PLANTA (comp.) J.MareMagnum
3 371 résultats
Folio, First Edition, on laid paper, some minor spotting (mainly marginal) and some light offsetting in the text; mid-nineteenth century half calf, marbled boards with some shelf-scuffing to paper surfaces, sprinkled edges, back tooled in gilt and blind with five raised bands, very neatly rebacked with old backstrip laid down, a very good, clean copy. THIS COPY WAS FORMERLY IN THE LIBRARY OF SIR ANTHONY WAGNER, ARGUABLY THE TWENTIETH CENTURY'S MOST EMINENT GARTER KING OF ARMS. ITS BEARS HIS SIGNED HOLOGRAPH INSCRIPTION 'Anthony R. Wagner, Portcullis Pursuivant of Arms, 4 Oct 1933' ON FRONT FREE ENDPAPER. In the late eighteenth century, the BM thoroughly revised the previous Cottonian catalogue (Smith, 1696) under the principal editorship of Planta. The mammoth revision was completed in 1800 and published on the instructions of the Royal Commission on public records. It remains the best published catalogue. Joseph Planta (1744-1827) succeeded his father as assistant librarian at the BM in 1773, was promoted to Keeper of Manuscripts in 1776 and finally to Principal Librarian from 1799-1827. See CDNB: III, 1397. Interestingly the printer, Luke Hansard, began printing the 'House of Commons Journal' in 1774; it is commonly known as 'Hansard' to this day. A SPLENDID ASSOCIATION COPY. Gross/Graves, 994.
Volume 1 (all published), CXXXII + 327 + [3] pp., text in Latin, 30cm., bound in solid hardcover in black cloth, original softcover preserved and bound in, few foxing at edges, text and interior are clean and bright, in the series "Bibliotheca Apostolica Vaticana Codices Manuscripti recensiti" vol.2, good condition, weight: 2kg., [Contains the description of 921 codices], R107217
- Paris 3 septembre 1895, 13,5x21cm, 1 page sur un double feuillet remplié. - Lettre autographe signée de Camille Pissarro, une page sur un bifeuillet remplié. Quelques déchirures au niveau des traces de pli horizontales et verticales, sans atteinte au texte, petit manque en marge du feuillet vierge. Missive inédite de Pissarro à la graphie particulièrement esthétique adressée à son ami le peintre Maximilien Luce. Le peintre est peiné d'apprendre l'« affreux malheur » de Maximilien Luce, qui venait de perdre son fils Frédéric, âgé de deux ans : "nous aurions désiré vous serrer la main en des circonstances si douloureuses, mais les choses sont si mal emmenchées que nous ne pouvons le faire". "Il nous faut partir aujourd'hui à Eragny pour que Lucien [Pissarro, son fils] prépare son départ définitif à Londres qui a été fort retardé par la maladie de sa petite qui a eu la fièvre scarlatine, de mon côté il faut que je passe chez mon occuliste pour lui montrer mon il qui m'inquiète". Après la perte de cet enfant, le peintre et sa femme rejoignirent les Pissarro à Eragny, où Luce réalisa des portraits de Pissarro entouré de ses enfants, désormais conservés au Metropolitan Museum de New York. [ENGLISH DESCRIPTION ON DEMAND]
- Chez tous les libraires, Dijon 1888, 12x19,5cm, broché. - Nouvelle édition imprimée à petit nombre sur vergé. Petites taches sans gravité sur les plats, agréable état intérieur. Envoi autographe signé d'Aimé Piron à monseigneur Urbain en tête du verso du premier plat. [ENGLISH DESCRIPTION ON DEMAND]
- A. Mondadori, Firenze 1923, 12x18,5cm, relié. - Nouvelle édition. Reliure en demi chagrin vert, dos lisse orné de doubles filets dorés, filet doré sur les plats de cartonnage vert, premier plat de couverture conservé. Rare envoi autographe daté et signé de Luigi Pirandello à Emanuele Lauricella. [ENGLISH DESCRIPTION ON DEMAND]
