3 371 résultats
In-8, 167p. Fac-similé du manuscrit original (M69) des HEURES FARNESE appartenant à la Bibliothèque Pierpont Morgan de New York. Introduction et commentaires de Webster Smith traduit en français par Aline Dubois-Dugrenot. Exemplaire à l'état de neuf.
Broche, cartonnage illustree, 235 x 305mm., 223pp., illustration abondante en couleurs. ISBN 9055440892. Le Breviaire Mayer van den Bergh - La musique sublime - Le culte supreme - L'art dans les villes. Bon etat.
Hardcover ! mais pas originelle, cartonnage illustree, 245 x 305mm., 223pp., illustration abondante en couleurs. ISBN 9789055440894. Le Breviaire Mayer van den Bergh - La musique sublime - Le culte supreme - L'art dans les villes. Bon etat.
528pp. rijkelijk geïllustreerd in kleur, linnen band, stofwikkel, in linnen etui, mooie staat, gewicht: 4kg., S85381
124pp., 24cm., brochure originale, dans la série "Typologie des sources du moyen age occidental" fasc.8, très bon état, S85400
- s.n., Paris 8 mai 1899, 9x13,8cm, une carte postale. - Carte postale autographe signée de Maurice Sloog adressée à Emile Straus : "Paris le 8 mai 1899 - Mon cher Strauss (sic) Ci-dessus colloriage (sic) demandé. N'ai pas encore reçu vos 2 livres. Je ne pourrais pas venir mercredi chez vous. Si vous avez quelque chose d'intéressant à me dire mettez moi un mot à la poste.. Sans autre une excellente poignée de main. Maurice Sloog. P.S. L'éditeur de carte de Venise (celui qui a fait l'affaire - est à Paris : gare la concurence (sic)" Quelques taches. Grand passionné d'art épistolaire, Emile Straus fonda en 1899 La Carte postale illustrée, bulletin de liaison de l'association qu'il venait de lancer, l'International Poste-Carte Club (I. P. C. C.). [ENGLISH DESCRIPTION ON DEMAND]
4to. German manuscript, ink on paper. 103 pages on single leaves, numbered 1-93. An extensive manuscript, and the only known surviving fragment, of the memoirs of Adolf Skopinski, a German native who in 1900 emigrated from Hamburg's waterfront district of St. Pauli to seek his fortune in America. He was naturalized a U.S. citizen in 1901. As a prospector in Alaska he witnessed the Fairbanks Gold Rush from 1902 to 1911, staying at Iditarod, then one of the country's most populous places and an important river port and transport hub (today a ghost town). In 1910 Skopinski was even granted a patent for a "means for automatically dumping excavating-scrapers" (US960590A). After the First World War, Skopinski returned to Germany and tried without success to have his memoirs published by the journalist Alfred E. Johann. - The present part of his manuscript focuses on Skopinski's arrival in New York, where he meets Horn, a Rhenish wrestler who performs as a strongman and "tooth athlete" (p. 9), and his friend Babette, "a good-looking, strapping, robustly built Bavarian girl with sparkling eyes, formerly a cook", with whom he trains as a wrestler to perform as the main act. Through the intermediation of another German emigré, a former estate manager who had left the country after "running into difficulties" (p. 18), he soon finds another position as bouncer for a cabaret in 14th Street - "New York's main thoroughfare, where all the better cabarets, ballets, cafés and restaurants are located, where the demi-monde and underworld meet [...] The ladies who sell their love for gold; the waiters who are in fact lapsed barons or dishonourably discharged officers" (p. 14). Skopinski sours on the job after he is mixed up in a knife-fight with a drunk Italian (p. 19) and assumes a new position as bartender in Staten