 1500 mounted specimens, which were exhibited in the Royal Zoological Gardens in Regent's Park, London, in 1851 as part of the festivities surrounding the Great Exhibition. The exhibit proved a great success, with Queen Victoria and Prince Albert numbering among the 75,000 visitors. --- John Gould created nearly 3000 hand-colored plates of animals in his extensive career. Gould gained much of his knowledge by observation and experience and contributed greatly to scientific knowledge at the time. Gould is believed to have done the original sketches for all of the plates. He utilized many talented artists to help create the finished lithograph including his wife Elizabeth Coxen Gould, Edward Lear, Joseph Wolf, William Hart, and H. C. Richter. Even at the time of publication, Gouldâ s plates were very expensive and only sold to a small set of subscribers. Due to the limited subscriber list, the plates remain rare and of high value for collectors today. --- The work is in very good to excellent condition overall. There may be a few minor imperfections or faint marks to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size ~ 21 13/16" by 15 1/6".
Edité par [Speyer, Peter Drach, before April 1487]., 1487
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Edition originale
Folio. 129 ff. Rubricated with lombardic initials in red and blue. 19th century white paper boards with printed paper spine label. Stored in custom-made full green morocco gilt clamshell box. Considered unobtainable: the first edition of the notorious "Hammer of Witches", which laid down procedures for finding out and convicting witches. Called one of "the most vicious [.] book[s] in all of world literature" (Jerouschek, 500 Years of the Malleus Maleficarum, xxxi), it is certainly among the most misogynistic texts ever written and provided justification for the murder of tens of thousands of women in medieval Europe. Arguably, no book has been more damaging to the history of women than the Malleus. It "owes much of its notoriety to its infamous diatribe on the female sex. Kramer attempts to establish a direct connection between diabolic witchcraft and women throughout his treatise, and dedicates an entire chapter (Liber 1, Quaestio 6) exclusively to explaining why women are more prone to become witches than are men. In this chapter, he contends that women's nature is weaker than men's not only physically, but also psychologically, intellectually, and morally. Kramer argues that women's lascivious nature and moral and intellectual inferiority are the reasons for their greater proclivity to witchcraft. He [.] claims that the devil takes advantage of women's insatiable lust and inherent propensity to receive the influence of a disembodied spirit in order to harm Christian society" (Herzig, 27f.) While the Malleus was one of the most widespread texts of its time and went through no fewer than thirteen subsequent editions within three decades, complete copies of the first edition are of the utmost rarity, and only a few copies are found in American institutions. According to Rarebookhub, it has appeared at auction only once since 1925 (Sotheby's, Witchcraft and the Occult: Selected Books from the Collection of the late Robert Lenkiewicz, 2003, lot 295). - Upper cover stained and soiled, first three pages of text with some soiling and staining, neat repair to final printed leaf. All in all, a remarkably fine, clean copy. - From the famous Donaueschingen library of the princes of Fürstenberg with their printed spine title and shelfmark "298" on the spine label (repeated in pencil on recto of f. 1). - HC* 9238. Goff I-163. British Library IB.8581 (acquired in 1867 but not recorded in BMC). ISTC ii00163000. Coumont I4.2. Danet 16. Graesse III, 425. T. Herzig, "Witches, Saints, and Heretics: Heinrich Kramer's Ties with Italian Women Mystics", Magic, Ritual, and Witchcraft 1 (2006), pp. 24-55.
Edité par Safavid Persia, [1582-1584 CE =] 990-991 H., 1584
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
4to (180 × 240 mm). Arabic manuscript on cream paper. Two books, each with 10 chapters or maqalas, bound in one volume. (614) leaves, lacking one leaf from Book 2 (maqala 8, bab 23) and another leaf from Book 2 (maqala 10, bab 23) replaced in 19th century manuscript facsimile. 21 lines, per extensum, written in black naskh, chapter headings and important sections in red, catchwords throughout, each of the 20 chapters with an index of the bab within and each with a separate colophon. Later brown lacquered leather over pasteboards, faintly pressed central medallions to covers, rebacked. One of the few existing complete copies of this medical milestone. Exceptionally rare: a fundamental medical work from the Golden Age of Islamic scholarship, preceding and influencing Avicenna's Qanun. Monumentally influential not only in Islamic medicine, this work even had profound impact in the West. It was first translated into Latin by Constantinus Africanus in the 11th century for use as a primary text at Salerno's medical school, and then again in 1127 by Stephen of Antioch. By the 14th century knowledge of the work was so widespread that Al-Majusi is mentioned as one of antiquity's great medical scholars in Chaucer's Canterbury Tales. - The text is divided into two distinct books, each of which comprise ten "maqalas" (sections), subdivided into "babs" (chapters). The first section deals with the theory of medicine, including anatomical structures and they body's physiology; the second examines the practical treatment of medicine, the application of medical treatments and surgery. Indeed, this is the earliest known Arabic medical work to provide detailed instructions on surgical procedure. - Ali ibn al-Abbas al-Majusi was a 10th century Persian physician and psychologist, known in the Latin tradition as "Hali Abbas". Born in Ahvaz in southwest Persia, he was perhaps the most celebrated physician in the Eastern Caliphate of the Buwayhid dynasty, becoming physician royal to Emir 'Abdul al-Daula Fana Khusraw (reigned 949-983). The present treatise was compiled under the patronage of Emir Khusraw and is therefore also known as "Al-Malikiyya" ("The Royal Book"). Emir Khusraw founded a hospital in Shiraz and the al-Adudi Hospital in Baghdad to show his support for medical science, and Al-Majusi probably worked at the latter around 981 CE, where he must have composed this, his chief work. He is thought to have died in either 990 or 1010 CE. - The manuscript was produced for a wealthy and important patron in 16th century Persia, written on fine paper by a single scribe who names himself as Salam'ullah bin Habib'ullah bin Muhammad in colophons at the end of the various sections. Many of these colophons also record the date of their completion, showing that the entire codex took two years to produce. - Complete manuscript copies of this text are exceptionally rare: its vast encyclopedic nature made it an expensive commodity in the Middle Ages, and its sheer size usually necessitated it to span several volumes. The present example appears to have been bound as two separate books at the time of copying before being joined together in a single large volume in the 19th century. - Edges a little scuffed; some very minor marginal staining to a few sections, occasional light mottling. A few outer edges repaired (only affecting the text of two leaves). Overall a very clean and attractive specimen. Provenance: sold at Sotheby s, Arts of the Islamic World sale, 23 October 2019, lot 119 (described without mention of the facsimile leaves).
