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Edité par n.p., Oxford, 1964
Vendeur : Manhattan Rare Book Company, ABAA, ILAB, New York, NY, Etats-Unis
Manuscrit / Papier ancien Edition originale Signé
Etat : Very Good. First edition. - A MAJOR TOLKIEN AUTOGRAPH MANUSCRIPT ON THE CENTRAL THEMES OF HIS WORK AND CONTAINING A VARIANT HISTORY OF THE FIRST AGE; LIKELY THE MOST SIGNIFICANT MANUSCRIPT IN PRIVATE HANDS -A VISUALLY STUNNING HAND-DRAWN CHART, "KINSHIP OF THE HALF-ELVEN," TRACING THE GENEALOGY FROM FËANOR TO ELROND, ARWEN, AND ARAGORN -A LONG, REVEALING LETTER TO EILEEN ELGAR PRESENTING THE MANUSCRIPTS, REFLECTING ON THE RECENT DEATH OF C.S. LEWIS AND DISCUSSING LITERATURE AND WRITING, INCLUDING A DETAILED ANALYSIS OF HIS MIDDLE-EARTH POEM "FASTITOCALON". "Concerning 'The Hoard'" Manuscript: Responding to Eileen Elgar's letter about the meaning of Tolkien's poem "The Hoard," Tolkien here pens what he calls "a long screed" discussing the poem's themes and its relationship to his writing. Only recently published in The Adventures of Tom Bombadil and Other Verses from the Red Book(1962), "The Hoard" was a bardic poem telling of an ancient elven hoard successively claimed by a dwarf, a dragon, and a man - each of whom is killed in consequence of his feverish greed for the hoard. Tolkien here calls The Hoard "one of the main strands in The Silmarillion," and he explains that this work-in-process "concerns the great hoard of Nargothrond, which contained much of the treasure and works of Elvish art that had been preserved from the wreckage of the Elven-kingdoms and the assaults of the Dark Lord from his unassailable stronghold of Thangorodrim in the North." In endeavoring to give his correspondent a fuller idea of "what my proposed book, The Silmarillion, is about," Tolkien then proceeds to give a substantive account of the fate of this legendary hoard and its three great gemstones, the light-capturing silmarils magically crafted by Fëanor. The story arc and First-Age history Tolkien here charts differs in many subtle ways - especially in its rerouting of the Ruin of Doriath - from that found in The Simarillion and other related accounts of First Age history (e.g. the story of Nauglafring, as published in The Book of Lost Tales). But Tolkien's essay "Concerning 'The Hoard'" is much more than a behind-the-scenes look into "The Hoard". The nature of obsession, discussed so vividly in "Concerning 'The Hoard'", is at the core of Tolkien's most celebrated works, namely: The Hobbit, The Lord of the Rings and The Silmarillion, and "Concerning 'The Hoard'"provides vital insight into the dramatic underpinnings of these works. After explaining in this manuscript how "dark and secret hoards" were originally formed and indicating that such hoards are very often "possessed and guarded by a dragon," Tolkien affirms that such "dragon-hoards were cursed, and bred in men the dragon-spirit: in possessors an obsession with mere ownership, in others a fierce desire to take the treasure for their own by violence and treachery." Beyond the insight such a "dragon-spirit" offers for the immediate analysis of The Silmarillion - where even the noblest of heroes succumb to its obsessive poison and go to extreme lengths to obtain the silmarils - we see the "dragon-spirit" driving the actions surrounding the Arkenstone in The Hobbit and The One Ring in The Lord of the Rings. Tolkien's essay gives new meaning to the dragon Smaug's role in The Hobbit (and the reveling delight he takes in his hoard) and it further helps us understand the basis for Thorin Oakenshield's insatiable avarice and his fixation on recovering a treasure that he had never seen. InThe Lord of the Ringswe see Bilbo's reluctance to relinquish the One Ring and many of the early pages are occupied by Gandolf's explication to Frodo of how the Ring has affected its bearers. And who, after all, is Gollum but one who succumbed entirely to the "dragon-spirit"? A major unpublished essay, "Concerning 'The Hoard'" is a highly important addition to Tolkien's known work. Broadening the characters and events of Middle-earth history, this manuscript affords us insight into Tolkien's evolving conception of the First Age. This manuscript was unknown to Christopher Tolkien at the time he was piecing together The Silmarillion, and one can only imagine the contribution its text might have made to that work. But even beyond its significance for The Silmarillion, this manuscript offers a penetrating view of how Tolkien conceived the "dragon-spirit" that is a driving force in all his major works. Encapsulating as it does the core history and thematic at the heart of Tokien's legendary works, "Concerning 'The Hoard'" is, to the best of our knowledge, the most significant Tolkien manuscript in private hands. "Kinship of the Half-Elven" Genealogical Tree: Tolkien's 1964 letter to Eileen Elgar also included the offered autograph genealogical tree entitled "Kinship of the Half-Elven". Tolkien was in the habit of creating itemized documents to help him keep track of the rich layers of detail present in his complex narrative structures. This particular tree begins with Fëanor in the early days of the First Age and traces his descent through the House of Hador and the House of Bëor to the Third-Age figures - Elrond, Arwen and Aragorn - we encounter inThe Lord of the Rings. The chart is a stunning visual companion to his work, meticulously and stunningly drawn with black, green, and red ink and pencil. Letter to Eileen Elgar: Tolkien's letter of March 5, 1964, presenting the chart and manuscript to Eileen Elgar, begins on a somber note, with Tolkien explaining that he had been through some troubling times, highlighting that "The death of my friend (C.S. Lewis - whom I do not think you have confused with C.D. Lewis) was the first blow." He then discusses "Concerning 'The Hoard', hoping that it will give Elgar a better idea of what "my proposed book, 'The Silmarillion' is all about." The rest of the letter is a detailed discussion of various aspects of writing and publishing: complaining about proofreaders' attempted changes to passages in The Lord of the Rings, an analysis of certain phrases with an explication.
Edité par [Colombia: 1824-1827], 1827
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Signé
Oblong folio (10 x 14 2/8 inches). 30 EXCEPTIONALLY FINE drawings of which 18 are watercolor (no. 24 is in grisaille) and 12 are pencil (no. 21 faintly signed "Empson"), each with tissue guards (various sizes ca 7 x 9 inches), all mounted into an album, mounting leaves numbered 1-32 in a contemporary hand (no. 16 skipped in numeration, no. 31 removed). Contemporary dark green straight-grained morocco, with floral blind-tooled border and gilt-tooled frame, spine gilt, top edge gilt, pink silk markers (extremities a bit rubbed). Provenance: with the invoice of Francis Edwards dated October 1953, made out to; Jacques Levy, his sale, Sotheby's, 20th April 2012, lot 96 This album of beautiful original watercolours is accompanied by Empson's published account of his journey to South America: "Narratives of South America; illustrating Manners, Customs, and Scenery" (London: A.J. Valpy & William Edwards for the Author, 1836), and the portfolio of illustrations "Fac-similes of Twelve Drawings of Tropical Scenery from Sketches made on the spot by Charles Empson", with 12 plates of which 10 are etched and 2 are lithographed, all hand-colored, and mounted on cards. Empson, a print and watercolour dealer in Bath, spent three years travelling the northern part of South America, for the most part in what is now Colombia, from 1824 to 1827. "The glorious descriptions of Humboldt had induced many persons who had no other motive beyond that of beholding Nature in all her majesty, to explore these regions so gorgeously clothed in primaeval vegetation, and so abundant in every production interesting to mankind. It was my happiness to associate with many travellers who had established themselves in the Republic before any of the European nations had acknowledged the independence of Columbia, and had shared in the vicissitudes of the revolutionary war; but they found ample compensation for all their privations in the inexhaustible variety of the new world. A field so rich, and so extensive, proved an irresistible temptation to the scientific man; the produce and commercial demands of so vast a continent were not less attractive to the merchant, while scenes of grandeur and beauty offered the most fascinating allurements to the imagination of the enthusiast." (Preface). Empson was accompanied by his friend Robert Stephenson, son of the famous railway engineer. They returned with precious objects of pre-Colombian art, including some gold artifacts which Charles later exhibited in Newcastle-upon-Tyne. Unfortunately, some of their possessions were lost in a shipwreck at the entrance to New York harbor. On his return Empson published his account of their adventures as "Narratives South America; Illustrating Manners, Customs, and Scenery: containing also numerous facts in Natural History, collected during a Four Years' Residence in Tropical Regions", 1836, illustrated with facsimiles of his original watercolour drawings, many of which feature in this album. 1: Fine watercolour drawing (6 4/8 x 9 4/8 inches) of the turbulent Rio Magdalena at Angostura with snow capped mountain range in the distance: "The rainy season was commencing as we left El Claro; the river rapidly swelled, and our progress was very slow: after sixteen days of hard toil, we reached Angostura, a place so called, as the river there is confined in a strait between rocks: there is at all times considerable difficulty in getting a heavy boat through this strait, but at particular seasons it is extremely dangerous. On our arrival, the river had swollen until the pressure of water above the Angostura forced the current through the strait with such violence, that it formed a cascade, or salto, as the natives call it." (page 249). 2: Fine pencil sketch (7 x 8 3/8 inches) of the Cocina or Kitchen subsequently lithographed for the published account: "The tenement represented in this sketch is variously denominated, according to the purposes to which it is applied: when the building is attached.