Island (p. 20), then another as boat-keeper and domestic servant at a Hoboken hotel (pp. 21 ff.), before ending up back at his old New York lodgings, where is is advised to "go into ironworks and build skyscrapers, which were then rising everywhere" (p. 31): "And something would happen every day: a finger, hand, arm or leg squashed; twice a week someone would take the tumble - mostly Irishmen who had imbibed liquid courage and so fell from above" (p. 32). - Skopinski witnesses at first hand the founding of the Ironworkers Union, and also the savage wars waged between the construction companies' hired thugs and the union members (pp. 35 ff.); he barely escapes an attempt on his own life ("I suspected an Irishman", p. 38). After this experience Skopinski plans to escape to Honduras or Venezuela, but after stops in Philadelphia and Baltimore he decides to hobo his way across the country. Via Charleston, West Virginia, he reaches Richmond, Virginia (p. [52]), where he finds work at a brewery (pp. 67 ff.), escapes the lewd advances of a priest (pp. 81 f.), and has an affair with a married woman. When she threatens to leave her husband and children for him, Skopinski bolts: via Raleigh, North Carolina, and Savannah, Georgia, he flees to La Guaira in Venezuela, which ends the present chapter of the manuscript. - A few dampstains to the upper quarter of the first few leaves, otherwise fine. Includes a postcard hand-drawn on tree bark, showing Skopinski as a prospector, as well as a portrait photograph of him in his later years. A fascinating survival.
reliure plein veau époque. Dos à nerfs ornés de caissons, fleurons. Titre et tomaison gravés sur pièce de maroquin brique. Double filet sur les coupes. Tranches rouges. ([3-1 bl.-4]-XXXX-[40]-860 p. ; [3-1 bl.-64]-1009-[1 bl.] p. ; [3-1 bl.-58]-972 p. ; [3-1bl.-58]-1012 p.
The book features 118 b/w plates. 270x210mm, 80+118 pages. Black softcover. Cover sightly worn and slightly creased. Pages slightly yellowing. Good condition.
SIGNED BY AUTHOR. 25x18 cm. XVI+349 pages. Gilt hardcover in dust-jacket. Cover corners slightly bumped. Else in good condition.
Manuscript letter by Sir Richard Croft, Physician to King George III and the Royal Family, accoucheur (obstetrician), and British peer, describes complications of a pregnancy four years before the "triple obstetrical tragedy" Princess Charlotte which has become his unfortunate infamy. 8vo. 2 pages in manuscript. Double leaf measuring approximately 12 x 18,5 cm, watermarked with the year 1811, with integral address, two postal ink stamps and a lovely red wax seal. Very faint age-toning only to sections of the leaf exposed for mailing, otherwise in very good condition, beautifully preserved and highly relevant to the writer's occupation as a manmidwife and the complications of pregnancy and birthing in the early nineteenth century. "Sir Richard Croft (1762-1818) physician and man-midwife gained notoriety after his involvement in the labor of Princess Charlotte, which resulted in her death. He never shook off the shame of the tragedy, and shot himself three months later." (Oxford DNB). Manuscript signed letter from the Royal Physician and Male Midwife to the late Princess Charlotte, Sir Richard Croft, who is remembered for causing the "Triple Obstetrical Tragedy" of 1817, in which is a primary source account of early nineteenth century complications and precepts surrounding pregnancy and child deliveries. The writer is Sir Richard Croft, 6th Baronet (9 January 1762 - 13 February 1818), English physician to the British