Edité par London: T. Bensley for the publisher, [1799]-1807., 1807
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
3 parts in 2 volumes. Broadsheets (24 x 19 inches). Volume one with 127 fine uncoloured engraved plates, copperplate, portraits and diagrams, including Linnaeus in his Lapland dress (some occasionally heavy spotting); volume II, "The Temple of Flora", with 6 engraved title-pages or dedications, an engraved portrait of the Queen, engraved contents leaf, and 31 FINE coloured plates, comprising 3 allegorical hand-coloured aquatint plates ("Aesculapius, Flora, Ceres and Cupid honouring the Bust of Linnaeus", "Cupid Inspiring Plants with Love", "Flora dispensing Her Favours on the Earth"), and 28 fine mezzotint and/or aquatint engraved plates printed in colors and/or colored by hand, comprising: "The Snowdrop" [Dunthorne state III]; "The Persian Cyclamen" [III]; "Hyacinths" [II]; "Roses" [II]; "A Group of Carnations" [III]; "A Group of Auriculas" [two only, II]; "Tulips" [II]; "The Queen Flower"; "The Aloe" [II]; "The Nodding Renealmia" [II]; "The Night Blowing Cereus" [AII]; "The Oblique-Leaved Begonia" [III]; "Large Flowering Sensitive Plant" [II]; "The Blue Passion Flower" [III]; "The Winged Passion Flower" [I]; "The Quadrangular Passion Flower" [II]; "The White Lily" [I]; 'The Superb Lily" [B, III]; "The Dragon Arum" [III]; "The Maggot-Bearing Stapelia" [II]; "American Bog Plants" [II]; "The Pontic Rhododendron"; "The American Cowslip" [II]; "The Narrow Leaved Kalmia"; "The China Limodoron"; "The Indian Reed" [II]; "The Sacred Egyptian Bean"; and the "The Blue Egyptian Water Lily". Contemporary half black morocco, marbled paper boards (spine repaired, worn). THE GREATEST ENGLISH BOTANICAL BOOK Thornton (1768-1837) was destined for a career in the church, but while at Trinity College, Cambridge he found inspiration in the botanical lectures of Thomas Martyn and switched to studying medicine. He went on to lecture in medical botany at Guy's Hospital. Conceived on a grandiose scale, Thornton's work was to comprise three parts: a dissertation on the sexual reproductive cycle of plates; an explanation of Linnaeus's plant system, lavishly illustrated with botanical plates and portraits of botanists; and "The Temple of Flora" which was to have no less than seventy large plates of exotic plant species arranged according to the classification system of Linnaeus. Each species was to appear in its native environment. The production of the plates for "The Temple of Flora" involved a variety of techniques - aquatint, mezzotint, stipple engraving and stippling with line engraving or etching which required the participation of a large number of artists. Among those commissioned by Thornton were Philip Reinagle - who executed most of the preparatory drawings - Abraham Pether (known for his moody, quasi-Gothic landscapes), Sydenham Edwards, and Peter Henderson, and the engravers Richard Earlom, James Caldwall, and Thomas Burke. Only the plate of the Rose was drawn by Thornton and executed by Earlom. In spite of using a host of artists and engravers, Thornton managed to "maintain a remarkable homogeneity of style throughout" (An Oak Spring Flora), but production was a protracted stop-and-go affair, causing the text and plates to appear irregularly, and to bring Thornton ultimately to the brink of personal bankruptcy. Because some plates were withdrawn or reworked in the course of publication, it is not possible to establish a definitive collation of the work. For his contribution to English botanical illustration, Thornton has been compared to Redouté by Alan Thomas: "more or less coeval with Redouté in France came the production of the greatest English colour-plate flower book. What Redouté produced under the patronage of L'Héritier, Marie Antoinette, the Empress Josephine, Charles X and the Duchesse de Berry, Thornton set out to do alone. The result was almost total failure ? His fortune was engulfed and his family reduced to penury. It is easy to raise one's eyebrows at Thornton's unworldly and injudicious approach to publishing. but he p.