Large 4to (180 x 270 mm). Italian manuscript on paper. 60 written pages on 35 leaves, textually complete, ca. 30 lines. Contemporary vellum over card. A 17th century working handbook providing sailing instructions from the port city of Genoa, written in two parts: westwards towards southern Spain and to Cadiz, and south through the Liguarian and Tyrrhenian Sea towards Calabria. It contains a description of the city of Genoa (2 pp.), directions along the southern French and eastern Spanish coasts to Sanlúcar de Barrameda via Menton, Monaco, Villefranche, Marseille, Cadaques, Barcelona, Valencia, Cartagena, Marbella, Gibraltar, and Cadiz (39 pp.); and directions from Genoa along the Tyrrhenian coast of Italy to Capo Vaticano in Calabria via Livorno, Fiumicino, Naples, etc. (18 pp.). The invocation of the muses before the text is a quotation from Torquato Tasso's "Gerusalemme Liberata": "O Musa, tu che di caduchi allori / non circondi la fronte in Halicona [...]". - The genesis of the portolan chart as we know it in pictorial form is inextricably linked to the production in the late medieval period of these textual sailing instructions of the Mediterranean Sea, known as "portolani" in Italy, and later as "roteiros" by the Portuguese and "rutters" by the Dutch and English, written by mariners as guides for sailing from port to port in the Mediterranean. - Binding torn and frayed. Lower corner damaged with insignificant loss to letters; edges frayed, marginal thumbing and staining, final leaf loose. Provenance: inscription on first leaf, "Io Fran[ces]co Pinetti della Riva di Taggia", dated 16 Dec, 1689, the hand matching that of the main text. 18th century inscriptions on upper pastedown, one dated 27 March 1705: "Rotta di uno instrumento fatto in Genoa".
- Gallimard, Paris 1979, 12x18,5cm, broché. - Edition en partie originale, un des exemplaires du service de presse. Envoi autographe signé d'André Pieyre de Mandiargues à Henri Parisot. Deux petits accrocs en pied du premier plat, légères piqûres marginales sur les plats. [ENGLISH DESCRIPTION ON DEMAND]
- Gallimard, Paris 1979, 14x20,5cm, broché. - Edition originale, un des exemplaires du service de presse. Envoi autographe signé d'André Pieyre de Mandiargues à Henri Parisot. Piqûres marginales sur le premier plat. [ENGLISH DESCRIPTION ON DEMAND]
269 p., 858 lots la plupart illustrés en coul. Coin de la couverture légèrement pliée. Inv. 24862
- Granit, Paris 1979, 15,5x21,5cm, broché. - Nouvelle édition. Ouvrage illustré, en frontispice, d'un gris-gris par Antonin Artaud. Agréable exemplaire complet de sa jaquette Envoi autographe signé bicolore et à pleine page d'Henri Pichette à Annie Vanpeene : "... regardez il y a un robin dans la signature." [ENGLISH DESCRIPTION ON DEMAND]
xii + 310pp., 22cm., text in italian, in the series "Pubblicazioni dell'Universita Cattolica del S.Cuore. Saggi e Ricerche series terza. Scienze storiche" vol.2
Very Good French Original sepia-toned photograph printed in a period photograph paper. 19x25 cm. Descriptive text in French. Chipped and tear on margins. Iranian was born in 1890 in Constantinople, Istanbul. It is known that he established his studio in 1891 in Pera district of Constantinople - the center of Armenian cultural and political life. In 1895 he enters into partnership with another photographer by the name of Gugasyan. By 1900s the business seems to have wound down as the images marked with his studio signature don't exhibit any over elements of the new century. Of all the major Armenian studios from Istanbul, Iranian's photographs are the rarest, and less than 300 are known to have survived. Iranian's primary subject was the city of Constantinople, its picturesque landscape, architectural heritage, and the many types of artisans and workers that populated its streets. Using the latest photography techniques, which allowed for very rapid exposures, Iranian captured the bustle of the city streets with remarkable clarity. Teeming with life and movement these images have a remarkable immediacy and documentary veracity quite unlike similar views produced by other photographers of the period. The typical approach for many of Iranian's contemporaries