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Paperback, XX+279 p., 210 x 270 mm. ISBN 9782503529066. Le present catalogue des manuscrits notes conserves dans les Regions d?Alsace, de Franche-Comte et de Lorraine fait suite au Catalogue des manuscrits notes de la Bibliotheque municipale de Colmar (2006). Il est concu comme un outil d?investigation et de travail au service des historiens, liturgistes, philologues, musicologues et historiens de l?art du domaine medieval. Les quelques 170 livres notes et la cinquantaine de fragments decrits et analyses dans ce volume composent un vaste ensemble sur le fond duquel se detachent les vestiges de l?histoire de la liturgie de la cathedrale de Metz et de quelques abbayes de ce diocese ; la prestigieuse collection de livres liturgiques a l?usage de l?abbaye Saint-Vanne de Verdun et d?autres etablissements religieux de la ville ; quelques temoins epars des abbayes vosgiennes ; les collections franciscaines d?Epinal et de Nancy, enfin un ensemble de livres representatif de la liturgie des dioceses de Besancon et de Strasbourg. Une introduction presentant sommairement les fonds, leur histoire et leurs particularites, eclaire le cadre historique dans lequel ces manuscrits ont vu le jour ou ont ete utilises. Chaque notice comporte une description codicologique du manuscrit, une presentation des elements permettant de preciser l?origine ou la provenance du volume, la date de sa redaction et son histoire. La description du contenu privilegie les elements susceptibles d?eclairer l?histoire et l?usage du livre et vise a donner un apercu exhaustif de certains repertoires, celui des hymnes et les sequences en particulier. Tableaux synoptiques et index. Languages: French.
Paperback, XIX+268 p., 210 x 270 mm. ISBN 9782503535647. Le present volume propose une description de 190 manuscrits notes conserves dans les bibliotheques publiques de la Region Champagne-Ardenne. Ils forment une collection disparate qui documente les chants et les poesies liturgiques au repertoire de l?ancienne province episcopale de Reims et des dioceses de Langres et de Troyes. Les vestiges les plus anciens sont conserves de maniere fragmentaire ou sous forme d?additions sur les livres de l?abbaye Saint-Thierry de Reims. Le fonds remois se distingue en outre par un bel ensemble d?ouvrages liturgiques destines a la celebration de la messe, tandis que les antiphonaires et breviaires du diocese de Langres (Chaumont, Langres) revelent de nombreux offices propres du sanctoral local ou diocesain. Les collections de Charleville-Mezieres et de Troyes reunissent egalement un ensemble representatif de livres liturgiques a l?usage de diverses communautes cisterciennes et cartusiennes. Les manuscrits champenois se singularisent en outre par la diversite des notations musicales. Si la notation francaise est pour ainsi dire inexistante a Reims, les manuscrits d?origine remoise utilisent, jusqu?au XIIIe siecle, une notation de type messin. En revanche, la notation a points lies et a petits carres dont la collection de la bibliotheque de Troyes conserve quelques beaux temoins semble avoir ete largement repandue dans la partie meridionale de la Champagne. Les collections champenoises offrent par ailleurs de nombreux temoins de notations neumatiques mixtes associant diversement des elements des notations messine et francaise. Une introduction presentant sommairement les fonds, leur histoire et leurs particularites, eclaire le cadre historique dans lequel ces manuscrits ont vu le jour ou ont ete utilises. Chaque notice comporte une description codicologique du manuscrit, une presentation des elements permettant de preciser l?origine ou la provenance du volume, la date de sa redaction et son histoire. La description du contenu privilegie les elements susceptibles d?eclairer l?histoire et l?usage du livre et vise a donner un apercu exhaustif de certains repertoires, celui des hymnes et les sequences en particulier. Index. Languages: French.
Paperback, 462 p., 31 b/w ill., 156 x 234 mm. ISBN 9782503540306. Cet ouvrage est le fruit d'un travail entrepris au debut de l'annee 2007, soutenu par l'idee de mettre a la disposition des chercheurs un ensemble de petits traites et extraits sur la musique conserves dans les sources manuscrites des XIe et XIIe siecles susceptible de preciser l'histoire des theories de la musique au cours de ces deux siecles et leurs implications pour la pratique du chant liturgique. A ce titre, tous ces textes sont indissociables des 'grands' traites de musique de l'ere carolingienne jusqu'au XIIe siecle - la Musica enchiriadis, le Dialogus de musica, les ecrits de Guy d'Arezzo, la preface a l'antiphonaire de Bernon ou encore la Musica de Jean d'Afflighem - dont la diffusion fut considerable et qui ont largement contribue a faconner la theorie du chant liturgique du Moyen Age. L'etablissement des textes a ete realise en etroite collaboration entre les deux editeurs de ce volume et les lecons retenues ont souvent fait l'objet de longues discussions Cet ensemble composite de textes doit etre lu et restitue dans la perspective des evenements majeurs qui s'operent au tournant des XIe et XIIe siecle et qui affectent la codification et la normalisation des repertoires du chant liturgique. Pour l'histoire du chant liturgique, l'evenement majeur fut incontestablement celui du mouvement de reforme qui se deploie dans l'eglise depuis le milieu du XIe siecle. Pour l'histoire du repertoire, cet evenement est indissociable de la diffusion progressive de la technique de notation sur lignes qui soumet desormais la codification des melodies a l'echelle des sons herite de l'enseignement du De institutione musica de Boece. La rencontre de ces evenements explique en grande partie l'ampleur des discussions theoriques autour des questions de la modalite dont bon nombre de ces textes se font l'echo. Languages: French, Latin.