Edité par Chapman and Hall, 1841
Vendeur : Gerard A.J. Stodolski, Inc. Autographs, Bedford, NH, Etats-Unis
Livre Edition originale
Hardcover. Etat : Fine. 1st Edition. DICKENS, CHARLES. (1812-1870). English novelist of the Victorian era; his numerous beloved works include: A Christmas Carol , A Tale of Two Cities Barnaby Rudge , Bleak House , David Copperfield , Dombey and Son , Great Expectations , Martin Chuzzlewit , Nicholas Nickleby , Oliver Twist , The Old Curiosity Shop , and The Pickwick Papers . His book: THE OLD CURIOSITY SHOP. London: [Bradbury and Evans for] Chapman and Hall, 1841. Quired in 6s (251 x 167 mm). Dedication leaf to Samuel Rogers (not called for by Smith, but that in vol.1 of Master Humphrey's Clock from which this is separately issued). Illustrations in text by George Cattermole and Hablot K. Browne ["Phiz"]. Gilt-ruled on covers, gilt-decorated on spine, deep green/black and red morocco lettering pieces, all edges gilt, ink stamp of Chapman and Hall on front free endpaper and of the binder Hayday on rear free endpaper. Housed in a vintage custom full leather embossed slip case, of excellent quality. BOLDLY INSCRIBED TO: WALTER SAVAGE LANDOR FROM HIS HEARTY FRIEND, CHARLES DICKENS , ON THE TITLE PAGE. THIS PRESENTATION IS ONE OF EXTRAORDINARY ASSOCIATIONS, one made even more so when one considers Landor (1775 - 1864) was 37 years Dickens senior, and then further inscribed by Landor to his son, opposite the title page, Arnold Savage Landor / from Babbo [a family nickname]. Landor was an immediate admirer of Dickens works. In April 1839, before Dickens was introduced to Landor by John Forster, [both Landor s and Dickens biographer, literary advisor and inner circle friend], Landor wrote to Forster, Tell Dickens he has drawn from me more tears and more smiles than are remaining to me for all the rest of the world, real or ideal. Dickens and Landor first met in January 1840, through Forster, at Lady Blessington s literary salon. On February 10, 1840, Landor wrote to his friend G.P.R. James: In town I made a new acquaintance -- is a really popular, and what is much better, truly extraordinary man the author of Nicholas Nickleby. He comes on Saturday to spend a few days with me at Bath, and on Monday I have invited my elite of beauty (the Paynters) to meet him How I wish you could too! Dickens is really a good as well as a delightful man. It is rarely that two such persons meet, as you and he nor in any other society could I easily be the least of three. In 1869, a year before his death, Dickens wrote to Forster: Landor s ghost goes along the silent streets before me. Forster wrote it was the first meeting in Bath on February 7, 1840, that there came into the novelist s mind the first stirrings of imagination that eventually took form as Little Nell who became to Landor as one who had really lived and died. Dickens on May 9, 1869, in a letter to Forster, confirmed what Landor had often previously told friends that it was at Landor s lodgings in Bath that Dickens first thought of Nell. Landor later declared that he had never in his life regretted anything so much as having failed to buy the house and burn it to the ground, so that no meaner association should ever desecrate the birthplace of Nell. It was during this first trip that Rose Paynter, Landor s elite of beauty and best friend in Bath, introduced Dickens to the original of Quilp in The Old Curiosity Shop , a frightful little dwarf named Prior, who let donkeys on hire and used a heavy stick impartially on his wife and donkeys. On September 13, 1840, in a letter to John Forster, Dickens determined he wanted to separate and publish The Old Curiosity Shop from Master Humphrey s Clock, although it wasn t until April 20, 1841, in a letter to his dear friend Miss Angela Burdett Coutts [Coutts Bank family] that he had given his binder instructions to put The Old Curiosity Shop in one Volume. Since The Old Curiosity Shop (40 weekly numbers published from April 25, 1840 to February 6, 1841) was a part of Master Humphrey s Clock, Dickens had to add sections to make it a viable separate novel. On February 11, 1841, Dickens asked Landor to be his newly born fourth child s godfather, which incredibly excited and honored Landor. The Christening took place on December 4, 1841, eleven days before the first separate publication of The Old Curiosity Shop . Landor s life is a story in its own right. It is an amazing catalogue of incidents and misfortunes, many of them self-inflicted, but some of no fault of his own. His headstrong nature and hot-headed temperament, combined with a complete contempt for authority, landed him in a great deal of trouble over the years. Landor s writing often landed him on the wrong side of the laws of libel. Many times his friends, including Dickens and Forster, had to come to his aid in smoothing the ruffled feathers of his opponents or in encouraging him to moderate his behavior. His friends were equally active in the desperate attempt to get his work published, where he offended or felt cheated by a succession of publishers who found his work either unsellable or unpublishable. He was repeatedly involved in legal disputes with his neighbors and Dickens characterization of him as Lawrence Boythorn in Bleak House (1852-3) revolves around such a dispute over a gate between Boythorn and Sir Leicester Dedlock. His stormy marriage with his long-suffering wife resulted in a long separation (she and his family lived in Florence) and when she finally decided to take him back, he tried to escape several times, only to be brought or coaxed back. Yet, Landor was described as the kindest and gentlest of men. He collected a coterie of friends who went to great lengths to help him as his loyalty and liberality of heart were as inexhaustible as his bounty and beneficence of hand. Modern day biographers of Dickens concluded that Landor s aggressive talk was a cover for an extremely sensitive, sentimental and generous character, who was exceptionally loyal to his friends. Simply superb and with associations of the highest order!.