Edité par Nuremberg: Fleischmann, and Adam Ludwig Wirsing, [plates dated 1753-1786]., 1786
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Edition originale Signé
Folio (18 x 13 inches). 172 fine hand-colored engraved plates by J.M. Seligman, J.M. Stock and A.L. Wirsing after G.D. Ehret, G.W. Baurenfeind, B.R. and M.B. Dietschin, N.F. Eisenberger, J.C. Keller and others (plates 60 and 61, and 121 and 122 counted as one plate each, bound without plates 90, 126, 131, 135, 179 and 180, first two plates with slight vertical crease, plate 97 with small tear at fold not affecting the image). Bound without text. Contemporary mottled calf (joints cracked, extremities scuffed). "ONE OF FINEST RECORDS OF THE CULTIVATED FLOWERS OF THE PERIOD" (Dunthorne). First edition, bound, as often found, without text, which was not published simultaneously with the plates. Described by Blunt as "one of the most decorative florilegia of the mid-eighteenth century" with more than forty of the plates based on drawings by Trew's famous protégé Georg Ehret with whom he had collaborated on "Plantae Selectae". The spectacular plates are "full sized colored figures of Hyacinths, Tulips (over 20 plates), Ranunculi, Anemones, Caryophylli, Lilies, Auriculas, Roses, Narcissi, Iris, Cheiranthi, Asters, Fritilleries, Crown Imperials" (Dunthorne), and are some of the most sought after and important botanical prints in the world. It is no wonder that he became one of the foremost illustrators of botanical images of his time, at a time when it can be said that art of this nature was highly prized and passionately collected. Like his father before him Ehret trained as a gardener, initially working on estates of German nobility, and painting flowers only occasionally, another skill taught him by his father, who was a good draughtsman. Ehret s "first major sale of flower paintings came through Dr Christoph Joseph Trew, eminent physician and botanist of Nuremberg, who recognized his exceptional talent and became both patron and lifelong friend. Ehret sent him large batches of watercolours on the fine-quality paper Trew provided. In 1733 Trew taught Ehret the botanical importance of floral sexual organs and advised that he should show them in detail in his paintings. Many Ehret watercolours were engraved in Trew's works, such as Hortus Nitidissimus [as here] (1750 86) and Plantae selecta e (1750 73), in part two of which (1751) Trew named the genus Ehretia after him. "During 1734 Ehret travelled in Switzerland and France, working as a gardener and selling his paintings. While at the Jardin des Plantes, Paris, he learned to use body-colour on vellum, thereafter his preferred medium. In 1735 he travelled to England with letters of introduction to patrons including Sir Hans Sloane and Philip Miller, curator of the Chelsea Physic Garden. In the spring of 1736 Ehret spent three months in the Netherlands. At the garden of rare plants of George Clifford, banker and director of the Dutch East India Company, he met the great Swedish naturalist, Carl Linnaeus, who was then formulating his new classification based on plant sexual organs. Ehret painted a Tabella (1736), illustrating the system, and sold engravings of it to botanists in Holland. Some of his paintings of the exotics were engraved in Linnaeus's "Hortus Cliffortianus" (1737). "[Ehret] signed and dated his work, naming the subject in pre-Linnaean terms. He published a florilegium, "Plantae et papiliones rariores" (1748 62), with eighteen hand-coloured plates, drawn and engraved by himself. Ehret also provided plant illustrations for several travel books. His distinctive style greatly influenced his successors" (Enid Slatter for DNB). The number of plates bibliographers have associated with this work differs considerably: Brunet V:943 (calls for 190 plates); Dunthorne 310 (180 plates, actually 178); Great Flower Books p. 78 (180 plates, plates 60/61 and 121/122 are represented by one plate each); Johnston "Cleveland Collections" 493 (190 plates); Nissen BBI 1995 (180 plates, 60/61 and 121/122 each on one plate, referance to Tjaden with 190 plates); Pritzel 9500 (180 pl.
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 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).
Edité par Fisher, Knight & Co, St. Albans, 1953
Vendeur : SOPHIA RARE BOOKS, Koebenhavn V, Danemark
Membre d'association : ILAB
Edition originale Signé
First edition. DISCOVERY OF THE STRUCTURE OF DNA. SIGNED BY ALL BUT ONE OF THE AUTHORS. First edition, offprint, signed by Watson, Crick, Wilkins, Gosling, Stokes & Wilson, i.e. six of the seven authors. We know of no copy signed by Franklin, and strongly doubt that any such copy exists. Furthermore this copy is, what we believe to be, just one of three copies signed by six authors. One of the most important scientific papers of the twentieth century, which "records the discovery of the molecular structure of deoxyribonucleic acid (DNA), the main component of chromosomes and the material that transfers genetic characteristics in all life forms. Publication of this paper initiated the science of molecular biology. Forty years after Watson and Crick's discovery, so much of the basic understanding of medicine and disease has advanced to the molecular level that their paper may be considered the most significant single contribution to biology and medicine in the twentieth century" (One Hundred Books Famous in Medicine, p. 362). "The discovery in 1953 of the double helix, the twisted-ladder structure of deoxyribonucleic acid (DNA), by James Watson and Francis Crick marked a milestone in the history of science and gave rise to modern molecular biology, which is largely concerned with understanding how genes control the chemical processes within cells. In short order, their discovery yielded ground-breaking insights into the genetic code and protein synthesis. During the 1970s and 1980s, it helped to produce new and powerful scientific techniques, specifically recombinant DNA research, genetic engineering, rapid gene sequencing, and monoclonal antibodies, techniques on which today's multi-billion dollar biotechnology industry is founded. Major current advances in science, namely genetic fingerprinting and modern forensics, the mapping of the human genome, and the promise, yet unfulfilled, of gene therapy, all have their origins in Watson and Crick's inspired work. The double helix has not only reshaped biology, it has become a cultural icon, represented in sculpture, visual art, jewelry, and toys" (Francis Crick Papers, National Library of Medicine, profiles./SC/Views/Exhibit/narrative/). In 1962, Watson, Crick, and Wilkins shared the Nobel Prize in Physiology or Medicine "for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material." This copy is signed by all the authors except Rosalind Franklin (1920 -1958) - we have never seen or heard of a copy signed by her. In 1869, the Swiss physiological chemist Friedrich Miescher (1844-95) first identified what he called 'nuclein' inside the nuclei of human white blood cells. (The term 'nuclein' was later changed to 'nucleic acid' and eventually to 'deoxyribonucleic acid,' or 'DNA.') Miescher's plan was to isolate and characterize not the nuclein (which nobody at that time realized existed) but instead the protein components of leukocytes (white blood cells). Miescher thus made arrangements for a local surgical clinic to send him used, pus-coated patient bandages; once he received the bandages, he planned to wash them, filter out the leukocytes, and extract and identify the various proteins within the white blood cells. But when he came across a substance from the cell nuclei that had chemical properties unlike any protein, including a much higher phosphorous content and resistance to proteolysis (protein digestion), Miescher realized that he had discovered a new substance. Sensing the importance of his findings, Miescher wrote, "It seems probable to me that a whole family of such slightly varying phosphorous-containing substances will appear, as a group of nucleins, equivalent to proteins". But Miescher's discovery of nucleic acids was not appreciated by the scientific community, and his name had fallen into obscurity by the 20th century. "Researchers working on DNA in the early 1950s used the term 'gene' to mean the smallest unit of genetic information, but they did not know what a gene actually looked like structurally and chemically, or how it was copied, with very few errors, generation after generation. In 1944, Oswald Avery had shown that DNA was the 'transforming principle,' the carrier of hereditary information, in pneumococcal bacteria. Nevertheless, many scientists continued to believe that DNA had a structure too uniform and simple to store genetic information for making complex living organisms. The genetic material, they reasoned, must consist of proteins, much more diverse and intricate molecules known to perform a multitude of biological functions in the cell. "Crick and Watson recognized, at an early stage in their careers, that gaining a detailed knowledge of the three-dimensional configuration of the gene was the central problem in molecular biology. Without such knowledge, heredity and reproduction could not be understood. They seized on this problem during their very first encounter, in the summer of 1951, and pursued it with single-minded focus over the course of the next eighteen months. This meant taking on the arduous intellectual task of immersing themselves in all the fields of science involved: genetics, biochemistry, chemistry, physical chemistry, and X-ray crystallography. Drawing on the experimental results of others (they conducted no DNA experiments of their own), taking advantage of their complementary scientific backgrounds in physics and X-ray crystallography (Crick) and viral and bacterial genetics (Watson), and relying on their brilliant intuition, persistence, and luck, the two showed that DNA had a structure sufficiently complex and yet elegantly simple enough to be the master molecule of life. "Other researchers had made important but seemingly unconnected findings about the composition of DNA; it fell to Watson and Crick to unify these disparate findings into a coherent theory of genetic transfer. The organic chemist Alexander Todd had determined t.
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 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).
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).
Date d'édition : 1869
Vendeur : Bauman Rare Books, Philadelphia, PA, Etats-Unis
Edition originale Signé
"DARWIN, Charles. Autograph letter signed. WITH: On the Origin of Species by Means of Natural Selection, or The Preservation of Favored Races in the Struggle for Life. Kent, United Kingdom, November 24, [1869] and New York: D. Appleton, 1870. Single sheet of unlined paper, measuring 5 by 8 inches folded; pp. 4. Housed in a custom cloth portfolio. WITH: Octavo, original purple cloth. Housed together in a custom clamshell box. $125,000.Very rare and desirable signed autograph letter from Charles Darwin to American publisher D. Appleton's London agent, Charles Layton, agreeing to a second American edition of the Origin of Species, with a slightly raised price, but requiring that Appleton also commit to an American edition of The Descent of Man. Accompanied by the second American edition of Origin of Species in original cloth.The letter, written entirely in Darwin's hand and dated "Nov. 24th. Beckenham [Kent]," reads in full: "Dear Sir, I am much obliged by your note. You say that Messrs. Appleton 'would also like to have a set of stereotyped plates of new edit of Origin of Species on same terms.' I am not sure that I understand this, for I have not permitted the Origin to be stereotyped in England. If it means that Messrs. Appleton will print a new edition in Stereotype Plates (or in common type which would be much preferable) I gladly agree to his terms for this edition & for my next book. I have long earnestly wished for a new edition of the Origin in the United States, as it is 92 pages longer than the 2nd edition, besides endless small though important corrections. I feel sure that the continued large sale of this book in England Germany & France has depended on my keeping up each edition to the existing standard of science. I hope I am right in supposing that Messrs. Appleton are willing to print in some form a new edition; for though unwilling to act in a disobliging manner toward them I had resolved soon to write to Professor Asa Gray to ask him to find some publisher who would print the new edition of the Origin, on condition of my supplying him with the sheets of my new book as they printed & which book will probably have a large sale. Will you be so kind as to let me hear soon how the case stands; & I should like in case the answer is favourable to send in M.S. half a dozen small corrections for the Origin. I must inform you that although Mr Murray has inserted a notice of my new book, I do not suppose it will be printed for nearly a year, although a considerable portion is ready for the press. Dear Sir, yours faithfully, Ch. Darwin. You will understand that I cannot agree with Mr Appleton about my new book, unless he is willing to print a new edit of Origin. The price of the latter might fairly be raised a little; as Mr Murray has by 1s. & it shd be advertised as largely added to & corrected."According to the Darwin Correspondent Project at Cambridge, the recipient of this letter was Charles Layton, the American publisher D. Appleton's London agent. This letter refers to details regarding the publication of a new American edition of the Origin of Species. Darwin begins by clarifying that fact, as the proposal was for a stereotyped American edition as Darwin had been resistant to stereotyping his work in England. Darwin may have seen the first U.S. edition, published in 1860 from stereotypes of the British second edition, and was aware of the decline in quality compared to conventional typesetting. In England, Darwin still wanted the best printing possible, while the overseas printing was of slightly less concern. In letter dated April 1869, Darwin had, in fact, approached Orange, Judd, & Co., who published the American version of Variation, about publishing a new American edition of the Origin. Here, however, Darwin only mentions potential correspondence with Asa Gray, a Harvard botanist with whom Darwin exchanged hundreds of letters. Darwin's fame in America largely rested on Gray's positive review of Origin in The Atlantic and his subsequent pro-evolution debates with zoologist Louis Agassiz, which Gray won handily. Darwin's decision to mention Gray here was likely meant to emphasize Darwin's influence in the American scientific community and to underline the scientific prominence of Darwin's American supporters. This letter indicates Darwin's willingness to go along with Appleton publication proposal despite that inquiry, for both this work and for his upcoming book, The Descent of Man. The Murray notice that Darwin refers to was an advance advertisement for Descent published in October of 1869. Descent, delayed as Darwin indicates, was not actually published until early in 1871. Appleton managed to publish the second U.S. edition, based on a corrected and expanded version of the fifth English edition, by 1870, before their publication of Descent in 1871. Darwin kept a proprietorial hand on all of his work: other editions were also receiving tweaks at the same time he was considering the Appleton proposal. For instance, Darwin mentions sending several corrections to the fifth English edition of Origin to improve its upcoming publication in French and German.This letter is accompanied by the second American edition of On the Origin of Species, the subject of the letter. "This, the most important single work in science, brought man to his true place in nature" (Heralds of Science 199). Darwin "was intent upon carrying Lyell's demonstration of the uniformity of natural causes over into the organic world In accomplishing this Darwin not only drew an entirely new picture of the workings of organic nature; he 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 taken" (PMM 344). Excerpts of this letter were published in Darwin's Correspondence, Volume 17. The book is labeled "Fifth Edition, With. Signed.