- Gallimard, Paris 1994, 10,5x17,5cm, broché. - Nouvelle édition dans le format de poche. Envoi autographe signé de Pierre Cabanne à Françoise et Pierre (Dumayet). Iconographie, bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
4to (160 x 220 mm). Illustrated manuscript in Italian (black ink on paper). (74) pp., single column of 16 lines in a fine bookhand, every page bordered with double rules. First text leaf with a silver-edged frame and one large initial decorated with silver penwork. Title page with a fine penwork portrait of the dedicatee in ornamental armour (after the portrait by Sustermans), in rust-coloured ink, all within a wreath edged in gold and silver. Bound in contemporary full black calfskin, elaborately gilt-tooled. A dictionary of Florentine military terms, from "Abbattimento" ("l'abbater per battaglia") to "Zagaglia" ("spezie d'arme in asta"), followed by lists of punishable offences, general military guidelines, and commendable actions. A handsome manuscript of the finest quality, produced as a presentation copy for the "Duca di Guisa", Charles de Lorraine, the 4th Duke of Guise (1571-1640). Charles, who had fallen into disfavor with Cardinal Richelieu for siding with Marie de' Medici, had withdrawn to Italy in 1631. His wife and younger children joined him in Florence, where the family was protected by the House of Medici. After Charles's death at Cuna, in 1640, his widow and children (among them Marie, "Mademoiselle de Guise") were permitted to return to France in 1643. Caciotti, the author, served as secretary to the Grand Duchess of Tuscany, Christina of Lorraine, one of the duke's allies. In the dedication he dates the work's completion to 28 April 1632, and this presentation copy was given to the duke in 1639 (inscription at the foot of the title). - Beneath the dedicatee's realistic portrait, the illustrated title page shows a central banner with the title and presentation inscription, within full borders of humbled and kneeling soldiers, Calvin on the left and Muhammad on the right (representing the armies of the Protestants and Turks). The figures are prostrated beneath their armour and weaponry on either side of the arms of Guise, which are shown beneath a gold and bejewelled crown. - Once water damaged with discolouration to leaves at each end; some areas of the arms on the title page have fallen away due to ink corrosion (the rest is adhered to the next blank leaf so as to stabilise the paper). Ink corrosion has also damaged the frames of the text leaves, frequently loosening the text area on one or more sides. Spine wormed and chipped, a small section lost from top of rear board, otherwise an appealing and presentable dedication manuscript.
- J.B. Baillière & fils, Paris 1908, 11,5x18cm, relié. - Deuxième édition en partie originale. Reliure de l'éditeur en pleine percaline bleu-gris. Envoi autographe de Cadéac. Ouvrage illustrée de 136 figures in-texte. Bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
RARE FACSIMILE EDITION WITH HEBREW TRANSLATION of a manuscript of a travel diary to Holy Land (incomplete) by Moise Vita Cafsuti, an 18th-century Florentine Jew who was renowned in Tuscany for his expertise in gemstone valuation. The family of the author, now known as Cassuto, was a well-known family in Florence and among its descendants are many famous people, among them Moshe David (Umberto) Cassuto. Contains an introduction in Italian and Hebrew. 230x170mm. IV+100+VIII pages. Softcover with dust-jacket. Jacket front side rubbed and slightly peeling. Jacket upper edge slightly wrinkled. Single small wormhole on jacket front bottom corner near spine - NO damage to text. Wormholes on rear side of dust-jacket, rear cover and whitepage - NO damage to text. Cover and inner cover age-stained. [SUMMARY]: This extremely rare bilingual edition of a fascinating 18th-century travel diary to the Holy Land, of interest to any serious scholar of the history of Italian Jewry and the Land of Israel, is otherwise in good condition.
Very Good Turkish, Ottoman (1500-1928) Original typescript letter signed by Cahit Külebi. 15x21 cm. In Turkish. 1 p. Dated Bern, November 3, 1961. Typescript document. Signed by Külebi as 'cultural attache'. Külebi was a leading Turkish poet and author. He has an important place in contemporary Turkish poetry due to his adherence to folk poetry traditions. His poetry is enriched with simple yet ironic language, embellished with original descriptions.
Very Good Turkish, Ottoman (1500-1928) A large and fine collection and archive of Cahit Uçuk, (1909-2004) including various size clippings, a caricature, her biography, news, her serialized stories published in Turkish periodicals, and newspapers with several autograph corrections by Uçuk (Serialized novels include approx. 65 p., two are complete) as well as her original autograph - manuscript letter, manuscripts titled "Televizyon için notlar" [i.e. Notes for Television] (40 paged), a compilation of Turkish nursery rhymes (17 pp.), stories, fables, and fairy tales, and her population register document (it seems he was born in Diyarbakir city contrary to what is known as Istanbul, or Thessaloniki [Salonica] according to this document), manuscript report of her interview made by Hikmet Altinkaynak (1945-), and an essay titled "Yunanlilar'a Mektup" [i.e. A letter to Greeks]; and her plan for a journey to Italy. Cahit Uçuk was a Turkish female author and story writer. Ibrahim Vehbi Üçok, whose father was the Siverek Deputy and District Governor in the last Ottoman Parliament, and her mother was Hadiye Hanim, who was originally from Thessaloniki. Cahit's first tale was published in the magazine named "Yarim Ay" [i.e. Half Moon] published by Nâzim Hikmet in 1935. Mrs. Cahit, who also wrote poetry before, turned to story and novel writing. In her works, she mostly dealt with women's rights and the place of women in society, and occasionally worked on mystical themes. She's famous for her children's books. Many female writers have adopted male noms-de-plume, or otherwise gender-ambiguous pseudonyms, for a number of reasons: to publish without prejudice in male-dominated circles; to experiment with the freedom of anonymity or to encourage male readership. Cahit Uçuk, in his memoirs about the difficulties of being a woman writer in the world of men, could not keep a secret behind the name that everyone thought belonged to a man, and Bab-i Âlî [i.e. the street in Istanbul where publishers gathered in the Ottoman Empire] soon learned that she was a very beautiful woman.