Edité par Hilliard, Gray, Little and Wilkins, 1829
Vendeur : Anniroc Rare Books, Pasadena, CA, Etats-Unis
Livre Signé
Hardcover. Etat : Very Good. 2nd Edition. A signed book from Thoreau's library***Second edition. Remboitage in contemporary leather binding of the same book. Concord Library stamp to title page, fore-edge a bit chipped. Pages quite clean, Very Good. HDT s ownership signature and annotations in bold ink.*** The signature is an early one, sometime around 22 years of age. Thoreau had studied Greek and the Classics at Harvard, graduating in 1837 and began translating Aeschylus in his journal circa 1839 - his translation of Prometheus Bound would appear in the third installment of The Dial in 1843. This is a young Thoreau still developing as a person and an intellectual. He obviously used this book heavily, as it contains lengthy annotations on 16 pages - his additions of Greek words with definitions.*** This book was gifted in 1874 by his devoted sister, Sophia, to the Concord Library and later de-accessioned by the library in 1906 and purchased by the celebrated collector, Stephen H. Wakeman. It doesn't need any trinkets of imaginative dressing from me, but to go full bore, it's more than conceivable that he brought this to Walden Pond along with other pieces from his library. Wakeman was amongst the greatest collectors of all time in a golden era of collectors who continuously one-upped each other by gobbling up the choicest pieces. He was the OG Thoreau collector, amassing the largest, most comprehensive assortment of HDT items - even furniture made and used by Thoreau.*** It s now over 200 years since the icon's birth, and his place in the literary firmament is fully established. What is pertinent to convey is that pieces like this will continue to be more impossible to procure the longer time expands the void between us and him. You can often pick up nice copies of HDT's books, even fragments of his manuscript leaves though they often lack significance. This piece does have lofty significance(a book heavily used by an American legend to shape his mind) and now is your shooting star-esque window of time to own a museum piece.***Please email us for better pricing. Inscribed by Author(s).
Edité par Hilliard, Gray, Little and Wilkins, 1829
Vendeur : Anniroc Rare Books, Pasadena, CA, Etats-Unis
Livre Signé
Hardcover. Etat : Very Good. 2nd Edition. A signed book from Thoreau's library***Second edition. Remboitage in contemporary leather binding of the same book. Concord Library stamp to title page, fore-edge a bit chipped. Pages quite clean, Very Good. HDT s ownership signature and annotations in bold ink.*** The signature is an early one, sometime around 22 years of age. Thoreau had studied Greek and the Classics at Harvard, graduating in 1837 and began translating Aeschylus in his journal circa 1839 - his translation of Prometheus Bound would appear in the third installment of The Dial in 1843. This is a young Thoreau still developing as a person and an intellectual. He obviously used this book heavily, as it contains lengthy annotations on 16 pages - his additions of Greek words with definitions.*** This book was gifted in 1874 by his devoted sister, Sophia, to the Concord Library and later de-accessioned by the library in 1906 and purchased by the celebrated collector, Stephen H. Wakeman. It doesn't need any trinkets of imaginative dressing from me, but to go full bore, it's more than conceivable that he brought this to Walden Pond along with other pieces from his library. Wakeman was amongst the greatest collectors of all time in a golden era of collectors who continuously one-upped each other by gobbling up the choicest pieces. He was the OG Thoreau collector, amassing the largest, most comprehensive assortment of HDT items - even furniture made and used by Thoreau.*** It s now over 200 years since the icon's birth, and his place in the literary firmament is fully established. What is pertinent to convey is that pieces like this will continue to be more impossible to procure the longer time expands the void between us and him. You can often pick up nice copies of HDT's books, even fragments of his manuscript leaves though they often lack significance. This piece does have lofty significance(a book heavily used by an American legend to shape his mind) and now is your shooting star-esque window of time to own a museum piece.***Please email us for better pricing. Inscribed by Author(s).