Date d'édition : 1791
Manuscrit / Papier ancien Edition originale Signé
couverture souple. - s.l. (Londres, Paris, Toulon.) 1791-1832, 12 000 feuillets de divers formats, en feuilles. - Exceptionnel ensemble des archives manuscrites inédites et complètes de Louis, Chevalier de Sade (1753-1832), auteur du Lexicon politique et cousin du Divin Marquis représentant environ 12 000 feuillets manuscrits dont plusieurs milliers inédits et écrits de sa main. Le Chevalier y expose un système de pensée de type «?holistique?», comprenant à la fois des réflexions historiques, politiques et scientifiques. Précieuses archives géopolitiques, historiques et scientifiques d'un aristocrate érudit, témoin privilégié de la fin de l'Ancien Régime, de la Révolution française, du Consulat, de l'Empire et de la Restauration. Fonds unique de recherches sur la mise en place d'une monarchie constitutionnelle. Si l'on regarde la Révolution Française comme la naissance de l'expérimentation de l'idéologie laïque et politique, le chevalier de Sade en fut sans doute un des premiers et précoces déconstructeurs. Non de la Révolution elle-même qui connut pléthore de contempteurs, mais de l'idéologie en politique, phénomène qui devait profondément marquer les deux siècles à venir. Ce qu'il nomme la «?politique positive?» est «?fondée sur le calcul et sur l'expérience.?». «?La théorie a eu des charmes pour moi ; je l'ai étudiée avec soin, j'ai savouré ses principes. Maintenant je n'apprécie leur valeur que par les effets provenant de leur mise en pratique, qu'on leur a vu produire chez les peuples dont l'histoire est parvenue à ma connaissance. C'est ma méthode ; je sais qu'elle est, du tout au tout, l'opposée de celles que nos gouvernants et nos faiseurs de constitutions ont suivies jusqu'à présent sans s'en désister. Cette divergence continuelle entre ce qui s'est fait et ce qu'on n'aurait pas dû faire, en augmentant ma confiance dans ma manière de procéder a fortifié en même temps ma résolution à persister dans la vue que j'avais adopté, de juger les législations par les conséquences historiques qu'elles ont entraînée après elles, plutôt que par les beaux raisonnements métaphysiques et supposés concluants, dont les novateurs n'ont cessé et ne cessent tous les jours de nous accabler.?» Le Chevalier de Sade, qui ne concevait le monde qu'au regard de ce qu'il fut, ne pouvait être autre que Royaliste. La démocratie n'avait pratiquement aucun exemple dans l'histoire connue du Chevalier, hormis les antiques sociétés grecques et romaines qui n'avaient expérimenté que des formes très élitistes de démocraties. Ces modèles sont d'ailleurs bien connus du politologue dont les archives contiennent plus de 7 000 pages consacrées à l'Histoire antique. La République portée par la Révolution, plus qu'une adoption d'un modèle politique, fut la réalisation politique d'un idéal philosophique. Or, si la plupart des opposants à ce nouveau régime y voyaient surtout une atteinte à leur situation personnelle, à leurs convictions religieuses ou plus simplement à leurs habitudes, les écrits du Chevalier de Sade ne relèvent d'aucune influence dogmatique ou, du moins, ne se justifient jamais par celle-ci. Louis de Sade, gentilhomme sans fortune et sans attache, est conservateur par conviction philosophique et historique, et non par intérêt. Et c'est avec une parfaite honnêteté intellectuelle qu'il étudie et commente les essais, mémoires et uvres politiques ou théoriques de ses contemporains. à contre-courant de la pensée des Lumières, le chevalier porte un regard très peu philosophique sur la société. Bien qu'il construise une véritable histoire théorique de l'évolution des hommes depuis l'état «?sauvage?» jusqu'aux constitutions des sociétés, il ne postule pas une nature idéale de l'homme, comme le font certains de ses contemporains (que ce soit pour justifier la politique ou pour la déplorer). Au contraire, le chevalier relève la césure entre l'être de nature et l'être de culture, sans porter de jugement moral ou philosophique sur celle-ci comme il était alors d'usage.
Edité par Privately printed, 1926
Vendeur : Shapero Rare Books, London, Royaume-Uni
Livre Signé
Subscriber's edition, 4to; subscriber's or 'Cranwell' edition, one of 170 complete copies, inscribed by Lawrence 'Complete copy. i.xii.26 TES' on list of illustrations, and with 'Roberts' amended in ink to 'K[ennington]' as usual, this copy additionally signed by H.J. Hodgson (one of the printers) at his printed name on the colophon leaf. Printed in red and black, colour frontispiece portrait of Feisal by Augustus John and 65 plates (many coloured or tinted, 4 double-page) by Eric Kennington, William Roberts, Augustus John, William Nicholson, Paul Nash and others, 4 folding colour maps (laid on linen as issued), 58 illustrations in text (one colour) by Roberts, Nash, Kennington, Blair Hughes-Stanton, Gertrude Hermes and others, initials by Edward Wadsworth, illustrated endpapers by Kennington, with the four-page Some Notes on the Writing of the Seven Pillars of Wisdom by T.E. Shaw bound in before title. Quarter vellum, cream boards by Bumpus (stamped inside upper cover), titles to spine gilt, all edges rough gilt. Preserved in a matching, contemporary fleece-lined, vellum-backed solander box (with Leicester Gallery catalogue for the exhibition of the illustrations for this book, 1927 held in a recess inside the front board). A beautiful copy of one of the scarcer and most restrained binding variants. A lovely copy of the limited edition of Lawrence of Arabia's epic masterpiece, Seven Pillars of Wisdom, 1926 in which he 'reveals how by sheer willpower he made history' (ODNB). Following his extraordinary military and diplomatic career in Arabia, and having already become a legendary figure in the public imagination, T.E. Lawrence purchased his Dorset cottage retreat Clouds Hill in 1924 to write his book about the war. The first draft of Seven Pillars of Wisdom was completed by November 1919, but soon lost, according to the author, on Reading Station. A second draft was finished during 1922, and finally appeared as a private edition, reflecting Lawrence's love of fine printing, in the present form in 1926. An abridged version, Revolt in the Desert, was published in 1927. 'Subtitled 'A triumph', its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arabs. In a way Seven Pillars is a sort of Pilgrim's Progress, with Lawrence as Christian, a figure sustained by his faith in the Arabs, successively overcoming physical and moral obstacles.' (ODNB). This copy, in common with most complete copies, has page XV mis-paginated as VIII, and Kennington's coloured landscape tail-piece ('False Quiet') at the end of page XVIII. The 'Prickly Pear' plate is included, but as usual not the two Paul Nash line drawings putatively called for on pages 92 ('The prophet's tomb') and 208 ('A garden'), or the Blair Hughes-Stanton wood-engraving that in some copies illustrated the dedicatory poem. The fact that this copy is signed by Hodgson, below his name, would indicate that this was is own copy. Further evidence being the nature of the copy itself. Briefly, Lawrence commissioned five or six different binders to produce copies for his subscribers. These bindings varied greatly and were capriciously distributed by Lawrence himself. How his decision process functioned is still something of a mystery to me but his more important subscribers got the more elaborate copies. E.M. Forster for instance received a copy bound in full. brick red morocco (this remains the finest example I ever held!) The more restrained bindings however seem to have been reserved for people involved in the publication. As an experienced printer Hodgson was relied upon by the principal printer of this monumental work, the splendidly named Manning Pike. Pike had been selected for the job by Lawrence despite having never previously printed a book of anything like the substance of Seven Pillars. Indeed the only book Pike had produced prior to this was a sweet privately issued separate edition of the magical section from Wind in the Willows, The Piper at the Gates of Dawn. Consequently the role of that stalwart craftsmen H.J. Hodgson cannot be overstated. O'Brien A040.