Royal Family and the obstetrician to Princess Charlotte, who is famed for his role in "the triple obstetrical tragedy" of her death in 1817. He received his medical training from, among others, his father-in-law, Dr. Thomas Denman, a preeminent obstetrician in London whose textbook on childbirth had been first published in 1788. He graduated with his MD from the University of Oxford in 1789. Croft was appointed the personal physician of King George III. He was also a member of the Medical and Chirurgical Society of London, and Physician to the Lying-in Charity on Old Burlington Street. He was the primary accoucheur or midwife to Princess Charlotte, granddaughter of the reigning King George III. Manuscript
Manuscript telegraph letter sent from Governor of Hong Kong Sir George William Des Voeux, in cipher, to Colonial Administrator Sir William MacGregor, which offers to the post of Colonial Secretary of Hong Kong, on the same day which Colonial Secretary Frederick Stewart died. Together with a manuscript decipherment, and a signed letter from the decipherer of the message, Sir Henry Wylie Norman, Governor of Queensland. 8vo. Single-leaf telegraph on the stationery of the Telegraph Office Queensland completed in manuscript and dated 29 September 1889; Double leaf manuscript letter on the stationery of the Queensland Government House Brisbane dated 1 October 1889; hand trimmed manuscript note measuring approximately 17,5 x 11,5 cm. All three documents fastened together with a brass pin. Some creasing, minor wear at folds, otherwise in very good condition, a fascinating disclosure of of Hong Kong administrative history perhaps previously unknown to anyone but the parties involved. This is a little-known and private correspondence, concealed for delivery with a colonial cipher language, between two important colonial administrators, concerning the title of Colonial Secretary of Hong Kong. A telegraph from Hong Kong reveals that an offer was made to MacGregor to work in China in 1889. The sender does not reveal himself, and the message in written in code, however a contemporary manuscript decipherment fastened with a brass brad discloses the contents. Sir George William Des Voeux, Governor of Hong Kong is the sender. Des Voeux knew MacGregor well from his time as Governor of Fiji from 1880-1885, during which period he worked with MacGregor who was Treasurer then Colonial Secretary of Fiji. Manuscript
Fine English Original cream imitation leather bound. 4to. (31 x 22 cm). In English, Ottoman script and Turkish. 575 p. Color reprint in Ottoman script from the Topkapi Palace Museum Library (Hazine Collection No. 1608). Süleymanname. History of the Conquest of Siklos, Usturgon, and Ustol - Belgrad.= Süleymannâme. Tarih-i feth-i Siklos, Estergon ve Istol - Belgrad.
New English Original cream imitation leather bound. 4to. (31 x 22 cm). In English, Ottoman script and Turkish. 575 p. Color reprint in Ottoman script from the Topkapi Palace Museum Library (Hazine Collection No. 1608). Süleymanname. History of the Conquest of Siklos, Usturgon, and Ustol - Belgrad.= Süleymannâme. Tarih-i feth-i Siklos, Estergon ve Istol - Belgrad.
Very Good Very Good English Original cloth bdg. Dust wrapper. 4to. (31 x 22 cm). In English, Ottoman script and Turkish. 36 p., [vi], [5], 228 p. Color reprint in Ottoman script from the Topkapi Palace Museum Library (Hazine Collection No. 1608). First Edition. Süleymanname. History of the Conquest of Siklos, Usturgon, and Ustol - Belgrad.= Süleymannâme. Tarih-i feth-i Siklos, Estergon ve Istol - Belgrad.