Edité par John Matthews, London, 1712
Vendeur : SOPHIA RARE BOOKS, Koebenhavn V, Danemark
Membre d'association : ILAB
Edition originale
Hardcover. First edition. THE FOUNDATION FOR MODERN ASTRONOMY - PROBABLY BOUND FOR QUEEN ANNE. The true first edition, extremely rare, of Flamsteed's catalogue of fixed stars and sextant observations, the foundation of modern observational astronomy; this copy was probably bound for Queen Anne (please see below). Flamsteed's catalogue was far more extensive and accurate than anything that had gone before. It was the first constructed with instruments using telescopic sights and micrometer eyepieces; Flamsteed was the first to study systematic errors in his instruments; he was the first to urge the fundamental importance of using clocks and taking meridian altitudes; and he insisted on having assistants to repeat the observations and the calculations. The catalogue contains about 3000 naked eye stars (Ptolemy and Tycho listed 1000, Hevelius 2000) with an accuracy of about 10 seconds of arc. However, Flamsteed, although appointed Astronomer Royal in 1675, by the turn of the eighteenth century had still not published any of his observations. Isaac Newton and Edmond Halley pressed him to do so; Flamsteed's refusal led to one of the most famous, and bitterest, disputes in the history of astronomy, and to the present work being published against Flamsteed's will. Flamsteed's response, in 1716, was to destroy 300 of the 400 copies printed, so just a few years after publication no more than 100 copies survived. Flamsteed published his own, 'authorised', version of his star catalogue in 1725. Provenance: The Hon. George Baillie (1664-1738), a Lord of the Treasury, with manuscript shelf-mark on blank margin of frontispiece. Baillie was a leading member of the Squadrone Volante, a group of members who were influential in the debates which led to the union with England in 1707. In 1711, he was appointed Commissioner for Trade and Plantations by Queen Anne. "Born a somewhat sickly child at Denby, near Derby, Flamsteed's condition seems to have worsened in 1660 by what sounds like an attack of rheumatic fever. He was taken away from school and devoted himself to the study of mathematics and astronomy. A visit to Ireland in 1665 to be touched by Vincent Greatrakes, a famous healer of the day as a seventh son of a seventh son, had no effect upon his health. Shortly afterwards, however, his work began to be noticed by a number of Fellows of the Royal Society. Amongst these was Sir Jonas Moore, who was considering building a private observatory for Flamsteed. It proved unnecessary, for in 1675 Flamsteed was appointed to be the first Astronomer Royal by Charles II. As the first holder of the post, Flamsteed was responsible for the building and organisation of the new observatory at Greenwich. He also found that on a salary of £100 a year he was expected to engage and pay his own staff, and to provide his own instruments. Although some instruments were donated by Moore and others, Flamsteed still found it necessary to spend £120 of his own money on a mural arc. Made and divided by Abraham Sharp it was ready for use in September 1689. As a result of this expenditure, all observations made after 1689 seemed to Flamsteed to be unarguably his own property, and his to do with as he willed. "He met Newton for the first time in Cambridge in 1674. The first substantial issue between them arose over the nature of the comet of 1680-1. Newton was convinced that two comets were present and in letters to Flamsteed argued so at length. Flamsteed, however, insisted only one comet was present, a position Newton finally accepted in September 1685. Relations remained cordial and in 1687 Flamsteed was one of the few scholars selected to receive a presentation copy of Principia. It contained, he noted, only 'very slight acknowledgements' to his Greenwich observations. "On 1 September 1694 Newton paid his first visit to Greenwich. He spoke with Flamsteed about the moon. Newton was keen to examine Flamsteed's lunar data in order to correct and improve the lunar theory presented in Principia. Flamsteed offered to loan Newton 150 'places of the moon' on two conditions: firstly, that Newton would not show the work to anyone else; secondly, and more unreasonably, Newton would have to agree not to reveal any results derived from Flamsteed's observations to any other scholar. It was the beginning of an ill-tempered dispute which would last until Flamsteed's death. His own version of the quarrel is contained in his History of his own Life and Labors published in Baily (An Account of the Revd John Flamsteed (1966), pp. 7-105). It is a most bitter document. "None of Newton's proposals found favour with Flamsteed. The offer in November 1694 'to gratify you to your satisfaction' brought the answer that he was not tempted with 'covetousness' and the lament that Newton could have ever thought so meanly of him. An offer in 1695 to pay Flamsteed's scribe two guineas for his transcriptions brought an equally forthright rejection. It was enough, Newton was told, to offer 'verball acknowledgements'; a 'superfluity of monys', he found, 'is always pernicious to my Servants it makes them run into company and wast their time Idly or worse'. If Newton asked for 'your Observations only', Flamsteed complained of being treated like a drudge; if, however, calculations were asked for as well, Flamsteed would respond that such work required all kinds of tedious analysis for which he had little time . "Over the period 1694-5 Newton received another 150 observations. They were, however, none too reliable, having been made with the help of a stellar catalogue constructed with the help of a sextant alone. By this time Flamsteed was beginning to resent Newton's somewhat imperial tone. 'But I did not think myself obliged', he complained, 'to employ my pains to serve a person that was so inconsiderate as to presume he had a right to that which was only a courtesy (Baily, p. 63). Consequently, he returned to his own work, leaving Newton to work through the observations he had already receiv.