Edité par Heirs of Giovanni Rossi, Bologna, 1598
Vendeur : SOPHIA RARE BOOKS, Koebenhavn V, Danemark
Membre d'association : ILAB
Edition originale Signé
First edition. DIBNER 186: ONE OF THE GREAT RARITIES OF EARLY ZOOTOMICAL LITERATURE - PRESENTED BY THE AUTHOR IN THE YEAR OF PUBLICATION . First edition, first issue, of this sumptuous work, presented by the author in its year of publication and of his own death. This is "one of the great rarities of early zootomical literature" (Cole, p. 90), with illustrations considered comparable to those in Vesalius' Fabrica. "The unusual rarity of the first edition might be partially explained by the fact that a portion of the sheets of the first edition were reissued the following year by Gaspare Bindoni in Venice. Copies of this second issue, which is also rare, contain a cancel title and a different dedication leaf, changing the dedication to César, Duke of Vendôme, natural son of Henri IV" (Norman). "His book is the first devoted to the anatomy of an animal, and is one of the finest achievements of the heroic age of Anatomy" (Singer, The Evolution of Anatomy, p. 153, with three plates reproduced). "At the hands of Ruini the subject of equine anatomy jumped at a single bound from the blackest ignorance to relative perfection, the degree of which it is difficult to exaggerate" (Smith, The Early History of Veterinary Literature and its British Development, Vol. 1, p. 209). "As the author of the first book devoted exclusively to the structure of an animal other than man, Ruini ranks among the founders of both comparative anatomy and veterinary medicine. This is all the more remarkable as he was not a physician, or even a veterinarian, but a Bolognese aristocrat, senator, and high-ranking lawyer. Following the example of Vesalius, Ruini stressed the importance of "artful instruction" about all parts of the horse's body, the diseases that afflict them, and their cures. The first part of his work gives an exhaustive treatment of equine anatomy, with especially good accounts of the sense organs; it is illustrated with sixty-four full-page woodcuts, of which the last three, showing a stripped horse in a landscape setting, were clearly inspired by the Vesalian "muscleman" plates. The second part of the work deals with equine diseases and their cures from a traditional Hippocratic-Galenic standpoint. Some scholars, basing their arguments on Ruini's description of the horse's heart and blood vessels, believe that Ruini was active in the discovery of the greater and lesser circulatory systems. This is unlikely, but it is probable that he was one of many at that time who had a notion of the circulation of the blood" (Norman). ABPC/RBH list three other copies since Norman, two of which were in later bindings, but no presentation copies. Provenance: Inscribed on front free endpaper: 'Questo libro du donato al S[igno]r. Ascani Cospi dall'Autore l'Anno 1598 (i.e., 'given by the author, to Ascani Cospi in the year 1598'); 'Questo libro fu poi donato a Valerio Sampieri dal Sig[no]r Marchese Senatore Cospi l'Anno 1727' (i.e., 'given by a later Cospi, a Senator of Bologna, to Sampieri); signed at the bottom of the title page: 'Valerio Sampieri'. The Cospi were an ancient Bologna family who arrived there in 1350. The Sampieri were an influential Bolognese family, who had a well-known picture-gallery at their Palazzo Sampieri. "In the first volume, which deals mainly with anatomy, Ruini (ca. 1530-1598) includes notes on physiology that reflect his teleological Galenic approach. In the first book the morphology of the head is described in detail. The second book deals with the neck and its organs, the lungs, the heart, and the thoracic muscles, blood vessels, and nerves. The third book covers the liver, spleen, kidneys, stomach, intestines, peritoneum, and bladder. The structures of these organs and their positions are described, as are the lumbosacral region and its muscles, blood vessels, and nerves. The fourth book describes the genital system, and the fifth deals with the extremities. Volume II deals specifically with equine diseases and their cures. Explaining that he has followed the methods used by Aristotle, Hippocrates, and Galen to describe the human body, Ruini considers equine pathology, beginning with conditions of a general nature, such as fever, before progressing to descriptions of specific diseases. He considered it necessary to place pathology on a constitutional foundation because he believed that from knowledge of the horse's physical disposition one could more easily understand the nature of disease; also, from knowing the age of the horse, one could determine the appropriate treatment at any phase of an illness. At the beginning of the first book, Ruini discusses at length the four Galenic humors (choleric, sanguine, phlegmatic, and melancholic) and ways of telling a horse's age. He then offers a detailed analysis of fever, distinguishing three types, giving general causes and a general cure, and discussing fevers of various origins. "The second book considers various types of horse in regard to humoral pathology, using criteria based essentially on the concept of the four qualities (hot, cold, moist, dry). Ruini then examines a series of "affections" of the brain: frenzy, rage or fury, and insanity, leading to convulsions and paralysis. The book concludes with the diseases of the neck. In the third book Ruini describes the diseases of the heart and the lungs; in the fourth, the afflictions of the digestive tract, from diarrhea to jaundice; and in the fifth, hernia, diseases of the testicles and penis, and problems of obstetrics. The sixth book deals with the diseases of the legs. "On the whole, Ruini's treatise was still closely bound to the Scholastic tradition. It does, however, show the effort made by its author, who must certainly have known the work of Vesalius, to produce a work that would manifest the new direction being taken by sixteenth-century anatomy. Because it was so traditional, his treatment of pathology, although minutely detailed, is less valuable than his study of anatomy. A pioneer in the la.
Date d'édition : 1826
Vendeur : Arader Galleries Drawings & Watercolors, New York, NY, Etats-Unis
Signé
Hardcover. Etat : Good. ANTOINE-CHARLES THELOT (FRENCH, 1798-1853) Oiseaux. Dessines d apres nature (a la plume). France, 1826 4to (10 1/4 x 7 in). 21 outstanding pen and ink drawings on paper of birds in elaborate natural settings (image size 6 1/4 x 4 1/2 inches), 20 tipped-in, and one drawn directly into a sketchbook, each signed and dated by the artist, and preceded by a leaf bearing the common (French) name and Latin scientific name in manuscript. Original red morocco gilt (extremities rubbed). Provenance: Bookplate of Marcel Jeanson on the front paste-down, Ornithological library. A selection is shown in this catalogue An exquisite album of bird drawings by renowned watercolor artist Antoine-Charles Thelot reveals his uncommon eye for intricate detail all conveyed without color. Each bird, from the exotic "Les Marabout" (or crane), to the humblest "Alouette" (or sparrow), is drawn against a dramatic, sophisticated backdrop. Loosely inserted is a small watercolor (image size 3 6/8 x 2 inches), signed by Thelot, of six cats gamboling in the moonlight, on the verso of which Thelot has written a long, apparently original, love poem to "Mitis." From the distinguished ornithological library of Marcel Jeanson, author of "Les Oiseaux de France" (1941-1999), who commissioned Master Painter Roger Reboussin (1881-1965) in Paris in 1935 to portray all the birds of France in their natural habitat. In 1942 Marcel Jeanson died, but Madame Jeanson allowed Reboussin to continue his work until his own death in 1965, by which time he had painted more than 400 species. The work was eventually published in 1991. Loca: 6.3BC.19F.
Edité par No place or date.
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien Signé
4to. 1 page (18 lines). List of alchemical symbols including the planetary metals (gold, silver, and mercury, among others) and alchemical processes (including distillation, dissolution, fixation and separation), all annotated with their meanings in Russian in the Czar's own hand and signed by Peter the Great, who had been introduced to alchemy by his head physician, the state councillor Robert Erskine (1677-1718). - "The extent of Erskine s absorption in alchemical questions is demonstrated in a flurry of letters he received in August and September 1717 from Johannes de Wilde, a self-styled 'Philochimicus' in Amsterdam. De Wilde provides plentiful evidence of Erskine s embrace of iatrochemistry. On 10 August 1717, for example, de Wilde wrote that 'I have received by report that Your Excellency regards Arcana Medico-Chimica as of great value.' The 'philochimicus' then seeks to promote his alchemical adeptness by providing Erskine with a recipe for potable gold ('aurum potabile'). Rather than dismiss de Wilde as a charlatan, Erskine actually proposed to take him into service in St. Petersburg. According to de Wilde, the only reason he did not accept the offer was due to his suffering from 'fluxum haemorrhoidum'. Interestingly, de Wilde promoted his alchemical services in a variety of ways, ranging from offering to produce Johannes Baptista van Helmont s 'aurum horizontale', to bolstering the Tsar s treasury with gold and silver and to providing a 'delightful scent' of an 'aqua rosa' for Catherine, Peter s wife" (R. Collis, Introduction to: A Curious Tsar. Peter the Great and Discovering Nature s Secrets in Amsterdam. Exhibition catalogue, 2013). - A few paper flaws in the folds, but altogether well-preserved.
Edité par Various printers (details below). 1591-, London, 1596
Vendeur : Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, Etats-Unis
Edition originale Signé
Hardcover. Etat : Fine. Bound in 17th c. calf, the boards gilt-ruled in compartments with ornamental tools at the corners and a large stamp of the Tudor arms at the center of each board (hinges and endcaps restored, corners bumped, later label, lacking ties). Inscriptions: In the Shepheards Calender 1. Contemporary signature of Roger Collings on p. 1; 2. Inscription in Latin on title page, "To the library of Lord John Bond as a gift by M[onsieur] Bloncq [i.e. Blanc] A.D. 1627". 3. Also on t.p., "Lady Carew" and "June 27, 1669" (perhaps Mary Morice of Wirrington (d. 1698), Lady Carew). 4. Unidentified armorial stamp on verso of t.p. For condition of contents, see individual entries below. 5. Another -and quite marvelous- contemporary inscription on the third preliminary leaf of the Shepheards Calender: "This is Robard Batmans Booke and he that steale et shall be hanged vpon A Roke as Hy as he cane loke.". I. THE SHEPHEARDS CALENDER. London: Printed by Iohn Windet, for Iohn Harrison the yonger, dwelling in Pater-noster roe, at the signe of the Anger, 1591. Quarto: [4], 52 lvs. Collation: *4, A-N4 (3 preliminary leaves supplied and genuine). FOURTH EDITION. (1st ed. pub. 1579). Title within woodcut border (McKerrow & Ferguson 198). The text is illustrated with 12 woodcut vignettes, one for each month. Restorations to inner margin of title with some loss to the lefthand portion of the woodcut border, small repair to upper, outer corner (no loss), 3 preliminary leaves following title supplied from a shorter copy (blank lower margin restored.) The woodcut for April shows Queen Elizabeth and her entourage. "This and the edition of 1586 are counterparts of each other. The illustrations are printed from the same blocks; the type, however, was reset, there being slight differences in spelling, etc., and the printer's ornaments at the foot of the eclogues are different." (Langland to Wither, No. 229, p. 199-200) "Published in 1579, a decade before 'The Faerie Queene', this book of pastorals established Spenser as the leading poet of his generation. Its editor, one "E.K." (never identified but clearly someone associated with Spenser), heralded the work as a major literary event and its author as 'our new poet.' It was reprinted four times in Spenser's lifetime and evoked imitations and admiring comments almost from the date of its publication. Spenserians and traditional literary historians still take 'The Shepheardes Calender' at E.K.'s valuation and treat it (not without reason) as inaugurating the great age of Elizabethan poetry. It was the first set of English pastorals in the European tradition, and in emulating Virgil's Eclogues, it self-consciously inaugurated a poetic career on the model of Virgil's-one that would move from a book of eclogues to a national epic."(Alpers, Pastoral and the Domain of Lyric in Spenser's Shepheardes Calender) "'The Shepheardes Calender'was entered into theStationers'register on 5 December 1579 and was published by the protestant publisherHugh Singletonsoon after that date, as the poem bears the imprint 1579 (indicating that it must have appeared before the end of February). The'Calender'was a popular work and was reprinted in 1581, 1586, 1591, and 1597, demonstrating thatSpenserdid make an impact as 'our new poet'. It contains twelve poems, complete with prefatory comments and notes byE. K., which may or may not have been written bySpenserhimself andGabriel Harvey, and a series of emblematic woodcuts of allegorical significance. The poems describe events in the lives of a series of fictional shepherds and vary from apparently personal laments on the nature of loss and unrequited love to stringent ecclesiastical satire and attacks on corruption and court patronage. They comment on the nature of love and devotion, the pains of exile, praise for the queen, forms of worship, the duties of church ministers, forms of poetry, the merits of protestantism and Catholicism, and impending death. Equally important is the showy technical p.
Vendeur : Arader Galleries of Philadelphia, PA, Philadelphia, PA, Etats-Unis
Livre Signé
N/A. Etat : Very Good. Etat de la jaquette : N/A. Watercolor on paper laid on board. Partial signature l.r.; ca. 1908. Canvas size: 33 1/8 x 223". Inventory#: p308pmat. This evocative watercolor of the Gray Falcon illustrates all the qualities Fuertes works are know for. The plumage is carefully detailed and the spectacular bird is showcased by the empty background and craggy outcrop of rocks that it perches upon. These also serve to illustrate the falcon's solitary nature. 0. Signed by Author(s).