- Paris 25 juin 1972, 21x27cm, une page sur un feuillet, enveloppe jointe. - Lettre autographe signée de Roger Caillois adressée à Arnost Budik ; une page rédigée à l'encre noire sur un feuillet de papier pelure. Enveloppe jointe. Quelques trous de perforeuse en marge de la lettre et de l'enveloppe, sans atteinte au texte, ainsi que quelques pliures inhérentes à la mise sous pli de la missive. Roger Caillois remercie l'écrivain tchèque pour les "n° de Gravida qu'[il a] bien voulu [lui] faire parvenir". Arnost Budik faisait en effet partie du comité de rédaction de cette revue surréaliste belge et semble avoir sollicité une contribution de Caillois : "Je vous prie de trouver ci-joint un texte que je viens d'achever." Caillois ne se trouva aux côtés des surréalistes que de manière très brève de 1932 à 1935 et semble ici s'excuser de cet éloignement : "Le surréalisme n'a jamais beaucoup prisé la poésie descriptive-méditative où j'ai cru, plus tard, trouver ma voie. Aussi, si le texte ne vous convenait pas, n'ayez aucun scrupule à me le retourner très simplement. Je le comprendrais très bien." [ENGLISH DESCRIPTION ON DEMAND]
- Paris Mardi 27 [février 1968], 13,5x20,9cm, une page sur un feuillet. - Lettre autographe signée de Roger Caillois adressée à Dominique Aury ; une page sur un feuillet rédigée au stylo bille bleu. Intéressante lettre concernant l'article "Mémoire interlope" qui paraîtra dans le n°185 de la seizième année (mai 1968) de la Nouvelle Revue Française. A cette époque, Marcel Arland et Jean Paulhan sont tous deux directeurs de la revue qu'ils ont fait renaître de ses cendres en 1953. La correspondante de Roger Caillois, Dominique Aury (aussi connue sous le pseudonyme de Pauline Réage) siège au Comité de lecture de la célèbre Revue. Il est question dans cette lettre d'une "note" que Roger Caillois demande à Dominique Aury de ne pas publier : "Pour la note, comme je l'avais dit à Arland je renonce à la publier. Notre ami la prendrait surement comme une sorte de coup de poignard dans le dos, une trahison d'autant plus délibérée que je n'écris pour ainsi dire jamais de note. Elle n'en vaut pas la peine." Nous n'avons pu trouver trace de cette énigmatique note, que Roger Caillois s'impatiente de récupérer : "Retournez-la moi, voulez-vous. J'en ferai peut-être le noyau d'une étude plus étendue où j'essaierai qu'apparaissent moins irritants que dans ce condensé les rapprochements litigieux." [ENGLISH DESCRIPTION ON DEMAND]
- Stock, Paris 1975, 13,5x21,5cm, broché. - Edition originale collective. Agréable exemplaire. Envoi autographe daté et signé de Roger Caillois à Alice Raillard. [ENGLISH DESCRIPTION ON DEMAND]
- Stock, Paris 1975, 13,5x21,5cm, broché. - Edition originale collective. Agréable exemplaire. Envoi autographe daté et signé de Roger Caillois à Alain Bosquet : "... ces obliques que je voudrais plus près de l'aigu que de l'obtus..." [ENGLISH DESCRIPTION ON DEMAND]
- Lyon 5 Mars 1978, 21x27cm, 2 pages sur un feuillet. - Lettre autographe datée du 5 mars 1978 signée de Louis Calaferte, de deux pages, à une amie libraire non identifiée, de 33 lignes à l'encre noire, rédigée depuis Lyon. Habituelles traces de pliures sans gravité d'une lettre glissée dans une enveloppe. Dans sa missive, pleine de sollicitude, d'estime et de respect pour le travail d'écriture de sa malheureuse correspondante qui désire faire publier son manuscrit, Louis Calaferte s'excuse tout d'abord du retard, indépendant de sa volonté, pris pour lui répondre : « J'ai attendu, attendu, attendu - espérant toujours pouvoir vous apporter une heureuse nouvelle concernant l'éventuelle édition de votre travail de librairie », pour ensuite lui avouer et fustiger « un certain immobilisme chez ces gens qui ne prennent plus aucun risque d'édition, et sont plus friands d'imbécillité du genre « best-seller » que d'ouvrages ayant trait à une certaine érudition ». Louis Calaferte, infructueux intermédiaire entre cet écrivain et le monde des éditeurs parisiens, se montre « désolé car, à mes yeux, il me semble qu'une édition de ce type eût été nécessaire. » Il se propose, lors de son tout prochain passage à Paris, de lui remettre le manuscrit, qu'il a proposé sans succès aux maisons d'édition, et qu'il appelle « votre cahier » ou de le lui apporter dans sa librairie plus tard. Enfin, Louis Calaferte conclut symboliquement sa lettre par un « désolé de cet échec, je vous prie de croire à mon estime ». [ENGLISH DESCRIPTION ON DEMAND]
3 volumes in-4, 119-XXIV + 95-XXIV + 129-XVI pp., plates (black & white). Très bel ensemble - VG+++ [P-53]
- s.d. (ca 1967) , 15,7x10,8cm, une carte postale. - Handwritten signed postcard addressed to Juan Luis Buñuel s.d(ca 1967), 15.7 x 10.8 cm, a postcard Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of his work On the High Wire. Two small perforations in the upper margin of the card, as is usual in Juan Luis Buñuel's collection. "What an incredible face Luis had, I was glad to see "Belle de Jour" for the first time." In 1939, Luis Buñuel, who had just received an offer to work in Hollywood, decided, with his wife and child, to leave the chaotic situation in Europe to go and live the American Dream. The penniless Buñuels initially spent a few precarious months living in New York. Luis Buñuel found himself forced to ask Dalihis longstanding friend in exile, along with Gala, during these yearsto lend him some money. His request was refused in no uncertain terms, putting an end to the two men's friendship. Thus it was Calder, whom Luis had perhaps already met in Paris in the 1920s, who put the whole family up in his Upper Side apartment. Juan Luis Buñuel, the artist's godson, sensed that his interest in sculpture began in this same period: "When Dali told my father he would not lend him any money, he contacted him [Calder]. He offered his house to us and we lived with his family for a time. I can only vaguely remember it, but it was then that I