Edité par Printed at the Theater, for Moses Pitt at the Angel in St. Pauls Church-Yard, London, 1680-1681-1683-1682, 1680
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Livre Edition originale
Hardcover. Etat : Fine. 1st Edition. 4 volumes. Folio (21 4/8 x 14 inches). Letterpress title-pages, two printed in red and black and with small engraved vignettes, letterpress in volume one ruled in red throughout. Fine engraved portrait of Charles II, engraved by R. White, in volume one by (laid down on heavier stock at an early date) and double-engraved plate of Laplanders by F. van den Houe with magnificent original hand-colour in full, 3 further folding plates and 166 double-page maps of the world by John Seller and Janssonius and Northern Europe, all with original hand-colour in part, the cartouches with original hand-colour in full, those in volume one occasionally HEIGHTENED IN GOLD and gum arabic, all cartouches and other fine details in volume IV HEIGHTENED IN GOLD and gum arabic, all maps in this volume ruled in red (world map by Seller trimmed and laid down on heavier stock, volume one without map 35 'Ducatus Stomariae' and 40 'Regni Norvegiae'; map 35 in volume II 'Marchia Vetus' trimmed and laid down on heavier stock; volume III with maps 'Totius Sveviae', 'Walachia' and 'Iuliacensis Ducatus' trimmed and laid down, without map 126 'Diocesis Leodeniensi' but with additional map 'Oldenburg'; volume IV lacking map 141 'Fossa Eugeniana' but with additional map 'Namurcum Comitatus'). Fine contemporary blind paneled smooth and mottled calf, the spines in 8 compartments with 7 raised bands, one lettered in gilt, the others decorated with fine gilt tools (expertly rebacked preserving the original backstrips, a bit rubbed). Provenance: with the engraved armorial bookplate of George Tollet Esq. (d. 1719), mathematician and naval administrator, on the verso of each title-page; with the engraved armorial bookplate of the Weston Library of the Earls of Bradford on each front paste-down. First edition. The two world maps are John Seller's "Novissima Totius Terrarum Orbis Tabula." (Shirley 460) and Pieter van den Keere's "Nova totius terrarum orbis geographica ac hydrographica tabula" in the revised Janssonius, post 1620, state (Shirley 504) with a dedication to the Bishop of Oxford in the upper left. The map of the North Pole is Janssonius's "Nova et accurata Poli Arctici" and not that of Moses Pitt. The remaining maps are of Northern and Eastern Europe, all based on Dutch cartography, as Pitt's intention had been to publish a mammoth atlas to rival that of Blaeu, "giving a reprise to many of the plates which Janssonius had acquired over the years, some of them going as far back as the stocks that were used for Mercator's Atlas" (Goss) . However, as with many grand publishing designs the venture faltered after only these four volumes. The maps in volume one, in addition to the world map, and that of the Arctic, are of Russia, Poland, and Scandinavia; volumes II and III are of the German Empire; and IV contains the Seventeen Provinces of the Low Countries, or Netherlands. Moses Pitt was neither a cartographer nor a scholar, yet in 1670 he undertook a project that came to be called 'The English Atlas'. Despite the seemingly difficult, if not unrealistic, task at hand--hardly mitigated by the paucity of skilled commercial cartographers in England--Pitt's endeavor was backed by Sir Christopher Wren and Robert Hooke, and his partners included the Dutch map publisher Jan Jansson and the Englishman Steven Stewart. Based on the concept of the Atlas Maior by Joan Blaeu ,Pitt's atlas was to consist of twelve volumes, but only four were completed (covering places "next to the North-pole," Muscovy, Poland, Sweden, Denmark, Germany and the seventeen provinces of the Low Countries). Pitt had envisioned the project as a reissue of a Dutch atlas in "English guise"--in which existing Dutch maps would be repackaged with accompanying text in English--whereas his partners envisioned the printing of an atlas with entirely new maps. Such conflicts, along with economic factors and the overly ambitious nature of the project envisioned, eventually led to its demise. After only four parts. Atlas.
Edité par Lyon, Jean Trechsel & Johann Klein, 24. XII. 1498., 1498
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Folio (ca. 31 x 42 cm). 2 vols. 379 ff. with 1 diagrammatic woodcut. 357 ff. Contemporary full calf over wooden boards on four raised double bands, blind- and giltstamped, one volume with 2 brass clasps (and remnants on the other volume). Two complete volumes, in their contemporary Renaissance bindings, of the four-volume Latin edition of Avicenna's magnum opus. Gerard de Cremona's widely received translation was here edited by Jacques Ponceau with the commentaries of Jacobus de Partibus and Johannes Lascaris. - The principal writing of Abu Ali al-Husain ibn Abdullah ibn Sina (ca. 980-1037), the "Qanun" is the most authoritative medical text in the Islamic world. Written in Arabic, it was widely translated throughout the Middle Ages and formed the basis of medical training in the West as late as the mid-17th century. Through this encyclopedic work, the author exerted "perhaps a wider influence in the eastern and western hemispheres than any other Islamic thinker" (PMM). "The 'Qanun' [.] contains some of the most illuminating thoughts pertaining to distinction of mediastinitis from pleurisy; contagious nature of phthisis; distribution of diseases by water and soil; careful description of skin troubles; of sexual diseases and perversions; of nervous ailments" (Sarton, Introduction to the History of Science). "[Avicenna's] Canon is one of the most famous medical texts ever written, a complete exposition of Galenism. Neuburger says: 'It stands for the epitome of all precedent development, the final codification of all Graeco-Arabic medicine'. It dominated the medical schools of Europe and Asia for five centuries" (Garrison/M. 43). - The present two volumes comprise the complete Third Book, fen 1-12 and 13-22, and thus cover the principal part of the Qanun: special pathology and therapy "a capite ad calces" (from head to toe), including ailments of the ear, nose, and throat, as well as obstetrics. Volumes 1 and 4 (not present here) comprised books I (452 ff.) and book IV, fen 1 (142 ff.); books II and V were not part of this edition. - Both volumes lack merely the final blank leaf, otherwise complete with ample margins showing occasional deckle edges. Some light browning, some waterstaining to edges (mainly towards end of vol. 2), otherwise very little staining; some worming mostly confined to blank margins. A few contemporary ms. annotations. Both volumes in their original, prettily blind- and gilt-tooled brown leather bindings over wooden boards. - Provenance: traces of removed bookplates on pastedowns. According to a pencil note on the inside front cover of the first volume, the set was removed from the Fritzlar Cathedral Library, parts of which were dispersed in 1724 and in 1803. Later sold at Venator (Cologne), sale 23/24 (1962), lot 15 (with illustration plate IV); old sales notice pasted to inside front cover of first volume. - H 2214. GW 3127. Goff A-1428. BMC VIII, 302. Proctor 8616. BSB-Ink A 964. IGI 1125 u. Corr. Pell. 1668. Polain 444. Voull. Bln. 4708. Claudin IV, 88-93. Klebs 131.13. Panzer I, 553, 200. Not in Oates, Osler, Waller, or Wellcome.