such as Sebah & Joalier or Guillame Berggren was to achieve as clear a picture as possible with perfectly balanced compositions and highly visible details - the hallmark of a 'good' commercial photographer. In contrast, Iranian's street views are full of photographic 'ruptures' - blurred figures in movement, surprised glances of people caught unawares - which give his works the viscerality of snapshots. But above all, Iranian was a master at capturing the mood of a place. Catching the Ottoman capital on the brink of rapid transformation, the photographer aimed to record many of its ancient streets and quarters disappear or change the appearance. Thus, like the Parisian street photography of Atget, Iranian's images are 'nostalgic for the present' that is irrevocably slipping into the past. In his studio, the clientele had the choice of a large range of costumes and props through which the modern urbanite could slip into the role of some long-gone ethnic or street type and become a part of history. It is this sense of melancholy that gives Iranian's photographs their subtle emotional power. This is also perhaps the reason why he was ultimately not as successful as a commercial photographer. Modernity had captured the imagination of the people and the wistful romanticism of Iranian's markedly less spectacular images was fast going out of fashion. The small legacy he has left behind is nevertheless of significance in the history of Near-Easter photography. He was one of the rare Ottoman photographers with an individual and subjective approach, which deserves a proper evaluation.
Small 4to, 24pp., portrait of Sir Thomas, 41 plates, orig. printed wrappers, staples rusted, 34 lots.
Large 8vo, [2], 91, [1]pp., orig. printed wrappers, staples rusted, 512 lots.
31 Vols., 4to, numerous plates and illustrs., (some coloured), orig. boards and printed wrappers. A complete set of all 31 "New Series" sales, dispersed by order of the Trustees of the Robinson Trust, of this unparalleled collection, the like of which will never be repeated.
xlix + 327pp. (+ 40pp.catalog of editor), cart.cover (somewhat used, corners bumped), interior very clean & VG, text in latin, 27cm.
Very Good French Original autograph manuscript document signed 'Peyami Safa'. Oblong: 15x23 cm. In French. 1 p. It's resume of a paper written for the "XVeme Congress International de Sociologie, Istanbul, 11-17 Septembre 1952" related to 'Ibn-Khaldoun' and 'Auguste Comte'. Safa was a Turkish journalist, columnist and novelist. He was born in 1899 to writer and poet Ismail Safa (1867-1901) in Istanbul, Ottoman Empire. While he was only two years old, his father died in exile in Sivas. During his youth years until the age of seventeen, he lived in psychic and physical depression due a bone sickness he suffered from at the age of eight or nine. He rejected his doctors' advice to amputate his arm. Safa described his experiences in hospitals in his novel Dokuzuncu Hariciye Kogusu, which was filmed in 1967. In 1911, Peyami Safa had to give up his education at Vefa High School, and began working in a printing house and later in the Ministry of Post. He taught himself French, and in 1918 together with his elder brother began publishing a newspaper. In later years, he published three literary periodicals. He also wrote in various newspapers sometimes as a columnist, and sometimes as a novelist. Most of his novels were created before 1940. In these novels, he stressed on the west-east conflict in the Turkish society during the early years of the Turkish Republic. His novel Dokuzuncu Hariciye Kogusu gained much interest. In 1931, he wrote his only historical novel about Attila the Hun. Besides these novels, he wrote many serial stories and novels in newspapers, among them in Cumhuriyet and Milliyet, under the pseudonym "Server Bedii". Some of these are about a gentleman thief named Cingöz Recai.