- Les éditions de minuit, Paris 1983, 14x19cm, broché. - Nouvelle édition, la première parue sous ce titre aux éditions de minuit. Envoi autographe signé de Claude Simon à son ami Georges Raillard et son épouse Alice. [ENGLISH DESCRIPTION ON DEMAND]
- Sabres 1er octobre 1975, 14,6x20,9cm, 1 page sur une feuille. - Lettre autographe signée de Claude Simon à René Wintzen de 15 lignes écrites à l'encre noire. Pliure inhérente à l'envoi postal. Lettre adressée à René Wintzen, ancien rédacteur en chef de Documents, revue des questions allemandes. Il est, au moment de l'envoi de cette lettre, le rédacteur en chef de la revue et de la maison d'édition « Vent debout » et organise des conférences. Claude Simon remercie son correspondant pour un article qu'il a écrit et dans lequel il a compris la volonté de Claude Simon de situer ses livres « dans l'histoire ». Avec ces remerciements, Claude Simon exprime également sa lassitude vis-à-vis des critiques qui ne comprennent pas son oeuvre, « contrairement à la plupart des critiques (mais lisent-ils ?) vous avez bien vu ». Il obtient néanmoins dix ans plus tard le prix Nobel de littérature qui consacre l'importance de son oeuvre en dépit d'un succès commercial et lui laisse l'occasion de répondre aux critiques lors de son discours :« Laissons de côté les griefs qui m'ont été faits d'être un auteur « difficile », « ennuyeux », « illisible » ou « confus » en rappelant simplement que les mêmes reproches ont été formulés à l'égard de tout artiste dérangeant un tant soit peu les habitudes acquises et l'ordre établi [...] le reproche fait à mes romans de n'avoir « ni commencement ni fin », ce qui, en un sens, est tout à fait exact, mais tout de suite je me plais à retenir deux adjectifs considérés comme infamants, naturellement ou, pourrait-on dire, corollairement associés, et qui montrent bien d'emblée où se trouve le problème : ce sont ceux qui dénoncent dans mes ouvrages le produit d'un travail « laborieux », et donc forcément « artificiel ». » Claude Simon conclut sa lettre en promettant à son correspondant de lui envoyer son dernier livre, Leçon de choses, et en s'excusant de ne pas pouvoir le lui dédicacer. [ENGLISH DESCRIPTION ON DEMAND]
[24] p. (2 fold.) : ill. (some col.) ; 25 cm. Caption title. PAMPHLET Very good condition
Very Good French Original handwritten ALS. Sent to Hamamdjizades (Hamamdji Zade Nouri Aly). Letterhead 'Simeon Guentcheff & Freres' as bilingual in Bulgarian and French. Dated 2.XI.1927. "Accusons réception de votre honoree du 25 m.p. sont le contenu nous tromous conforme aux commandes faites par votre M.eur Nicolas Guentcheff.". After that introduction there's a short list: Poissons: Scoumuri, Palamond, Toric. 'Tarama', 'Marmeredjik' and Charan, Ak-cheir and Bandirma caviars. Haci Tahir Bey, who came from Bahçesaray (Bakhchysarai) in the Crimea with his entire family, was one of many refugees. And he faced all the difficulties both of exile and of resettlement. As soon as he arrived, Tahir Bey found himself in the heart of Istanbul's commercial life; however, carving himself a niche was easier said than done. At first he dealt in provisions; in 1859, he became a tobacco trader in the neighborhood of Langa Kapisi, also known as Yeni Kapi, in Istanbul. Soon, unfortunately, he found that established local merchants were unhappy with the competition and complained to the Municipality. In turn, the Municipality ruled that, provided they did not engage in illegal activities, Tahir Bey and the rest of the refugees should be allowed to conduct their business unmolested. Just as he found no peace in his business dealings, Tahir Bey was not left alone in Zekeriyaköy, where he and his family had settled. According to members of the present generation of his family, his home was attacked by some local gangs so that they were forced to move to neighboring Sariyer. Around the same time, he moved his place of business to Unkapani, and his son Ali Nuri married the daughter of the owner of the historical Public Bath (hamam) of Sariyer. The profession of Ali Nuri Bey's father-in-law gave the family its surname as well as a brand name that would command respect for more than a century. Ali Nuri Bey continued in his father's footsteps, gradually becoming the kind of entrepreneur that the Ottoman Empire sorely needed. The 1880s witnessed his earliest ventures as he began to deal in provisions near Unkapani, and established the first incarnation of what would later become Hamamcioglu Müesseseleri Ticaret Türk A.S. in the form of a sole proprietorship located in the commercial building Limon Han in the Tütüngümrük neighborhood of the district of Eminönü. In 1885, his son Nuri Ali joined the firm. At this date, a commercial yearbook makes mention of "Ali (H.)", a dealer in oil and rice, at No. 36, Cambazhane Avenue. While we are unable to determine for certain whether or not this listing refers to a member of the Hamamcioglu family, the same commercial directory for the year 1896-1897 does refer to "Hamamcioglu Ali" as a merchant based at No. 85, Osman Efendi Han. Over the next few years, the firm moved a number of times within the same building: thus, it was listed at No. 75 in 1898,5 No. 3 in 1901,6 and No. 9 in 1909. Starting in the 1910s, the firm Hamamcizadeler (or, as it is now known, Hamamcioglu) ventured into different business areas at different locations with a speed that makes it difficult to follow its precise trajectory. For example, a receipt from the wholesale fish market dated 1911 points to the family's interest in seafood. On the other hand, a document dated August 1914 now preserved in the Ottoman Archives orders that the olives in the warehouses belonging to Hamamcizade Ali Bey in the towns of Gemlik and Kursunlu should be guarded, indicating that the firm had a rather broad range of interests within the food sector.8 A listing of businesses registered at the Chamber of Commerce and Industry in 1923 describes "Hamamci Zade Nuri Ali", still located in the commercial building Osman Efendi, as dealing in "fish etc." 9 It is safe to assume that this qualification refers to all kinds of seafood -including salted fish, dried fish, caviar... (Source: Hundred Years Stories Official Website).