started to become interested in sculpture and he encouraged me" (Anton Casto, Juan Luis una entrevista). Despite the geographical distance that would come to separate them, Alexander Calder would remain a friend of the Buñuel family. The relationship between the artist and the film-maker is, however, almost entirely absent from the biographies, and this correspondence is a rare testimony to the profound connection between the sculptor and the Buñuel family. [FRENCH VERSION FOLLOWS] Carte postale autographe signée de Sandra Calder, fille du sculpteur, adressée à Juan Luis Buñuel au verso d'une reproduction de l'oeuvre de son père On the High Wire. Deux petites perforations en marge haute de la carte, comme habituellement dans la collection de Juan Luis Buñuel. "What an incredible face Luis had, I was glad to see "Belle de Jour" for the first time." En 1939, Luis Buñuel, qui venait de recevoir une proposition de travail à Hollywood, décide, avec femme et enfant, de quitter la situation chaotique de l'Europe pour vivre l'American Dream. Les Buñuel, désargentés, transitent d'abord quelques mois par New York où ils vivent dans des conditions précaires. Luis Buñuel se voit contraint de demander à Dali - son ami de longue date en exil avec Gala dans ces mêmes années - de lui prêter de l'argent. Il essuie un violent refus qui met fin à l'amitié des deux hommes. C'est alors Calder, que Luis a peut-être déjà rencontré à Paris dans les années 1920, qui accueille toute la famille dans son appartement de l'Upper Side. Juan Luis Buñuel, filleul de l'artiste, suppose que son intérêt pour la sculpture a commencé à la même période : « Quand Dali dit à mon père qu'il ne lui prêterait pas d'argent, il l'a contacté [Calder]. Il nous a offert sa maison et nous avons vécu au côté de sa famille pendant quelque temps. Je ne m'en rappelle que vaguement, mais c'est alors que j'ai commencé à m'intéresser à la sculpture et il m'a encouragé. » (Anton Castro, Juan Luis una entrevista). En dépit de la distance géographique qui les séparera, Alexander Calder demeurera un ami de la famille Buñuel. La relation entre l'artiste et le cinéaste est cependant presque totalement absente des biographies et cette correspondance est un rare témoignage du lien profond entre le sculpteur et la famille Buñuel.
- s.d. (ca 1967) , 15,7x10,8cm, une carte postale. - Handwritten signed postcard addressed to Juan Luis Buñuel s.d(ca 1967), 15.7 x 10.8 cm, a postcard Handwritten postcard signed by Alexander Calder addressed to Juan Luis Buñuel on the back of a reproduction of a painting by Georges de La Tour. Two small perforations in the left margin of the card, as is usual in Juan Luis Buñuel's collection. "La paix ! la paix ! la paix ! pour 1968 Vanvis - I don't understand why I'm always leaving messages and never getting an answer. I was sorry not to see you in Barcelone. It is a beautiful snow. Love to you and Carmen and children. Sandro" In 1939, Luis Buñuel, who had just received an offer to work in Hollywood, decided, with his wife and child, to leave the chaotic situation in Europe to go and live the American Dream. The penniless Buñuels initially spent a few precarious months living in New York. Luis Buñuel found himself forced to ask Dalihis longstanding friend in exile, along with Gala, during these yearsto lend him some money. His request was refused in no uncertain terms, putting an end to the two men's friendship. Thus it was Calder, whom Luis had perhaps already met in Paris in the 1920s, who put the whole family up in his Upper Side apartment. Juan Luis Buñuel, the artist's godson, sensed that his interest in sculpture began in this same period: "When Dali told my father he would not lend him any money, he contacted him [Calder]. He offered his house to us and we lived with his family for a time. I can only vaguely remember it, but it was then that I started to become interested in sculpture and he encouraged me" (Anton Casto, Juan Luis una entrevista). Despite the geographical distance that would come to separate them, Alexander Calder would remain a friend of the Buñuel family. The relationship between the artist and the film-maker is, however, almost entirely absent from the biographies, and this correspondence is a rare testimony to the profound connection between the sculptor and the Buñuel family. [FRENCH VERSION FOLLOWS] Carte postale autographe signée Sandra Calder adressée à Juan Luis Buñuel au verso d'une reproduction d'un tableau de Georges de La Tour. Deux petites perforations en marge gauche de la carte, comme habituellement dans la collection de Juan Luis Buñuel. "La paix ! la paix ! la paix ! pour 1998 Vanvis - I don't understand why I'm always leaving messages and never getting an answer. I was sorry not to see you in Barcelone. It is a beautiful snow. Love to you and Carmen and children. Sandra" En 1939, Luis Buñuel, qui venait de recevoir une proposition de travail à Hollywood, décide, avec femme et enfant, de quitter la situation chaotique de l'Europe pour vivre l'American Dream. Les Buñuel, désargentés, transitent d'abord quelques mois par New York où ils vivent dans des conditions précaires. Luis Buñuel se voit contraint de demander à Dali - son ami de longue date en exil avec Gala dans ces mêmes années - de lui prêter de l'argent. Il essuie un violent refus qui met fin à l'amitié des deux hommes. C'est alors Calder, que Luis a peut-être déjà rencontré à Paris dans les années 1920, qui accueille toute la famille dans son appartement de l'Upper Side. Juan Luis Buñuel, filleul de l'artiste, suppose que son intérêt pour la sculpture a commencé à la même période : « Quand Dali dit à mon père qu'il ne lui prêterait pas d'argent, il l'a contacté [Calder]. Il nous a offert sa maison et nous avons vécu au côté de sa famille pendant quelque temps. Je ne m'en rappelle que vaguement, mais c'est alors que j'ai commencé à m'intéresser à la sculpture et il m'a encouragé. » (Anton Castro, Juan Luis una entrevista). En dépit de la distance géographique qui les séparera, Alexander Calder demeurera un ami de la famille Buñuel. La relation entre l'artiste et le cinéaste est cependant presque totalement absente des biographies et cette correspondance est un rare témoignage du lien profond entre le sculpteur et