- Giraud & Cie, Paris 1886, 12,5x19cm, broché. - Deuxième édition augmentée d'un supplément sur l'instruction publique en Allemagne et en Russie, suivie de l'esprit des vieux français. Traduction de plus de 1200 proverbes allemands. Envoi autographe de Pierre Peugeot. Une déchirure recollée sur un mors, un accroc sur le deuxième plat affectant également les derniers feuillets, légères rousseurs. Rare. [ENGLISH DESCRIPTION ON DEMAND]
Very Good French Original postcard shows Clark's color portrait photo signed and inscribed by Petula Clark as 'Tres amicalement'. 15x11 cm. In French. The most commercially successful female singer in British chart history, Petula Clark was born November 15, 1932, in Epsom, England. Trained to sing by her soprano mother, Clark embarked on a stage career at the age of seven; soon she was a fixture on British radio programs and began hosting her own regular show, Pet's Parlour -- a series spotlighting patriotic songs designed to boost the morale of wartime audiences -- at the tender age of 11. After entertaining British troops alongside fellow child stars Julie Andrews and Anthony Newley, Clark made her film debut with A Medal for the General in 1944. By the dawn of the '50s she was a superstar throughout the U.K., with a résumé of close to two-dozen films; 1954's "The Little Shoemaker" was her first Top 20 single, while 1960's "Sailor" was her first chart-topper. Still, Clark struggled with her inability to shed her adolescent image. After selling over a million copies of 1961's "Romeo," she married and relocated to France, establishing a strong fan base there on the strength of hits including "Ya-Ya Twist," "Chariot," and "Monsieur," which spotlighted a new, more sophisticated pop sound anchored by her crystalline vocals. Riding the wave of the British Invasion, Clark was finally able to penetrate the U.S. market in 1964 with the Grammy-winning "Downtown," the first single by a British woman ever to reach number one on the American pop charts. It was also the first in a series of American Top Ten hits (most written and arranged by Tony Hatch) that also included 1965's "I Know a Place" and 1966's "I Couldn't Live Without Your Love," and the number one smash "My Love." At the same time, she remained a huge star throughout Europe, topping the British charts in 1967 with "This Is My Song," taken from the film A Countess from Hong Kong. In addition to hosting her own BBC series, she also starred in the 1968 NBC television special Petula, which triggered controversy when sponsors requested that a segment with guest Harry Belafonte be cut in deference to Southern affiliates; ultimately, the show aired in its intended form. As the '60s drew to a close, Clark's commercial stature slipped, although singles like "Don't Sleep on the Subway," "The Other Man's Grass Is Always Greener," and "Kiss Me Goodbye" still charted on both sides of the Atlantic. In 1968, she revived her film career by starring in Finian's Rainbow, followed a year later by Goodbye, Mr. Chips. In later years, Clark focused primarily on international touring, headlining the 1981 London revival of Rodgers & Hammerstein's The Sound of Music; after starring in the 1990 musical Someone Like You, which she also co-wrote, she made her Broadway debut in Blood Brothers in 1993. Additionally, in 1988, an acid house remix of "Downtown" reached the U.K. Top Ten, another honor for the female singer awarded the most gold records in British pop history. Throughout the 2000s, Clark toured fairly steadily across the globe. Her 2002 shows in France at the Olympia were recorded and released on CD and DVD, but no new studio recordings were forthcoming until she teamed with Irish band the Saw Doctors for a new version of "Downtown" in 2011. Soon after, she began working with producer John Williams on an album. Made up of newly written songs and covers, as well as a new take on "Downtown," Lost in You was issued in early 2013. Just three years later, Clark returned with another studio album, From Now On, which featured several newly penned compositions as well as covers of classic numbers by the Beatles, Steve Winwood, and Peggy Lee. In October 2016, Clark set out on a U.K. tour in support of the album. That same year also saw the release of Natural Love: The Scotti Brothers Recordings, a collection of the country- and pop-oriented material Clark cut in the '80s. A French-language album, Vu D'ici, arrived in