- S.n., Lausanne 1983, 14,5x10,5cm, une feuille. - Bristol tapé à la machine à écrire et signé par Georges Simenon adressé à Frédéric Brion le 14 Janvier 1983 remerciant ce dernier pour ses gentils voeux et pour lui présenter les siens. Bel exemplaire. [ENGLISH DESCRIPTION ON DEMAND]
- Lausanne 1978, 14,7x10,5cm, une carte. - Carte autographe signée de Georges Simenon sur une carte à en-tête comportant ses nom et adresse : "Cher Monsieur Handwerk, Je vous remercie vivement de vos voeux. Cependant je me sens un peu écrasé par votre comparaison aux trois de mes grands maîtres. Je fais seulement ce que je peux ! Cordialement. Georges Simenon 1978" Une petite trace d'adhésif en marge gauche de la carte. [ENGLISH DESCRIPTION ON DEMAND]
422pp., non coupé, très bel état, dans la série "Université de Louvain. Recueil de travaux d'histoire et de philologie" 3e série fasc.43, R31528
Folio (217 x 337 mm). German manuscript on paper. Pictorial watercolour title, (5) pp. of text, and 14 watercolour plates or arms and armour, each with German text mounted on verso. Interleaved with a calligraphic English translation and tissue guards. - (And:) I Gradi della Cavalleria [...]. "1688" (but apparently also early 19th century). Watercolour title-page and 17 watercolour plates, captioned in Italian. With an additional watercolour plate, initialled "M.S.", loosely inserted. Late 19th century red morocco by R. W. Smith with finely gilt spine and spine-title; leading edges and inner dentelle gilt. Green calf doublures. Marbled flyleaves. Two striking series of highly decorative watercolours illustrating the history of armour throughout the ages. The first is purportedly copied after an earlier manuscript by the Augsburg artist G. P. Rugendas, dated 1714. The latter, with a date of 1688, is attributed to one "Matteo Argenteocorno" - a pseudonym for the goldsmith Matthäus Silberhorn from Ulm (cf. Thieme/Becker XXXI, p. 21), whose authorship is further established by his erased name on the final page of the first series: "Diversa objecta historialia, invenit & delineavit, & in argentam, vel aurichaleam caelavit [M. Silberhorn] a Ulmae [1841?]" (including a reference to an additional illustration not present here, showing the capture of Frederick the Fair at Mühldorf in 1322), and also by the loosely inserted watercolour bearing his initials "M.S." in ligature. - The series attributed to Rugendas shows armour from southern Germany, including a suit from the armoury at Lucerne, while four of the illustrations depict tournament armour. The Augsburg-based Rugendas was famed for his battle scenes, and while the style of the present watercolours is generally consistent with his popular drawings and prints, no original manuscript on which the present series might be based could be identified, and they are more probably original designs by Silberhorn, painting in the manner of an admired predecessor. The "Argenteocorno" manuscript depicts 13 cavalry ranks in uniforms of the War of the Spanish Succession (1701-14) set in landscapes, often with additional figures. It includes four medallion portraits of Eugene of Savoy, Maximilian Emmanuel of Bavaria, Frederick William of Brandenburg, and Alexander von Württemberg, surrounded by allegorical figures, military trophies, and battle scenes. - Hinges of the binding slightly rubbed. Some plates on variant laid papers, hinged on tabs. A unique survival, sumptuously bound in elaborately gilt American red morocco by R. W. Smith, long associated with the Grolier Club Bindery.