RARE collection of eight cross-disciplinary papers on "Problems in the Literary Source Material", from the First Workshop of the Late Antiquity and Early Islam, convened in London on 20-21 October 1989. [CONTENTS]: 1. Michael Whitby - Greek Historical Writing after Procopius: Variety and Vitality; 2. Averil Cameron - New Themes and Styles in Greek Literature: 7th-8th Centuries; 3. John Haldon - The Works of Anastasius of Sinai: A Key Source for the History of 7th-Century East Mediterranean Society and Belief; 4. G.J. Reinink - Ps.-Methodius: A Concept of History in Response to the Rise of Islam; 5. Han J.W. Drijvers - The Gospel of the Twelve Apostles: A Syriac Apocalypse from the Early Islamic Period; 6. Wadad al-Qadi - Early Islamic State Letters: The Question of Authenticity; 7. Stefan Leder - The Literary Use of the Khabar: A Basic Form of Historical Writing; 8. Lawrence I. Conrad - The Conquest of Arwad: A Source-Critical Study in the Historiography of the Early Medieval Near East. Includes an index. 240x160mm. XIV+428 pages. Dark-blue cloth Hardcover with transparent plastic dust-jacket. Gilt lettering on spine. Embossed front cover. Dedication written in pen on title-page upper corner - the dedicatee is an eminent Israeli archaeologist Yoram Tsafrir (1938-2015). Spine edges bumped. [SUMMARY]: This extremely rare book, of immense interest to students of early Islam, Byzantium and Near East in Late Antiquity, is otherwise in very good condition.
2 vellen, getypt, met briefhoofd en gesigneerd, gedateerd; 27 juli 1967. Brief i.v.m. benoeming tot grootofficier in de kroonorde ( De Heer Leo Maiersdorf. )
Edinburgh, 1893. Letter Book Archive of draft documents made by the law firm Campbell, Martin & Boswell, for private estates and business agreements, neatly preserved in a custom binding, featuring little known details relating to the Dalquharran Castle and Kennedy estate, Scottish investments and links to Australia, and a fascinating connection to the renowned poet Robert Burns by way of a lease made with his descendent for a mansion estate which he, too, had personally visited. 8vo. Approximately 170 documents, most in manuscript and some in typescript, 1166 pages combined, with a scant few integral blanks, plus unpaginated manuscript index listed alphabetically by document type. Very large volume measuring 23 x 35 x 9 cm (WxHxD) and weighing 10 pounds. Quarter calf over brown cloth boards labelled in gilt to spine, original marbled endpapers. Bookbinder's label to front pastedown (Caldwell Brothers of Edinburgh). Very good condition, an excellent depository volume of legal and historical interest. The firm Campbell, Martin & Boswell, consisted of three solicitors, each with the title and privileges of "Writers to the Signet", John Douglas Boswell, W.S.; Patrick William Campbell, W.S.; and Francis John Martin, W.S., the latter of whom became a Fellow of the Royal Society of Edinburgh in 1892. Their office was at 1 North Charlotte Street in Edinburgh, which was the same address as the Royal Bank of Scotland, and situated very near to Charlotte Square. Scots law and legal proceedings of the late nineteenth century, much of which differ today, are well illustrated in this archive of original working documents executed by accomplished patrician lawyers representing some discriminating and aristocratic clients. Many of the documents deal with property conveyance and estate matters, and represent traditions no longer observed, including the obsolete " Trust Disposition and Settlement" procedure for claiming an inheritance. Other documents include assignations, land conveyances, bond and disposition in security, deeds of assumption and discharges, estate inventories, a search for deeds with the Register of Sasines, leases, loan proposals for purchasing commercial space in Edinburgh, records of monetary investments in Highland Railway (HR), Jamaican plantations, property to let in Scotland, Australian banks, and so forth. So exclusive and intertwined were the upper class and wealthy, perhaps not large in number, but surely powerful in society, some interesting genealogical and business connections can be made from examining these papers. Many clients are also relations to the solicitors who often acted as trustees. In one case, we find a multi-generational connection between the Campbell and Burns families, beginning with the Jamaica sugar plantation owner Patrick Douglas and Scotland's celebrated national poet Robert Burns (1759-1796). In addition, these documents shed light on the leasing history of the Dalquharran Castle in South Ayrshire, which included hunting rights for at least one resident, as well as the Kennedy family's monetary investments in Australia. Interesting to note, one of the lawyers from this firm, Mr. Campbell, is related through marriage to the castle's then most recent owner, Mr. Francis Thomas Romilly Kennedy (died in 1892). Some items of special interest: • A twenty page lease agreement was issued to a Glasgow coalmaster named Robert Burns (1844-1896), who was the great-great-grandson and namesake of the famous poet and lyricist Robert Burns (1759-1796) - who had visited the very same Mansion House of Garrallan in his day, being a friend of its proprietor at the time, Dr. Patrick Douglas. A fascinating and detailed document, the lessors were concerned with mining royalties, minerals specifically deemed as belonging to the Marquis of Bute, and minerals raised at the mansion house. [Garrallan was owned by the Campbell family until 1676. The Douglas family followed but it became extinct in the male