LX + 216pp.+ 4 plates, in the series "University of California Publications: Classical studies" vol.10, 23cm., copy from the collection of the belgian byzantinist prof. Justin Mossay (with stamp and ex-libris), else VG, [text in latin, introduction and notes in english], R103453
Texte recueilli par Camille Sautet, un des 450 exemplaires non numérotés (après 50 numérotés), 1 vol. in-4 reliure pleine toile éditeur sous jaquette transparente, sous étui cartonné, collection "L'univers sensible", SNPMD, Paris, 1977, 110 pp. avec Pays de Bourgogne, 1 vol. in-8 br., 1979, pp. 353-417 Remarquable ensemble réunissant : un bel exemplaire de "Paysages" dédicacé par Henri Petit "Pour Michel Suffran, qui sait ma très vive sympathie et aussi ma reconnaissance" ; le numéro spécial d'hommage à Henri Petit publié par la revue "Pays de Bourgogne", accompagné d'une belle L.A.S. (2 pages) de Camille Sautet adressée à l'écrivain bordelais Michel Suffran : "Mon Cher docteur et ami, je vous adresse par le même courrier un exemplaire de la revue "Pays de Bourgogne" qui vient de paraître, où vous trouverez entre autres votre remarquable article "Frère de Silence" en hommage à Henri Petit. Quand je dis "remarquable", il ne s'agit pas d'un mot passe-partout [ ... ]mais de ce qui est proprement digne de retenir l'attention. Je regrette beaucoup que, comme me l'avait fait espérer Yves Leroux, vous n'ayez pas pu, en son temps, lors de la parution de "Paysages", donner à Henri Petit le bonheur de lire quelques pages de vous, de ce ton et de ce style [ ... ] nous nous retrouvons en certains mots : artisanal, race terrienne, contemplation... et je disais souvent que l'athée qu'il disait être avait une pensée et un coeur franciscain et une âme contemplative, parce que le croyant qu'il avait été jusqu'à l'âge de 13 ans cet enfant était toujours près de lui et le suivrait jusqu'au bout de la route. Madame Petit, que je viens de voir à Paris, a beaucoup apprécié et en particulier votre témoignage. Elle vous écrira sûrement" [ ... ]". Michel Suffran a écrit ces lignes sur l'enveloppe : "A la limite, ce n'est pas ce que nous proclamons et analysons qui importe le plus. Ce qui compte (et ce qui nous sera compté), c'est ce qui appartient à l'indicible, ce qui rayonne de nous à notre insu, et peut-être, contre notre consentement. Un andante de Mozart, un crépuscule de Watteau, un page de Nerval témoignent bien plus sûrement de Dieu en l'homme, que la plus ingénieuse des "démonstrations" métaphysiques". On joint la belle lettre autographe (prévue par Camille Sautet) signée par Madame Henri Petit, adressée à Michel Suffran : "Je viens vous remercier très sincèrement du bel article que vous avez consacré à mon mari. Vous dites à son propos des choses que personne n'a encore dites. Vous allez très loin. J'en suis, croyez moi, profondément touchée. Et c'est vrai (souligné). [ ... ]" Né à Avallon (Yonne), l'écrivain bourguignon Henri Petit (1900-1978) fut élève à Louis-le-Grand puis à la Sorbonne, où il rencontre Jean Grenier. Il publie son premier texte ("Vézelay") en 1927, et reçoit le Grand Prix de littérature de l'Académie Française en 1965. Français
New York City, Frankfurt, Stockholm, etc., 1961-1966. Substantial archive of documents concerning the publication and production of several notable literary works and theatrical plays by Peter Ulrich Weiss, including correspondence, draft agreements, contracts signed with leading publishers and producers, as well as some programmes and peer reviews, being the working files of his New York agent, Joan Daves. Together with 3 LP record box sets of the first and complete Broadway original cast music recording for the Marat/Sade play. Octavo and Folio documents and letters, ranging in size and number of pages, some signed in the original. Most are in English; some are in German; the lot neatly contained in four ring binders. The vast majority of the documents date to the 1960s, with a scant few being later including a letter regarding a special television production in 1979 with NBC. Occasional wear to extremities, otherwise in very good condition, beautifully preserved, clean and bright. A generous and comprehensive archive chronicling the work and partnership of a leading literary agent in the rise of German-American publishing, and one of her notable German writers. Provenance: From the desk of Weiss' literary agent for the US, Joan Daves. Joan