Edité par London: John Murray, 1877, 1877
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale Signé
First edition, presentation copy, inscribed on the title page, "With the compliments of the author". Most unusually for a Darwin presentation, the inscription is in Darwin's own hand rather than one of Murray's clerks. Different Forms of Flowers was published in a first edition of 1,250 copies on 9 July 1877. There was only a single issue, with the publisher's catalogue dated either January or March 1877, here the latter, without priority. Darwin explained in his autobiography that "this book consists chiefly of the several papers on heterostyled flowers originally published by the Linnean Society, corrected, with much new matter added, together with observations on some other cases in which the same plant bears two kinds of flowers. As before remarked, no little discovery of mine ever gave me so much pleasure as the making out the meaning of heterostyled flowers" (Life and Letters I, p. 78). Freeman remarks that, "had Darwin not chosen such genetically complex examples, he might have approached more nearly to an understanding of the laws of particulate inheritance". Regardless, it remains a seminal text on plant reproduction, adaptation, and evolution. It was translated into French and German during Darwin's lifetime, followed by four further languages after his death. Presentation copies of any of Darwin's books with the inscription written in the author's hand are notably uncommon: the usual procedure was for such inscriptions to be written by one of Murray's clerks on Darwin's behalf. We have handled just two other first editions of Different Forms of Flowers inscribed by the author, both of which had the March publisher's catalogue, as here. At auction, we count between two and four further authorial presentation copies, the range due to the inexact nature of some of the early 20th-century descriptions. Freeman 1277; Norman 602. Francis Darwin, ed., The Life and Letters of Charles Darwin, 1887. Octavo. Original green cloth, spine lettered in gilt, decorative bands at ends in gilt, covers blocked in blind, dark brown coated endpapers, Simpson & Renshaw binder's ticket on rear pastedown. Housed in a dark green quarter morocco solander box by the Chelsea Bindery. 15 woodcut illustrations and 38 tables within text. Publisher's 32-page catalogue dated March 1877 at rear. Spine ends gently bumped, cloth bright, binding very discreetly restored and recoloured, endpapers slightly faded, previous ownership signature on dedication page subsequently erased, a handful of neat pencil marks (annotation to p. 1 translating the title into French, marginal crosses and lines to a few other pp.), faint semicircular damp mark running through upper margins of first c.140 pages, else the contents notably clean, publisher's catalogue lightly foxed towards end: a near-fine copy.
Edité par [A bord des navires et à Londres, 1776-1817]. 1814, 1817
Vendeur : JF LETENNEUR LIVRES RARES, Saint Briac sur mer, France
Membre d'association : ILAB
Signé
1 vol. in-folio (340 x 210 mm) de : 73 pp. de texte manuscrit. 45 aquarelles ou gouaches et 1 lavis d encre représentants des navires de diverses nations et une prison. Reliure d origine en parchemin doublée, reliure intérieure renforcée de manuscrits sur papier en italien, au dos desquels se trouvent des aquarelles de navires. (Reliure conservée « dans son jus », avec ses défauts d usage et traces de salissures diverses, quelques restaurations de papier ou comblements anciens. D après la numérotation manuscrite, 7 ff. seraient absents). Précieux « livre de bord » personnel d un marin de Marseille couvrant une période d une quarantaine d années, relatant ses embarquements successifs au commerce et dans la « Royale », de 1776 jusqu'à sa capture le 3 novembre 1805, sa détention sur les pontons et à la prison de Dartmoor jusqu au 27 mai 1814, et ses derniers embarquements de juin 1814 au 5 novembre 1817. Document d une valeur considérable pour la connaissance du milieu maritime de la fin du XVIIIe siècle, de l important trafic en Méditerranée et au-delà, avec en outre des récits de première main des batailles d Aboukir et de Trafalgar et de la vie des matelots français prisonniers sur les pontons britanniques. Ainsi nous pouvons articuler le manuscrit comme suit : Première partie : Du premier embarquement à Trafalgar (1776-1805) ; Deuxième partie : Captivité sur les pontons et à Dartmoor (1805-1814) ; Troisième partie : Liberté retrouvée. Derniers embarquements. (Mai 1814-Novembre 1817). La première partie (du premier embarquement à Trafalgar 1776-1805) comporte 31 embarquements, avec un texte indiquant, pour chaque navire, le récit détaillé de la navigation et une aquarelle le représentant. Ces navigations « au commerce », toutes en Méditerranée, sauf deux aux Antilles, deviennent à partir du 18ème embarquement (1792) des navigations d escadre au service du Roi, de la République, puis de l Empereur, dont la première, après un combat contre les Anglais, s achève par une désertion et un emprisonnement. La lecture de ce pittoresque et émouvant document laisse l impression d une vie tout entière dévouée à l action. À peine débarqué et malgré toutes les péripéties, Jaubert recherche immédiatement un autre navire, comme si le sol lui brulait les pieds ; attitude qui n est pas sans rappeler celle de l illustre Duguay Trouin. Les aventures vécues par Jaubert sont innombrables : il se retrouve passager clandestin sur un brigantin italien ; conduit le Pacha de Constantinople en Crète, le Grand Vizir de Crète à Constantinople et des femmes grecques d île en île ; amène d Alger à Marseille 280 esclaves français capturés à Corfou ; charge des figues à Calamata, des oranges, du beurre, du fromage et du bétail à Cire (Skyros ?) ; transporte du café et du sucre de Guadeloupe jusqu à Marseille ; vend des raisins de Corinthe et du tabac de Trieste à Gênes ; prend de l orge à Bizerte qu il négocie à Malte ; poursuit des corsaires et des pirates « Mahomains » ; livre du blé à Bône pour le bey d Alger; échappe de peu à une épidémie de peste ; fait de la contrebande de Livourne à Barcelone ; est à deux doigts de tomber, comme il dit « en esclavitude » près de Hydra ; affronte maintes tempêtes ; est attaqué par des vaisseaux anglais, etc Cette première partie, trépidante, se termine en 1803, après la 38ème navigation, par une incarcération « menottes et chaîne au cou » au Fort Saint-Nicolas de Marseille, puis à Toulon. Elle est illustrée de 31 aquarelles, représentant avec une remarquable précision les coques et gréements des tartanes, barques, bricks, corvettes, bombardes, chebecks, seneaux, vaisseaux, brigantins, polacres, boulichous, frégates, goélettes, etc sur lesquels il embarque. Deux de ces aquarelles sont signées : l une « Degun fecit in Gange » (n°10), l autre « Degun fecit in nave Gange 1812 » (n°11). Or, Jaubert indique plus loin qu il fut emprisonné 27 mois à bord du ponton anglais Le Gange, commandé par le « Capitaine Le Roux, Face de Feu » à partir de 1811. Il est donc possible que Degun, aquarelliste de talent, détenu lui-même sur le Gange, ai dessiné les navires que lui décrivait son compagnon d infortune à partir de notes conservées de ses navigations. La qualité de ces aquarelles est proche des travaux des portraitistes de navires comme les « Roux » de Marseille. La variété des navires de toutes origines sur lesquels séjourne Jaubert constitue une remarquable source d informations sur le trafic maritime de l époque en méditerranée, et des acteurs : français, italiens, espagnols, grecs, arabes et même américains. De même la nature des cargaisons et les ports d escales cités sont autant de détails précieux (Marseille, Toulon, Barcelone, Livourne, Mahon, Alger, Constantinople, Salonique, Corfou, Malte, Messine, Gènes, Cire, Cadix, Malaga, Trieste, Minna.). Jaubert relate aussi son enrôlement à bord de plusieurs navires de la « Royale », dont le vaisseau le Scipion qui participe à la bataille d Aboukir en 1793 (figure la liste des navires de l escadre française). Après divers embarquements au commerce, notre marin retrouvera la Royale en 1805 : Jaubert est nommé gabier de hune sur le vaisseau Le Formidable, armé de 80 canons, qui part pour Gibraltar et gagne les Antilles, dans l escadre de l Amiral Villeneuve. Son récit relate diverses fortunes de mer et donne le détail des opérations militaires victorieuse de l Amiral contre les anglais en Martinique, puis en Guadeloupe, ainsi que des prises effectuées: Au retour de la Guadeloupe, au large des Açores le navire fait «prise d un bâtiment marchant anglais, [d ]un corsaire idem avec une prise d un bâtiment marchand espagnol qui venoit de l Indes chargé de marchandises sèches de l Indes et [de] huit millions d argent monnoyes que nous avons pris à la remorque et le même soir nous avons bruler le batiment marchand pris anglais ainsi que le corsaire qui avoit fait la prise espagnole » (Fin juin 1805). Après avoir pris part à la bataille navale du Cap.
Edité par Paris Louis Brodeur, 1962
Vendeur : Shapero Rare Books, London, Royaume-Uni
Livre Signé
Limited edition, one of 40 copies on vélin pur chiffon from a total edition of 180 copies; folio (48 x 38 cm); 61 pp. text, 37 woodcuts (2 double page and 7 within text, 30 in colour) including duplicate suite of 18 woodcuts each numbered 21/40 and signed by Braque, one extra plate in triplicate; full black polished calf by P.-L. Martin with abstract geometric design onlaid in brown and cream calf dated 1964 (binder's mark and date), spine lettered in gilt, all edges gilt, suede endpapers, black calf-backed chemise, brown cloth boards, housed in matching slipcase; slight wear to upper edges of spine, very minor scuff to design. Published in 1962, just a year before Braque died, the timely Si je mourais là-bas [If I die over there] was a suite of eighteen wood-engravings to accompany poems from Guillaume Apollinaire's Poèmes à Lou, which Braque himself selected and edited accordingly. Braque had been a close companion of Apollinaire, who died forty years prior to the series but gave a lot of good publicity to Braque and his fellow Cubists. Despite this, Braque felt that his friend, who was also an art critic, understood nothing about painting, a source of playful tension between the pair which may have contributed to the obscure nature of the suite's images. Pierre-Lucien Martin (1913-85) was one of the most successful French binders of the 20th century. He was trained at the École Estiènne in Paris and gained experience in several binderies before emerging as a designer in his own right after the Second World War. His designs are characterised by understated colour, impressive three-dimensional effects, and the intricate but highly logical application of geometry. This volume is a superb example of his work.