line. Dr. Patrick Douglas, who died 1819, also owned property in Jamaica and in 1786 he offered Robert Burns a position as a bookkeeper in Port Antonio, but the poet declined. Burns was a visitor at Garrallan. Jane Douglas married Hamilton Boswell and this family retained it until 1914 when it was sold to the Stevenson family of Changue, who still own the property.] • Another fascinating document is headed "Notes on Titles of Charlotte Square," now a World Heritage Site situated in Edinburgh. In this we find reference to feudal tenancy and particulars of construction. Excerpts from the document: "Charter by the Magistrates & Town Council of Edinburgh in favour of Alexander Stevens dated 1st June 1803... no buildings are to be erected... on the foresaid back ground... that the area of the square within the line of the street ways was to become a common property for the accommodation pleasure health or other convenience of the several feuars round said square... For the lot of ground in Charlotte Square X the sum of £6. 18/4 3/12 and further paying the sum of £14. 18/4 3/12 upon the entry of each heir and singular successor or disponee to said Lot Houses or Tenements built thereon... For the foresaid piece of ground on Young Street the sum... Disposition of Sir George Hope to Margaret Kyle of Binghill dated 2nd April 1818. Disposition & assignation of the said Rev'd Dr. James Kyle in favour of Alexander Russell dated 8th January 1868. Disposition Settlement by the said George Bruce [Factor and Law Agent, W.S.] dated 10th July 1891 & recorded in the Books of Council Session 27th July 1892." • At least 8-10 documents pertain to Francis Thomas Romilly Kennedy (1842-1892) and the Dalquharran Castle which he inherited in 1879 and immediately expanded. The castle, which was built for his grandfather and featured a round bastion tower with a drawing room, piano nobile, and a library above, and an exquisite top-lit spiral central staircase, was extended from 1880-81 by Francis Thomas Romilly Kennedy, to accommodate his wife and bedrooms for their nine children. The work was completed at great expense, leaving the Kennedy family almost bankrupt. The family is known to have left Dalquharran for alternative lodgings, and by 1890 they had leased the castle and its lands as a hunting and fishing estate, as seen in this volume. Examples of the papers found herein include: An Agreement of Lease of the Dalquharran Castle as a furnished residence, "excepting the Strong Room retained by the proprietor", to James Paterson of Milton Lockhart, and includes surrounding lands with permission for shooting small game in accordance with the Ground Game Act of 1880. On 24 July 1893, the Scottish Union & National Insurance Company confirming notice of an "assignation" which transfers the estate of Francis Thomas Romilly Kennedy, to his second son "John Campbell Kennedy of the Royal Navy." A two page document which itemizes and places monetary value on the "Additional Inventory of the Personal Estate... of the late Mr. Kennedy", including the surrender value of a life insurance of sorts, from which are deducted debts and funeral expenses. A list of debentures, borrowed from institutions in Australia, Canada, and Oregon, also documents relating to his investments with the British and Australasian Trust and Loan Company. Matters concerning his executrix and widow Eliza Barbara Colina (née Campbell) Kennedy. • An agreement permitting a John Ernest Orr to manufacture and sell a certain steam trap which was patented in 1892 by a millwright named John Mackie. As members of the elite society of Scottish solicitors, the Writers to the Signet, and thus holding special signing authorities and privileges, the firm of three attracted some notable clients, some of which were long-standing clients from generations past. A cursory gander through the volume finds these examples: • William Jardine Herries Maxwell (1852-1933), a Liberal Unionist politician in Scotland. Maxwell was elected at the 1892 general election as the Member of Parliament (MP) for Dumfriesshire in 1895, but lost it very narrowly when his Liberal Party opponent had a majority of only 13 votes. He regained his seat in 1900, but stood down at the 1906 general election. • William Caven Lockhart-Mure of Livingston in the Stewartry of Kirkcudbright, Lieutenant in the 4th Bombay Cavalry (Poona Horse), Indian Army, who later rose to the rank of Major, and died in died in 1913. [With a lease herein the lieutenant agreed to a term of five years, letting and maintaining the Livingstone House, gamekeeper's house, garden and orchard in Kirkcudbright. It was owned by Colonel John Stewart (died 1726), a Scottish professional soldier who served in the Scottish Army and, after the Union with England, in the British Army, who also held a seat in the House of Commons of Great Britain from 1708 to 1715, and who had inherited the property from his father. • James Oswald (1779-1853), an influential merchant and Member of Parliament (MP) for Glasgow from 1832 to 1837 , who inherited the estate of his cousin Richard Alexander Oswald (1771-1841), a Scottish Liberal Party politician who sat in the House of Commons from 1832 to 1835. [Again a family connection, his son, also named Richard, married Lady Mary Kennedy.] • Alexander Oswald (1811-1868), a Conservative Party politician and Member of Parliament (MP) for Ayrshire from 1843 to 1852, as well as his father Richard Alexander Oswald, a Glasgow merchant. • Robert Haldane Scott, a Scottish attorney in Jamaica who filed returns for slaves by plantation owners in Trelawny, and his daughter Eliza Scott who married Reverend Edward Holland of New South Wales and died intestate June 1890. [A detailed document assigns a woman named Margaret Jane Wakeford, resident of Falmouth, Jamaica, as Power of Attorney for the estate of the late Eliza Scott.] • William Hume, technical chemist and innovative instrument