Daves (1919-1997) was a leading literary agent with her own agency in New York, whose client list boasts six Nobel Prize winners including Martin Luther King, Jr. Daves had a profound effect on the very existence of German literature in America. Born Liselotte Davidson in Berlin, she escaped Nazi Germany by fleeing to Paris and England before emigrating to the United States in 1940. Her agency, established in 1948, handled the original works of several American authors. She handled Martin Luther King, Jr.'s literary property from 1957 until her death. Of great emphasis with her firm was the representation of several major German publishers, such as Suhrkamp, Piper, S. Fischer Verlag and others. It was the prime time of German writers such as Peter Weiss, Uwe Johnson, Max Frisch, Heinar Kipphardt, Hans Magnus Enzensberger, and Hermann Hesse. In the mid-1960s, communication with German publishers was quite different from today. A shipment of galleys was prepared with a 'by sea mail' label. When the New York Times printed the date and time the next ship would leave the harbor, delivery of the parcels of documents to that specific ship was requested. Peter Ulrich Weiss (1916-1982) was a German author, playwright, and experimental filmmaker, who gained celebrity fame on Broadway in the 1960s. He is particularly known for his plays "Marat/Sade" of 1963/65 which is largely represented in the present archive and which was enormously successful, for "The Investigation" of 1965, and for his later novel "The Aesthetics of Resistance" (1971-81). In the 1960s Weiss also embraced and promoted politically controversial groups, standing for revolutionary Cuba, standing against US intervention in Vietnam, and joining Sweden's eurocommunist party. Manuscript
cm. 18 x 25,5, xvi-84 pp. Biblioteca di bibliografia italiana 260 gr. xvi-84 p.
Very Good Turkish, Ottoman (1500-1928) Original 110 autograph letters (ALS) and several autograph postcards with almost all their original envelopes, one signed cabinet photograph, and one photograph album including Pertev Pasha's funeral photos which shows many famous politicians and soldiers beside his daughter Nevin Demirhan [Bengisu] and his wife Leman Demirhan. Various sizes. All material in Ottoman script. Most of letters addressed to his daughter Mrs. Nevin. His funeral album includes one newspaper clipping contains his short life, six newspaper obituaries, 20 b/w photos, of his funeral and famous people attending the funeral, one telegraph of condolences by Kazim Orbay, (1886-1964) and his wife Mrs. Orbay. Sait Pertev Demirhan, (1871-1964), was a Turkish soldier and politician. He is a graduate of Erkân-i Harbiye. He was an author, intellectual, Erkân-i Harbiye School teacher, 6. Army chief of staff, Harbiye Undersecretariat, 3rd Army Chief of Staff, 1st Corps and 4. Corps Commands, Military Schools Inspector, Member of History and Geography Councils, Member of Military Appeals Court, a deputy of Erzurum. He was the son of Yanyali Mustafa Pasha. He graduated from Harbiye as a staff captain (1892). In 1894 he was sent to Germany to advance his military education. After being a colonel, he was appointed to the Staff School as a teacher (1904). He was sent to the Russian-Japanese War as an observer. So, he written a book titled 'Japonlarin asil kuvveti: Japonlar niçin ve nasil yükseldi?' [i.e. The principal power of Japan: Why and how did Japan rise?] printed in 1937 in Turkish. He returned to Istanbul in 1906 and was promoted to "Pasha", and was appointed as the 6th Army Chief of Staff. He participated in the Balkan Wars (1912-1913) and was on the Caucasian front during the First World War. He was sent to Vienna as a military diplomat. Upon his return, he moved to Anatolia to participate in the Turkish War of Independence. He died in Moda district of Kadiköy. A fine and rare collection.
First and only edition of this monograph on this little island (now part of the 9th arrondissement of Lyon) in the SaÙne. 32 pp. The Ile Barbe has been inhabited since ancient times, an abbey was built there in the fifth century, and Charlemage endowed it with a rich collection of manuscripts in the ninth. As mentioned on the title-page, the final pages provide a catalogue of these extremely early medieval manuscripts (22 manuscripts described.) 8vo. Original wraps. Entirely uncut, fine, and bright. Very rare, especially in such pristine condition.