Edité par C.C. Parker, Los Angeles, 1912
Vendeur : Thomas A. Goldwasser Rare Books (ABAA), CHESTER, CT, Etats-Unis
Edition originale Signé
Coburn, Alvin Langdon (illustrateur). First edition. Quarto, 9 1/2 x 13 inches. [31] p. (on double leaves), [6] leaves of plates. Number 28 of an intended but not completed edition of 60 copies, signed by Coburn. The book contains six original 7 x 5 inch platinum prints, printed by Coburn himself. Text printed in brown ink on french-folded sheets of Strathmore Japan paper. Original canvas backed boards, paper label on front cover. Marginal dampstaining on the first few pages does not affect any text or image. In the rare original heavy paper dust jacket, printed on the front only, expertly restored. The only book of Coburn's illustrated with original prints. OCLC locates only five copies. Goldschmidt, The Truthful Lens, 148. Inscribed on the colophon "To Henry James with best wishes from Alvin Langdon Coburn 2. VIII. 1912". James responded to the gift, in a letter written on August 18, saying the clouds are very artful and beautiful, and the publication most elegant and charming. Coburn, he said, has combined photography remarkably with aviation. A couple of his pictures, James believed, could have been taken only from an "aeroplane." Coburn was James's preferred photographer and James commissioned him to provide the 24 frontispiece photographs for James's Collected Works (the New York Edition,published 1906-7. Coburn devotes a chapter of his autobiography to that collaboration. Coburn arranged for publication of "The Cloud" at the time of his exhibition of 50 California photographs at the Blanchard Gallery in Los Angeles. He was an acknowledged master of the gum-platinum print technique, of which he wrote "In the gum-platinum process the first step was to make a platinum print, which could be either in the normal silver grey colour, or toned to a rich brown by the addition of mercury to the developer. The finished print was then coated with a thin layer of gum-bichromate containing pigment of the desired colour. I found Vandyke brown especially suitable owing to its transparency, and by having the underlying platinum print in the grey, a very pleasant two-colour effect was produced. The bichromated print was replaced behind the original negative, great care being taken to get it accurately in register. It was then re-exposed and developed in the usual way. It was in the nature of platinum prints that the shadows were somewhat weak; by superimposing a gum image they were intensified. The whole process added a lustre to the platinum base comparable to the application of varnish, at the same time preserving the delicacy of the highlights in the platinum print." Coburn, p. 18. Coburn wrote "Clouds are especially good subject matter for the photographer. The patterns of moving clouds and water are never the same from now to all eternity, and these patterns are ever moving to our continual delight. I have made hundreds of photographs of clouds and never tire of them. Once I made a little book illustrating Shelley's Ode 'The Cloud' with six original platinum prints. Only sixty copies were to be printed and even all these were not made. I only know of one surviving copy in addition to my own, so this is doubtless my rarest book!" Alvin Langdon Coburn Photographer. An Autobiography (Gernsheim ed., Dover, 1978), p. 46.John Szarkowski wrote in "Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art" (New York: Museum of Modern Art, 1973): "Clouds were a particularly good subject for an artist like Coburn who sought the broad poetic view of things. Granted that no two clouds are the same; nevertheless, their meanings (except to farmers and meteorologists) were sufficiently imprecise and generalized to allow Coburn to use them as abstract visual elements. Coburn used the skies as children and poets use them, and as Leonardo used stained old walls: as an analogue model of imaginary worlds".
Edité par [New York, 1977
Vendeur : James Cummins Bookseller, ABAA, New York, NY, Etats-Unis
Signé
One of three copies for the family. One of three copies for the family. 35 black and white silver prints on 11 x 14 inch heavy paper. Oblong Folio. One of 3 Copies. Rare collection of photographs taken and, likely, developed and assembled all by Avedon himself, rather than by his studio, and characteristic of his private life, but not of his public oeuvre. The negatives are said to have been destroyed, to make this series irreproducible. The first photo, of the Avedon house in Bolinas, is titled and signed by Avedon. The last, a still life, is signed "27. 28. 29. 77 / Dick / XXX / OOO". The thirty-fifth photo, of Lucy Saroyan, whose set this was, is detached, and cropped at the bottom, with a crack on the image where something has fallen on it. Aram Saroyan started working with Avedon in the 1950s, starting out after school for $10 per week. They stayed in touch with each other's work and remained friendly over the years. In May 1977, Avedon came to visit Aram, Gailyn, Strawberry, Cream, and Armenak Saroyan at their house in Bolinas. Aram's sister Lucy, an actress and model of Avedon's, came with. Avedon left his box camera at home, but after a few days missed his vocation and borrowed a Leica from the poet Bill Berkson, the Saroyans' neighbor. A few weeks after his return to New York, a package arrived from the studio: ".a book of 35 photographs he'd taken during his visit. Spiral bound, the book was a series of images printed on heavy 11" x 14" photo paper, each sheet glued back-to-back to another sheet with another photograph. "During the period I'd worked in the studio I'd heard whispers here and there in the photography world that without his support staff of assistants and master printers, Dick would be more or less helpless. As we beheld this marvel that rumor died an instant death. Different as it is, in its off-the-cuff fluency this work might even be reckoned a precursor to In the American West. "There's a loving intimacy in these photographs which, while it isn't a recognized hallmark of the Avedon oeuvre, was nonetheless, as my relationship with him reflects, very much a part of his nature. It still troubles me that he would adamantly suppress this side of his practice in the work he made public." (Saroyan, My Own Avedon, which features five of the photos). Saroyan, Aram. My Own Avedon. A Memoir with Photographs. Los Angeles: An Air Book, 2010 Bound in full orange calf, stamped in gilt on upper cover "Avedon" and lower right "Saroyans'", by Jack Chitgian of Beverly Hills, with some soiling to covers; photos generally near fine 35 black and white silver prints on 11 x 14 inch heavy paper. Oblong Folio.
Date d'édition : 1835
Vendeur : Arader Books, New York, NY, Etats-Unis
Manuscrit / Papier ancien Signé
No binding. Etat : Very good. WILLIAM JAMES MULLER (1812-1845): The Rialto Bridge, Venice, signed and dated l.r. "W Muller/1835" (?), watercolor over pencil heightened with touches of bodycolor (17 ½ x 29 ¼ inches sheet; 29 x 40 ½ inches framed). Provenance: Likely Daniel Wade Acraman Esq. (1775-1847); his sale at Christie's, Bristol, August 24, 1842 as lot 190 (View of the Rialto, with numerous Boats and Figures) where bought by Pollentine (Alfred?); anonymous sale at Sotheby's, October 10, 1974 as lot 46; Sotheby's London, March 26, 2004 as lot 89 where acquired by Graham Arader (present owner). Condition: very good with scattered repairs and minimal foxing; minor chips on gold leaf frame. An early 19th century polyglot in the tradition of the Grand Tourists, Muller traveled to Germany, Switzerland, and Italy with the watercolor artist and member of the Royal Society of Painters George Arthur Fripp. They reached Venice on 29th September 1834, staying there for nearly two months before going on to Rome and beginning their return journey on 16th January 1835. Though a number of drawings and watercolor sketches were made on this journey, Muller continued to paint Venetian subjects as late as the 1840s. The present work may be identical with the one exhibited at the Society of British Artists in 1836. It shows the Rialto Bridge with the 18th century campanile by Giovanni Scalfarotto and the Fondaco dei Tedeschi, a multi-purpose structure built by mainly German merchants from the cities of Augsburg, Judenburg, and Nuremberg. The streets along the canal include genre-scenes of merchant activities such as the loading and unloading of boats, the displaying of fabrics, and a gondolier manoeuvring between the barges. Muller's style is very linear and derivative of the classicist approach to Venetian vedute painting with a heavily geometric composition and visible penlines. According to the Dictionary of National Biography, Muller was one of the most original and powerful of painters from nature. He seized the characteristics of a scene with wonderful clearness and promptitude, and set it down without hesitation or difficulty. His selection and generalisation were nearly always masterly, his color pure and strong, and he could probably suggest more, with fewer touches, than any other painter of his time. Born in Bristol in 1812, William James Muller became the apprentice of James Baker Pyne who introduced him to the Bristol Sketching Club together with artists Samuel Jackson, J. Skinner Prout, and William West. He departed from the poetical style of their landscapist and imaginary subjects and exhibited at the Royal Academy for the first time in 1833. After Muller's return from Italy, he sent works to the Royal Academy in 1836 and to the Exhibition of the Society of Artists in Suffolk Street in 1836, 1837, and 1838. He visited the Middle East twice and accompanied the government expedition to Lycia in southwest Turkey where Charles Fellows was removing the Xanthus Marbles for the British Museum in 1843/44. A series of sketches from a journey to France was lithographed in 1841. Muller died in Bristol on September 8, 1845 at only 33 years of age. His works have continued to be in high demand. They appear on the market very rarely.
Edité par [the Author], London, 1784
Vendeur : Hordern House Rare Books, Surry Hills, NSW, Australie
Signé
Two volumes, square folio, engraved frontispiece with a Greek-key border applied in gold, and 80 engraved plates, all finely coloured by hand, edged in black, each plate presented on a larger sheet of blue paper, each with manuscript edging in black and numbered in manuscript; two engraved title-pages (in English and French), and with 27 pages of bilingual text, each volume with an engraved explanatory table; in the original binding of full tan marbled calf, Greek-key border reprised to boards, banded and lettered in gilt, marbled endpapers. An excellent copy of the rare "select issue" of "one of the most beautiful of all shell books, containing exquisite renderings of shells collected on Cook's three voyages and on other voyages, with specimens identified as having been obtained from New Holland, New Zealand, Tahiti, Tonga, and the Hawaiian Islands" (Forbes). The plates in this work are of such refinement and beauty that they are routinely mistaken for original watercolours, testament to the skills of the artists involved in printing and handcolouring this lavish production. The work was prepared under Martyn's own direction from specimens gathered on South Sea voyages. As he states in his introduction, 'specimens were provided by the several officers of the ships under the command of Captains Byron, Wallis, Cook and others.'. The most notable collection of shells represented is that of the Portland Museum. This outstanding copy is one of the few prepared as a "select issue" for the author's patrons. The plates are edged in black and part-mounted on a sheet of blue paper which in turn is edged in black (in manuscript), with each page numbered in manuscript in the top right hand border. The frontispiece is within a Greek-key border in applied gold to match the gilt-border on the boards of each volume. On a free endpaper of the first volume in manuscript is the note "a select copy" signed "Thos. Martyn". "A work which, for beauty, has seldom been surpassed in the history of conchological iconography" (S.P. Dance, A History of Shell Collecting, Leiden, 1986), this is the only work of the late eighteenth century to deal exclusively with shells. It was prepared under Martyn's own direction and is virtually a companion to the three-volume John Hawkesworth edition of the voyages of Byron, Wallis and Cook published in 1773. The most notable collection of shells represented is that of the Portland Museum assembled by the remarkable Margaret Cavendish Bentinck, second Duchess of Portland. Patron of Captain Cook, friend of Rousseau and Reynolds, colleague of Daniel Solander, bluestocking and philanthropist, she made her home, Bulstrode House in Buckinghamshire (or "The Hive" as it was known in court circles), a place of great activity and home to her private museum, which was "considered the finest in England and rivalled the best in Europe" (S. Peter Dance, A History of Shell Collecting, p. 73). The plates are delicately engraved with faintness of line and then richly handcoloured with minute attention to detail and highlights. The illustrations are the exceptional work of a private Academy of young artists trained by Martyn himself. He recruited young men who showed artistic talent and trained them so that there "would generally be found that uniformity and equality of style, conception, and execution which it would be in vain to expect from a variety of independent artists". (Martyn, S.P. Dance). This was a deliberate - and highly successful - attempt by Martyn to achieve the life and energy of original watercolours making it one of the most beautiful illustrated book productions of the late eighteenth century. . Provenance: With the bookplates of Francis Basset, 1st Baron de Dunstanville (1757-1835) of Tehidy in the parish of Illogan in Cornwall, English nobleman and politician, a member of the ancient Basset family; later name on title of Richard I. Johnson. Spine restored retaining original title labels, inner hinges strengthened; otherwise in very good original condition.