maker, who was very active in the 1880s and 1890s designing and manufacturing magic lanterns, glass lantern slides, oxy-hydrogen lime-light apparatuses, a cantilever enlarging apparatus, a half-plate camera, rapid rectilinear lenses, and other photographic equipment, from his shop at 1 Lothian Street in Edinburgh. [A loan proposal herein indicates that he also purchased the property of 31 Lothian Street.] • Annabella Alexandrina Campbell Boswell (1826-1914), gentlewoman, born at Yarrows, Bathurst Plains, New South Wales, having a maternal lineage linked to the Campbells. She was a prolific diarist, horsewoman, skilled watercolourist and pianist. In 1849 Annabella met Patrick Charles Douglas Boswell, a free settler from Ayrshire, Scotland, accountant for the Bank of New South Wales (later becoming manager), who was related to James Boswell the biographer, and presumably also Mr. Boswell of this firm. Together Annabella and Patrick returned to Scotland in 1865, where Patrick had inherited the family estate in Ayrshire. • The only actual "will" recorded here is that of Bengal Army Major General Robert Farquhar Webster's widow, Janetta Annan Webster (née Dewar), which bequeaths the estate to her son, and permits the trustee to invest funds and heritable securities into in stocks of Great Britain, any British Colony or Dependency, until such time as he reaches the age of maturity. [Her husband was educated at the Edinburgh Academy before joining the British Army in India in 1843. He retired in 1878 as a Major General in the Bengal Staff Corps.] • Major Archibald Hume of Auchendolly and Spitalside, born 27 Dec 1843, and recognized by the Society of Antiquaries of Scotland for having presented the museum with a bronze enamelled harness ornament of British Celtic origin. • William Fullarton of Fullarton (1754-1808), a Scottish soldier in the Bengal Staff Corps who participated in the Second Anglo-Mysore War, a statesman, agriculturalist, author, and son of a wealthy Ayrshire gentleman for whom he was named - William Fullarton of Fullarton. • Reverend Samuel Smith, attached to the church and parish of Borgue in the Stewartry of Kirkcudbright. • Lieutenant General Sir Thomas Maitland (176-1824), a British soldier who served in St. Domingue, and colonial Governor of British Ceylon. Historical Scottish minutiae through and through, with over 170 documents to explore, the opportunity of finding little-known information or unravelling early questions of lineage and heritable rights is indeed great! Dalquharran Castle: In the spring of 1819 Thomas Francis Kennedy (1788-1879) of Dalquharran Castle and Dunure, Ayr, (Whig aristocrat and commissioner of woods, forests, land revenues, works and buildings), succeeded his estranged father to the encumbered Ayrshire estates. The principal properties were the Dalquharran Castle near Dailly, and the coastal estate of Dunure, situated between Dalquharran and Ayr. He died at Dalquharran in 1879 and was succeeded by his only child, Francis Thomas Romilly Kennedy (1842-1892). At great expense Francis Thomas Romilly Kennedy made expansions to the mansion, leaving the Kennedy family almost bankrupt. Recent studies suggest that external construction work was finally finished in the summer of 1890, relating this to a note made by Kennedy on documents bearing this date, and existing records regarding the exterior paving and roofing work being completed. The family is known to have left Dalquharran for alternative lodgings, and by 1890 they had leased the castle and its lands as a hunting and fishing estate. The castle had several tenants over the next 45 years, whilst staying in the hands of the Kennedy family. Eventually, the castle and the estate were put up for auction. It was bought by a Timber Merchant from Troon, who set about stripping the timber from the estate and who leased the castle to the Scottish Youth Hostel Association. Dalquharran remained a youth hostel until the Second World War, when the Langside School for the Deaf, evacuated from Glasgow, moved in. During the war, the Castle and lands were sold to one John Stewart, a produce merchant from Girvan, who later moved into Dalquharran with his family, and farmed the estate. The Stewart family co-habited the house with friends, but still the house proved too large and expensive to maintain, and was abandoned. The castle was inhabited as recently as 1967, but was unroofed to allow the then owners to avoid payment of high tax rates. It is now a ruin, with only the masonry shell remaining intact. The Society of Writers to Her Majesty’s Signet is a private society of Scottish solicitors, dating back to 1594 and part of the College of Justice. Writers to the Signet originally had special privileges in relation to the drawing up of documents which required to be signeted, but these have since disappeared and the Society is now an independent, non-regulatory association of solicitors. The Society maintains the Category A listed Signet Library, part of the Parliament House complex in Edinburgh, and members of the Society are entitled to the postnominal letters, WS. Wills/Testaments and Inheritance (Scotland): Heritable property, also known as immoveable or 'heritage' property and real estate, included land and buildings. Up to 1868 real estate was automatically inherited by the eldest son (the law of primogeniture) or daughter if there was no son unless there had been a specific disposition or bequest. The law of primogeniture applied to heritage until 1964. This meant that an eldest son might not appear named in the will. Likewise, a wife, who would automatically get the widow's part, may not be mentioned. The right to inherit was established by Retours of Services of Heirs or by a Trust Disposition and Settlement ('deed of settlement'). The actual register of the transfer or other change in ownership was recorded in Sasines. Manuscript
24x17. 586p. DEDICADO. Fotogr.