Edité par Adrian Vlacq, The Hague, 1659
Vendeur : Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, Etats-Unis
Edition originale Signé
Hardcover. Etat : Fine. FIRST EDITION. [Bound with:] De circuli magnitudine inventa. Accedunt eiusdem problematum quorundam illustrium constructiones. Leiden: Elzevir, 1654 Quarto: II. (8), 71, (1) p. Collation: *4, A-I4 FIRST EDITION of Huygens' landmark work on Saturn bound with the FIRST EDITION of Huygens' work on the quadrature of the circle, "De circuli magnitudine inventa."(1654). Very fine copies in contemporary vellum with a very pale damp-stain to leading edge of a few leaves. First work with 11 engravings in the text, several woodcut diagrams, and 1 folding engraved plate. Vellum scuffed and marked with minor soiling. The first edition of Huygens' announcement of the discovery of the rings of Saturn and the planet's enormous moon, Titan. The work was preceded by a one-sentence anagram by planted by Huygens in Petrus Borel's "De vero telescopii inventore" (1655/56) to secure priority of his discovery. The title of the book reads "The System of Saturn, or On the matter of Saturn's remarkable appearance, and its satellite, the new planet." Around 1654 Huygens and his brother Constantijn devised a new and better way of grinding and polishing lenses. In early 1655, the Huygens brothers completed a telescope with an objective focal length of 377 cm. (twelve feet), an estimated ocular focal length of 7.5 cm, and a magnification of about 50. The original objective of this telescope (0.32 cm thick, 5.7 cm diameter) is now kept in the Museum Boerhaave at Leiden. The telescopes constructed by Huygens were the best and most powerful of his time. On 25 March 1655 he directed his telescope towards the planets, first to Venus and Mars, later to Jupiter and Saturn. "With the first telescope he and his brother had built, Huygens discovered, in March 1655, a satellite of Saturn, later named Titan. He determined its period of revolution to be about 16 days, and noted that the satellite moved in the same plane as the 'arms' of Saturn. Those extraordinary appendages of the planet had presented astronomers since Galileo with a serious problem of interpretation; Huygens solved these problems with the hypothesis that Saturn is surrounded by a ring. He arrived at this solution partly through the use of better observational equipment, but also by an acute argument based on the use of the Cartesian vortex (the whirl of celestial matter around a heavenly body supporting its satellites.)" Bos, DSB VI.604 The 'Systema Saturnium' also describes the observations of the Orion nebula, discovered by Huygens in 1656. "Although Galileo had observed the peculiar shape of the planet Saturn, it was the advanced telescope construction and observation of Huygens that led to a correct analysis of its changes. In 'Systema Saturnium' the rings and satellites of Saturn were described, also the explanation of their appearance and disappearance, and a micrometer used in making the observations." (Dibner, Heralds) "'Systema Saturnium' opens with the preface to Prince Leopold. In this preface Huygens declares that Saturn, its ring, and its satellite forms a system which supports the Copernican system of a heliocentric universe. The preface is followed by an encomium to Huygens by Nicolaas Heinsius and a poem on the Saturnian system by Huygens's brother Constantijn. The main text begins with descriptions of Huygens's telescopes and some of his early observations of other planets, stars, and the Great Nebula in Orion. Then his discussion turns to the discovery of Saturn's moon and the determination of its orbital period around Saturn. "On page 34, Huygens begins the discussion of the changing and unusual nature of Saturn's appearance. He discusses earlier observations of the planet going back to Galileo, notes how these observations suffered from the use of inadequate telescopes, and goes into some detail on the hypotheses of Hevelius, Roberval, and Hodierna. After arguing against these explanations, Huygens offers his theory of a thick solid ring circling Saturn at its equator and in equilibrium under Saturn's gravitational force. He then goes into detail about how the plane of the ring is tilted 20 degrees to the plane of Saturn's orbit and that the ring maintains a constant orientation as the planet orbits the Sun. This means that the ring's angle changes with respect to us and thus explained the varying appearance of Saturn. When the ring was edgewise to the Earth it would seem to practically disappear and then slowly the angle would change and the rings would open themselves back up to us. The book ends with Huygens's observations of all the planets and his calculations of their sizes in relation to the Sun." (Ronald Brashear) The Magnitude of the Circle: "In his first publication,'Theoremata de quadratura hyperboles, ellipses, et circuli', Huygens derived a relation between the quadrature and the center of gravity of segments of circles, ellipses, and hyperbolas. He applied this result to the quadratures of the hyperbola and the circle. In the'De circuli magnitudine inventa'(1654)he approximated the center of gravity of a segment of a circle by the center of the gravity of a segment of a parabola, and thus found an approximation of the quadrature; with this he was able to refine the inequalities between the area of the circle and those of the inscribed and circumscribed polygons used in the calculations of Ï . The same approximation with segments of the parabola, in the case of the hyperbola, yields a quick and simple method to calculate logarithms, a finding he explained before the Academy in 1666-1667."(DSB).