Edité par "Tuesday morning" [9 October 1956], 1956
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Signé
A lucid, longing letter from Sylvia Plath to Ted Hughes, reflecting on her anguish at being apart from him, and outlining two short stories she is working on, "The Wishing-Box" and "Invisible Man", which mark an important stage in her development as a prose writer. In the letter, Plath offers Hughes her thoughts on her own writing, as she reflects on the parallels between her characters and herself and Hughes, and recognizes her particular literary talents for psychological description and black humour. The couple had been together consistently since their marriage in June 1956, and Hughes's search for work in London that October forced the couple to live separately for the first time. Plath, still in Cambridge, begins the letter describing her feelings of isolation there: "O my darling Teddy. How I live for your letters; such queer things are happening to me; I feel that in myself I am observing the progress of a deadly disease never before recorded". Her dependence on Hughes is starkly underlined: "I think if anything ever happened to you, I would really kill myself. I shall never leave your side a day in my life after exams". At the time of the letter's composition, Plath had been living apart from Hughes for just ten days, but the strain was already taking a toll on her psychological state. It affected her writing, in both clarifying and distortive ways: "I must say that I have a growing feeling, perhaps also delusive, of a new prowess in knowing what I want to say and, miraculously, getting closer to saying it than ever I have before. But, alas, away from you my own judgments are all out of kilter, or to cock, and I can't tell if I've been typing over and over on the same line immortal folderol or what." Plath then describes two short stories she is writing: the first, "The Wishing-Box", is "a very humorous terrible little story" about a "dreamless woman" with a "complete escapist" husband who kills herself with an overdose of sleeping pills. The letter makes explicit that Plath's inspiration for the story was her own life: she writes that the dreamless woman is "certainly an aspect of one of my selves", and confesses to Hughes that, for the husband character, "I shamelessly plagiarized some of your magnificent dreams". She then describes the second story, "Invisible Man", in which the protagonist becomes "invisible to himself, but no one else. It is as if he must seek his own true image, the proof of his corporeal existence, in the eyes and reflections about him, which gives him back to himself with varying degrees of distortion". The protagonist's son shares his father's condition, and will become invisible at college "but, of a more artistic nature, commit suicide by drowning. That Narcissistic leap. It must be funny, but terribly serious. I see that I best like doing completely realistic detailed descriptions of psychological states, giving them symbolic form". Though Plath never explicitly mentioned her own history with suicide in her letters, nor did she divulge her experiences to Hughes until many months after their marriage, the deaths in the two short stories offer a fleeting insight into her state of mind, and their treatment with dark humour foreshadow the tone of her masterpiece, The Bell Jar. After finishing "Invisible Man", Plath writes that she plans to read some Hughes's drafts, and begin some more of her own: "After I get this story done, and the 150 odd pages I have to type typed (between us we have written colossal amounts!), I shall start on your terrific plots. and my novel; the Idea Of Novel scares me. I must pick up several, see how simply they begin. I will have no idea of what tone I want until I get the whole first draft done. I'll try to put everything in, and then sleek it to a silvery greyhound of a thing". Plath closes by asking Hughes to stay an extra night on his trip to London the coming weekend, before signing a postscript: "I love you more than the whole gibbering world which owes its existence & worth - if it has any - to your being in it - your loving wife Sylvia". This letter is published in Peter K. Steinberg and Karen V. Kukil, eds, The Letters of Sylvia Plath, Volume I: 1940-1956 (2017), pp. 1291-4. Three sheets of blue letter paper (177 x 139 mm), typed on five sides, with several autograph corrections and a three-line autograph postscript, signed "your loving wife Sylvia". Folded once, fine condition.
Edité par 1575, 1575
Vendeur : Hugues de Latude, Villefranche de Lauragais, France
Membre d'association : ILAB
Signé
*** Un recueil de poésies sur l'amour, dans une magnifique reliure de l'époque, superbement calligraphié et orné de grandes initiales, de culs de lampes et de fleurons peints en or et en couleurs. Il est daté, au f. 27v, de 1575. On y repère des poésies de Ronsard, Mellin de Saint-Gelais, Desportes, Jean Bastier de La Péruse, Clément Marot . D'autres sont inédites. Sur le premier plat de la reliure figurent les initiales "I. D. M." et la devise "Non sans regret" et sur le second plat, "A.D.G." et "Tousjours loyal". Tout au long de ce recueil on retrouve ces devises et initiales : 3 fois pour "I. D. M.", écrit aussi "J. D. M." et 6 fois pour "A.D.G." Tout laisse penser que certaines de ces poésies anonymes sont des mystérieux "A.D.G." et/ou à "J. D. M." Un examen attentif du volume nous permet de trouver au moins un nom. Au verso du second feuillet, figure à l'envers, sans doute par décharge : "Toujours loyal" et la signature : A. de Gandt. Ce nom nous oriente vers le Nord de la France ou la Flandre méridionale. Une hypothèse confirmée par le style de la reliure. Notons par ailleurs, que l'on peut lire dans ce recueil au moins 5 sentences en espagnol (f. 36v, 84 87, 93, 123). Certaines poésies destinées au chant, ou "chansons", qui figurent dans ce volume ont été mises en musique par Thomas Créquillon, Claude Goudimel, Jehan Chardavoine. et on en ignore toujours les auteurs. Ce A. de Gandt pourrait bien être de ceux-ci. Notons par ailleurs que certaines des poésies inédites de ce recueil ont été écrites par une femme. "Le début de la décennie 1570-1580 constitue un tournant de l'histoire de la poésie en France. Au moment où l'école de la Pléiade voyait disparaître quelques-uns de ses premiers membres, une nouvelle génération de poètes inspirée par l'exemple de Philippe Desportes apparut, qui allait quelque peu concurrencer la domination de Ronsard. Une nouvelle esthétique mondaine et néopétrarquisante, teintée de néoplatonisme, se diffusa dans la poésie. Son public n'était plus composé de savants humanistes mais des gens de la Cour et des "salons" ou cercles qui se multipliaient autour de personnages influents. L'une des particularités de la poésie produite dans le cadre de ces "salons" est d'avoir souvent fait l'objet de copies manuscrites, conservées dans des recueils plus ou moins homogènes, qu'on peut désigner comme des albums. Rarement autographes, les poèmes consignés sont le témoignage des échanges littéraires, philosophiques ou musicaux de leurs participants ou de contributeurs extérieurs. Surtout, les albums constitués au début des années 1570 présentent souvent des versions manuscrites antérieures à leur diffusion imprimée. Ils informent ainsi autant l'histoire sociale et l'étude des pratiques culturelles, que l'histoire littéraire, en éclairant un chapitre déterminant de leur génétique textuelle." François Rouget, Poésie et sociabilité en France vers 1570. Voici les pièces que nous avons pu attribuer : -Thomas Créquillon, "Oncques amour ne fut sans grand langueur" (f. 36v). - Jean Bastier de La Péruse, "Amour n'est autre chose" (36v). - Claude Goudimel, "Je souffre passion d'une amour forte" (60). - Clément Marot, "Secourez-moi Madame par amours" (62v). "Je ne me confesseray point" (34v). - Philippe Desportes, "Blessé d'une plaie inhumaine" (101). - Mellin de Saint-Gelais, "Combien est heureuse la peine de celer une flamme amoureuse" (52). - Ronsard, "Las ! Je n'eusse jamais pensé" (71v), "Qui veult sçavoir amour & sa nature" (117). - On retrouve "Tu t'en vas ma mignone" (139) que l' dans le "Recueil et eslite de plusieurs belles chansons joyeuses, honnestes et amoureuses" (1576) de Jehan Chardavoine, qui l'a mis en musique. Les initiales "J. D. M." apparaissent sur les feuillets : 11v, 36, 93. Celles de "A.D.G." : f. 16, 23v, 27v, 52, 141v, 158. Provenances : - Catalogue de la bibliothèque de Mme Théophile Belin, I, 1936, n°37. - Bibliothèque poétique de Jean Paul Barbier-Mueller, 2011, n° 102. *** In-4 de (2), 163 ff. Maroquin rouge, dos orné, plats richement ornés d'une plaque azurée avec un médaillon central peint en noir, écoinçons, fers azurés en coins, filets dorés en encadrement d'une bande peinte en noir et de filets dorés, tranches dorées. (Reliure de l'époque.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * A manuscript collection of love poems from 1575. There are poems by Ronsard, Mellin de Saint-Gelais, Clément Marot and Philippe Desportes. Others are unpublished and their authors are perhaps those who composed this manuscript. I think it's a man and a woman whose motto is here 'Not without regret" and whose initials are 'I.D.M.', and on the other side 'Always loyal' and with the initials 'A.D.G.' One can find the name of this 'A.D.G.' here upside down 'A. de Gandt', a family name from the North of France or from southern Flanders. - -.