- Gallimard, Paris 1950, 12x19cm, broché sous chemise et étui. - First edition, falsely stated the second edition. Autograph inscription signed by Albert Camus to Bernard Gaux. [FRENCH VERSION FOLLOWS] Edition originale, fausse mention de deuxième édition. Envoi autographe signé d'Albert Camus à Bernard Gaux.
- Gallimard, Paris 1958, 11,5x18cm, reliure de l'éditeur. - Later edition of 550 numbered copies on vélin labeur paper. Publisher's paper boards with an original design by Paul Bonet. Precious and beautiful inscription from Albert Camus to René Char : " à vous cher René, ces confidences, et une amitié du même cur, fraternellement. / Albert Camus. / Juin 59" Very nice copy of exceptional provenance. The friendship between Albert Camus and René Char is among the most touching and most fruitful in French literature. There was nothing obvious to bring together the Algerian journalist and author and the Provencal poet, much less to suggest a mutual affinity. Camus had not come across Char's poetry and Char had no taste for novels, apart from those of Maurice Blanchot. Nonetheless, it is through their respective works that the two artists found out about each other and developed a mutual respect. So - before Camus and Char actually met - they had met through Caligula and Hypnos - both illustrating the poet's responsibility in the face of the violent world. "So in our darkness Beauty has no given space. All that space is for Beauty" (Char, Feuillets d'Hypnos). It is this mutual need for Beauty as a political response to the outrageousness of ideologies that united the two artists at the end of the war. Catalyst to their friendship, this first "acknowledgment" inaugurated a twelve-year correspondence, during the course of which their mutual affection grew and revealed an artistic convergence: "I believe that our brotherhood - on all levels - goes even deeper than we think and feel" (Char to Camus, 3 November 1951). "What a great and profound thing it is to detach oneself bit by bit from all that and all those who are worth nothing and to find little by little over the years and across borders a community of spirit. Like with many of us, who all at once feel ourselves finally becoming of 'the few'" (Camus to Char, 26 February 1950). These 'few' are a reference to a quotation from Gide: "I believe in the virtue of small numbers; the world will be saved by a few," whom Char and Camus tried to bring together in establishing the Empédocle review: "It is perhaps time that 'the few' Gide talked about came together," as Camus wrote to Guilloux in January 1949. They published writing by Gracq, Melville, Grenier, Guilloux, Blanchot, Ponge, Rilke, Kafka, and so on. However, internal dissension soon engulfed the review and they abandoned the project together. Their friendship, however, remained unblemished. The two men met regularly in Provence, where Char was from and - thanks to him - Camus' adopted home. They showed each other their manuscripts and confided in each other with their doubts: "The more I produce the less sure I become. Night falls ever thicker on the artist's path, his way. Eventually, he dies completely blind. My only hope is that there is still light inside, somewhere, and though he cannot see it, it continues to shine nonetheless. But how can one be sure? That is why one must rely on a friend, one who knows and understands, one who is walking that same path." They inscribed works to each other (the reprints of Feuillets d'Hypnos and Actuelles) and in each new copy wrote inscriptions in which they both reinforced their comradeship in arms and in spirit. "to René Char who helps me live, awaiting our kingdom, his friend and brother in hope," (manuscript of The Plague). "For Albert Camus, one of the very rare men I admire and love and whose work is the honor of our times. René Char," (Fureur et mystère) "[to RENÉ CHAR], fellow traveler, this guidebook to a mutual voyage into the time of men, waiting for noon. Affectionately, Albert Camus," (Actuelles I) "For Albert Camus, whose friendship and work form a Presence that illuminates and fortifies the eyes," (Art bref). "Oh if only poets would agree to become again what they were before: seers who speak to us of all that is possible...If they only gave us a foretaste o
- Gallimard, Paris 1954, 12x18,5cm, broché. - Edition de l'année de l'originale. Petites restaurations sur le dos. Bel envoi autographe signé d'Albert Camus à Irma Antonetto : "... pour lui rappeler nos promenades d'hiver et la fidèle pensée d'Albert Camus..." [ENGLISH DESCRIPTION ON DEMAND]