Edité par Paris: C.L.F. Panckoucke, 1827- [1833]., 1833
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale
Large 4to., (12 4/8 x 9 2/8 inches). Letterpress title-page, 2-page "advertisement", "Table Alphabétique et Explicative des plantes figurées dans cet ouvrage (9 leaves, paginated [1]-17, verso of 9th leaf blank), final blank leaf. 144 fine stipple-engraved plates BEFORE NUMBERS, printed in colors and finished by hand, by Langlois, Bessin, Chapuy, and Victor, after Redouté (some occasional light browning, one or two insignificant spots). Contemporary French half maroon morocco gilt, marbled boards (extremities a bit scuffed and bumped). First edition, preferred issue with the plates before numbers, originally published in parts between May 1827 and June 1833. Also published in a very limited large paper edition, Hunt reports five copies only, but there were probably more. Unlike later editions this first edition has no sectional titles, and in this copy the plates are bound according to Guillemin's strict "Table Alphabetique". The "Choix", for this Redoute's last great and extremely popular work, is personal: "Éclairé par l'expérience, encouragé par les souffrages les plus flatteurs des naturalistes et des peintres de mon pays et des contrées les plus éloignées; c'est en me livrant aux travaux botaniques les plus étendus, c'est en étudiant sans cesse la nature dans la constance et dans la variété des formes et de ses couleurs, que je crois être parvenu à réussir sous le triple rapport d'exactitude, de la composition et du coloris, dont la réunion peut seule porter à perfection l'iconogrpahie végétale" - "Enlightened by experience and encouraged by the extremely flattering pleas of naturalists and painters from my own country as well as from most distant realms; it is by devoting myself to extensive botanical study, by examining nature unremittingly, observing both its constancy and variety of shapes and colours, that I believe finally to have succeeded, by the triple means of exactitude, composition and colouring, the union of which only, may bring to perfection the iconography of plants" (Redouté, "Preface"). Pierre-Joseph Redoute (1759-1840), often called "the Raphael of flowers," was born in the Belgian Ardennes - the son, grandson, great-grandson and brother of artists. From the beginning, Redoute's talents were recognized by distinguished men and women who took pleasure in forwarding his career. For the study of botany, his teacher was Heritier de Brutelle, one of the outstanding naturalists of his day. Gerard van Spaendonck, Flower Painter to the King, taught Redoute the technique of painting in watercolor on vellum. But by the master's own account, the pupil's work was finer. The luminosity of stipple engraving is particularly suited to the reproduction of botanical detail. It is essentially a technique of engraving a copper plate with a dense grid of dots which can be modulated to convey delicate gradations of color. Because the ink lies on the paper in miniscule dots, it does not obscure the "light" of the white paper beneath the color. After this complicated printing process was complete, the prints were then finished by hand in watercolor, so as to conform to the models Redoute provided. Redoute had, as pupils or patrons, five queens and empresses of France, from Marie Antoinette to Josephine's successor, the Empress Marie-Louise. Despite many changes of regime in this turbulent epoch, he worked without interruption, eventually contributing to over fifty books on natural history and archaeology. The "Choix des Plus Belles Fleurs" is one of Redoute's last works. The "choice" is personal, the favorite flowers and fruits of a master who had devoted a lifetime to the arc of botanical illustration. There are the spectacular blooms of formal gardening, but also many more modest blooms of wayside flowers. Although small in size, these prints have the peculiar virtue of concentration, by which we can savor the essence of each beautiful flower. Dunthorne 235; "Great Flower Books" p.129; cf. Hunt "Redout.
Edité par Princeton University Press, Princeton, NJ, 1944
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
First edition of von Neumann and Morgenstern's landmark work. Octavo, original cloth. Boldly signed by John von Neumann on the title page. Near fine in a very good dust jacket. With the original â Corrigendaâ slip laid in. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. Books signed by von Neumann are exceptionally rare. â One of the major scientific contributions of the 20th centuryâ (Goldstine & Wigner). John von Neumann and Oskar Morgenstern conceived a groundbreaking mathematical theory of economic and social organization, based on a theory of games of strategy. Not only would this revolutionize economics, but the entirely new field of scientific inquiry it yielded--game theory--has since been widely used to analyze a host of real-world phenomena from arms races to optimal policy choices of presidential candidates, from vaccination policy to major league baseball salary negotiations. â Had it merely called to our attention the existence and exact nature of certain fundamental gaps in economic theory, the Theory of Games and Economic Behaviorâ ¦ would have been a book of outstanding importance. But it does more than that. It is essentially constructive: where existing theory is considered to be inadequate, the authors put in its place a highly novel analytical apparatus designed to cope with the problem. It would be doing the authors an injustice to say that theirs is a contribution to economics only. The scope of the book is much broader. The techniques applied by the authors in tackling economic problems are of sufficient generality to be valid in political science, sociology, or even military strategy. The applicability to games proper (chess and poker) is obvious from the title. Moreover, the book is of considerable interest from a purely mathematical point of viewâ ¦ The appearance of a book of the caliber of the Theory of Games is indeed a rare eventâ (World of Mathematics II:1267-84). However, "it would be doing the authors an injustice to say that theirs is a contribution to economics only. The scope of the book is much broader. The techniques applied by the authors in tackling economic problems are of sufficient generality to be valid in political science, sociology, or even military strategy. The applicability to games proper (chess and poker) is obvious from the title. Moreover, the book is of considerable interest from a purely mathematical point of view." (Hurwicz in World of Mathematics, vol 2). In the words of two Nobel Prize-winning economists, "a landmark in the history of ideas" and a seminal work in mathematics and economics, which "has had a profound impact on statistics" (Dorfman, Samuelson & Solow, Linear Programming and Economic Analysis pp 417, 445).