Edité par Mercure de France, Paris, 1898
Signé
In-8, demi-maroquin bordeaux à coins, plats de papier marbré, dos à nerfs finement orné à petits fers dorés; doublures et gardes de papier peigne, tête dorée, non rogné, couverture imprimée (Huser).Edition en partie originale, établie par Paterne Berrichon, beau-frère de Rimbaud, et Ernest Delahaye, un des camarades de collège du poète. Elle est ornée de la reproduction photographique du tableau représentant Rimbaud, peint en 1872 par H. Fantin-Latour. Dans leur préface, Paterne Berrichon et Ernest Delahaye justifient cette édition en disant que, si ce grand poète, dans les dernières années de sa courte mais tumultueuse et admirable vie, réprouva les productions de sa première jeunesse, cependant le mal était fait; les uvres littéraires de Rimbaud [.] trônaient dans la notoriété. [.] Obligés donc, de nous soumettre à une irrémédiable fatalité de gloire, il ne nous restait plus, par respect et par piété, qu'à rétablir l'ordre chronologique des cris de cette enfance unique; qu'à montrer, de ce fait, la rigoureuse logique du développement d'un génie pouvant, d'après les précédentes éditions de ses travaux, être estimé sans suite, inégal, manquant d'équilibre, avec des sursauts.Exemplaire du tirage ordinaire (il n'a été tiré sur grand papier que 15 exemplaires sur papier de Hollande), portant sur le faux titre cet envoi autographe signé de Paterne Berrichon: A Jean Moréas, son fidèle admirateur et son ami, Paterne Berrichon, 80 rue Michel-Ange. EXEMPLAIRE ENRICHI DE DEUX MANUSCRITS AUTOGRAPHES DE RIMBAUD, LES PLUS ANCIENS CONNUS, rédigés à l'âge de dix ans lors d'exercices scolaires en classe de sixième à linstitut Rossat en octobre 1864-1865. L'un des documents se présente sous la forme d'une liste de noms rédigée à l'encre (26 au recto - 46 et un rayé au verso), l'autre d'une série de 35 vocables écrits au crayon avec au verso deux dessins originaux exécutés respectivement au crayon (visage de face) et à l'encre (profil).Une lettre du bibliographe de Rimbaud, Marcel Coulon, jointe à l'exemplaire précise l'origine de ces deux documents:Cher ami Thuile,Vous voulez savoir pourquoi, en vous donnant, voilà une douzaine d'années, une édition princeps de Rimbaud (que je tenais de Jean Moréas), j'y laissais les deux listes, l'une de noms, l'autre de vocables, qui s'y trouvent collées aujourd'hui.Ce sont des autographes du poète qui datent de ses quinze ans.Ils me furent donnés vers 1909-1910 par Isabelle Rimbaud, alors épouse Berrichon, que ma moitié et moi (j'étais alors procureur de la République à Rocroi) étions venus voir, d'un coup de bicyclette, à Roche.Quelques années auparavant, substitut à Charleville, j'avais fait connaissance de la mère et de la s ur de Rimbaud.Quant au susdit Berrichon, j'avais fait sa connaissance longtemps avant, quand j'étais étudiant à Paris.Bien à vous. Marcel Coulon.Selon Marcel Coulon, Rimbaud a quinze ans lorsquil dresse ces deux listes de mots, l'une de verbes et dadjectifs au crayon, l'autre de noms propres à lencre. Mais ces documents sont beaucoup plus anciens, car ils fournissent les réponses à des exercices scolaires apparemment destinés aux classes de sixième. Or Rimbaud entre en sixième, à linstitut Rossat, en octobre 1864. Il a dix ans.Lexercice consistait, pour la première liste, à compléter une formule incomplète par le terme approprié - par exemple, à ajouter brave avant comme Bayard ou noir avant comme du jais - pour lautre liste, à remplacer une métaphore ou une périphrase par la forme propre - par exemple Chine pour Céleste-Empire ou Bossuet pour l'aigle de Meaux.Ces questionnaires sont ceux que propose La Lexicologie des écoles. Cours complet de langue française, de Pierre Larousse. Avant de lancer son Grand dictionnaire universel du XIXe siècle en 1863, Larousse avait publié des ouvrages pédagogiques, destinés aux élèves de lécole primaire: le premier volume de La Lexicologie des écoles, paru en 1849 et destiné à la première année, sintitulait Nature et rapport des mots. En 1851, il publiait une Grammaire élémentaire lexicologique; un autre volume destiné à la deuxième année et intitulé Cours lexicologique de style, a paru en 1851. Cest dans ce volume que se trouvent les questions auxquelles Rimbaud répond. Il disposait du volume destiné à lélève, où la réponse à trouver était figurée par des points de suspension. Le volume destiné au maître donnait les réponses.Rimbaud fait apparaître, à certains endroits, des points correspondant à une réponse quil na pas trouvée. Il indique aussi des chiffres de pages ("109" - "fin de la page 109" - "fin de la page 110") qui renvoient au volume quil avait sous les yeux. Dans la plupart des cas, il fournit la bonne réponse, en particulier lorsquil sagit didentifier un nom propre - de personne ou de pays - à partir dune périphrase : les connaissances du futur poète, en matière de mythologie ou dhistoire antique en particulier, sont impressionnantes.Les quelques réponses qui ne coïncident pas exactement avec celles de Larousse ne sont pas pour autant inexactes : la Cilicie pour Alger (le nid des pirates) ou la Chaldée pour lEgypte (le berceau des sciences humaines). Peut-être ignorait-il que la Sicile était le grenier de Rome ou que les nymphes des fontaines étaient des Naïades et celles des bois des Dryades. On observera quil identifie le roi-martyr à Jésus-Christ, et non à Louis XVI, quil désigne les Hébreux et non les Romains comme lincarnation du peuple-roi, et quil saute la ligne concernant le fabuliste français: quelques années plus tard, en mai 1871, dans la lettre du voyant, il dénigrera La Fontaine.Nous donnons ci-dessous la liste des questions et des réponses de Rimbaud, faisant l'objet de la 74ème leçon, pages 99-101. Les étoiles indiquent les questions auxquelles Rimbaud n'a pas répondu, et les mots entre crochets correspondent à ses réponses erronées.(RECTO)L'ami d'Oreste: Pylade / PyladeLe meurtrier de Clitus: Alexandre / AlexandreLa veuve inconsolable d'Hector: Andromaque / AndromaqueL'épouse dé.
Edité par Basel: Heinrich Petri, March 1552 [colophon], 1552
Vendeur : Arader Galleries - AraderNYC, New York, NY, Etats-Unis
Signé
Folio (12 1/4 x 8 in.; 31.1 x 20.3 cm). Letterpress title within historiated woodcut border, woodcut portrait of the author on verso, 14 double-page atlas maps, including 2 world maps, 3 folding views of Vienna (signed "HRMD"), Worms (signed "ISD") and Heidelberg, approximately 1,000 woodcut text illustrations including 54 text maps, printer's woodcut device at the end. BINDING/CONDITION: Title-page slightly cropped at top, a few leaves browned, top margin of pp. 221-222 extended affecting headline and partially obscuring first line of text on p. 222, lower right corner of p. 335 remargined. Seventeenth-century brown morocco with overall diapered pattern of fleurs-de-lys, ecclesiastical arms of a cardinal on both covers, the spine in seven compartments similarly tooled, raised bands, marbled endpapers, edges gilt; some color restoration and repairs to edges of both covers and head of spine, joints at spine ends rubbed, small hole in seventh compartment. (64V1A) A HANDSOME COPY OF ONE OF THE MONUMENTAL ILLUSTRATED BOOKS OF THE SIXTEENTH CENTURY. First published in 1544, Münster's Cosmographia became the most popular work of its kind, teaching "nearly three generations of laymen most of what they know about the world beyond their native places" (Strauss). As a description of the whole world, Cosmographia provided an encyclopedia of general knowledge. The author's preface "promises the prospective reader an exhaustive survey of all that is significant and interesting in his world. 'The art of cosmography,' he begins, 'concerns itself not only with the countries, habitations, and lives of the various peoples of the earth, but also with many other things, such as strange animals, trees, metals, and so on, things both useful and useless, to be found on land and in the sea; [also] the habits, customs, laws, governments of men, .the origins of countries, regions, cities, and towns, how nature has endowed them and what human inventiveness has produced in them, [also] what notable things have happened everywhere.' " (Strauss). Its success was also due to the fascinating woodcuts (over 1,000) by Hans Holbein the Younger, Urs Graf, Hans Rudolph Manuel Deutsch and David Kandel. The present edition published in March of 1552 shortly before Münster's death in May of that year, is a reprint of the definitive 1550 edition. It contains the same 14 double-page maps and has the identical text maps (Karrow 58/135-188). The 1550 edition also introduced the town views, which were unusually accurate, as they were "based on first-hand information gathered from local officials of each town or place described, and were some of the earliest large-scale plans of cities to be published" (The World Encompassed, 272). As such, Cosmographia remains a key source of social history for that period. Additionally, the editions of 1550 and thereafter contain Münster's second world map, an oval projection cut by David Kandel, which replaced the Ptolemaic version that had appeared in earlier editions. There are separate sections on Africa, Asia, and "De novis insulis, quomodo, quando & per quem" between pages 1099 and 1113-a description of America including accounts of the voyages of Columbus, Vespucci, Magellan, etc. Map 14 of America, "Tabula nouarum insularum" is in Burden's state 5. "He was one of the first to create space in the woodblock for the insertion of place-names in metal type. The map's inclusion in Münster's Cosmographia.sealed the fate of 'America' as the name for the New World.North America is not shown as accurately as the southern half of the continent, it had to a large extent been neglected so far by explorers. When Giovanni di Verrazzano.passed by the Outer Banks of the Carolinas in 1524, he mistook Pamlico and Albemarle sounds for the 'Oriental Sea' that led to Cathay and the rich Spice Islands. Here Münster perpetuates the error and through the success of this book provided the impetus to the exploration of the region" (Burden). PROVENANC.
Edité par Robert Wilks 1806-12, London, 1806
Vendeur : Raptis Rare Books, Palm Beach, FL, Etats-Unis
Edition originale Signé
Exceptionally rare complete set of the first edition in English of the works of Aristotle, limited to only 50 sets, signed by the translator Thomas Taylor in volumes one and four. Quarto, 11 volumes, bound in full contemporary calf, gilt titles and tooling to the spine, morocco spine labels, ribbon book marks bound in, marbled endpapers, all edges marbled. The set composes of the following: Volume 1: The Organon, 1807, signed at the end by the translator Thomas Taylor, and with A Brief Notice of Mr. Thomas Taylor, the Celebrated Platonist, with a Complete List of his Published Works, by J.J. Welsh. Volume 2: The Rhetoric, Poetic, and Nichomachean Ethics, 1811. Volume 3: The Great and Eudemian Ethics, the Politics and Economics Volume 4: The Physics, 1806, signed by Thomas Taylor on the last page. Volume 5: The Treatises on the Heavens, on Generation, and Corruption, and on Meteors, 1807, folding plate of mathematical figures. Volume 6: The History of Animals and Treatise on Physiognomy, 1809. Volume 7: The Treatises on the Parts, and Progressive Motion of Animals, Problems; and His Treatise on Individual Lines, 1810. Volume 8: The Treatises on the Soul; on Sense and Sensibilities; on Memory and Reminiscence; on Sleep and Wakefulness; on Dreams; on Divination by Sleep; on the Common Motion of Animals; on the Generation of Animals; on the Length and Shortness of Life; on Youth and Old Age, Life and Death; and on Respiration, 1808. Volume 9: The Metaphysics, 1812. Volume 10: A Dissertation on the Philosophy of Aristotle, by Thomas Taylor, 1812. This set includes an 11th volume being Taylor's first edition of The Metaphysics, 1801 containing an extensive introduction and notes. Lowndes, p. 68: "Of this valuable translation, the only complete one extant in the English language. Fifty copies only were printed at the expense of William Meredith, Esq." In near fine condition with only light toning. Complete sets are of the utmost rarity; rare and desirable set of this landmark work. Aristotle's philosophical works covered an incredibly broad range of subjects including physics, biology, zoology, metaphysics, logic, ethics, rhetoric, politics and government; constituting the first comprehensive system of Western Philosophy. Through these many branches, Aristotle sought the universal; his aim was to discover the essential nature of being, becoming, existence and reality which he believed could be achieved through detailed systems of logic and classification. Aristotleâ s works on natural history, particularly observations of the sea-life visible from the island of Lesbos, are some of the earliest known to have survived and include one of the earliest classification systems. Aristotleâ s Metaphysics is considered to be his principal work as well as the first major work in metaphysical philosophy itself. â It forms the highest step in Aristotleâ s system, and deals with the first principles of all existence. Here he grapples with the deepest questions of philosophyâ (Peck, 130). Translated by Thomas Taylor, a leading English classicist of the day. â In his knowledge of Plato and Aristotle he has never been equaled by any Englishman, and he is still the most important disseminator of ancient philosophy in the history of English and American literatureâ (Axon, 11).