- s.d. (23 janvier 1894), 22,6x17,5cm, 2 pages sur un double feuillet déplié. - Lettre autographe signée de Paul Signac adressée à Camille Pissarro, rédigée à l'encre noire sur deux pages et signée d'un monogramme de l'artiste. Cette lettre a été retranscrite dans l'article de Pierre Michel et Christian Limousin intitulé "Octave Mirbeau et Paul Signac - Une lettre inédite de Signac à Mirbeau" (in Cahiers Octave Mirbeau, n° 16, mars 2009, pp. 202-210). "Mon cher Maître, Cela vous ennuirait-il [sic] d'écrire à Mirbeau qu'un Signac, à votre avis, ne ressemble pas plus à un Seurat qu'un Hokousai à un Hiroshigé... si toutes fois (sic) le reproche d'imitation dont il cherche à m'accabler vous semble injuste. L'amitié que vous m'avez toujours témoignée et les compliments que vous avez bien voulu faire de mes toiles, m'autorisent à vous demander ce service. Cordialement. PS" Belle lettre dans laquelle Paul Signac cherche l'appui de son maître Camille Pissarro après une critique acerbe publiée par Octave Mirbeau dans L'Echo de Paris. Dans ledit article, le premier à la Une de L'Echo de Paris du 23 janvier 1894, Octave Mirbeau n'épargne en effet pas Signac : « M. Signac a voulu continuer Seurat. Je ne puis me faire à sa peinture. Je ne méconnais pas ses qualités mais elles disparaissent sous l'amoncellement de ses défauts. Ce qu'on admettait de Georges Seurat [...] on le comprend moins chez M. Signac qui n'en est que l'adepte trop complaisant et trop littéral. Et puis cette continuelle sécheresse me choque. M. Signac fait la nature immobile et figée. Jamais le vent n'a secoué la surface inerte de ses mers, ni tordu les branches de ses pins, ni animé l'éternelle fixité de ses nuages, la raideur cartonnée de ses ciels. Il ignore le mouvement, la vie, l'âme qui est dans les choses. [...] Il serait peut-être temps, pour notre joie, que M. Signac voulût bien nous donner du Signac. Je crois qu'il le peut.» Pourquoi cette obsession pour Seurat ? « En ce début d'année 1894, la position de Mirbeau, de Geffroy, de Pissarro et que quelques autres, est de considérer que le néo-impressionnisme est bel et bien mort en 1891 avec la disparition de Seurat. Le regard rétrospectif qu'ils jettent sur cette aventure artistique les conduit à penser qu'il ne s'agissait nullement d'un prolongement, d'une continuation de l'impressionnisme par des voies nouvelles (scientifiques), mais bien d'une réaction contre lui, voire d'une liquidation pure et simple du mouvement. » (Cahiers Octave Mirbeau). La réponse de Pissarro à Signac, elle-même transcrite par Michel et Limousin, ne se fait pas attendre : cela « [l]'ennuirait d'écrire ce que vous me demandez à Mirbeau, et cela pour plusieurs raisons. [...] Premièrement parce que je suis en froid avec lui, vous le savez bien. Deuxièmement parce que, pour vous-même, il ne sied pas de discuter l'opinion d'un critique, même étant persuadé d'être dans le vrai, et, si vous voulez franchement ma façon de penser et que je suis heureux d'avoir l'occasion de vous exprimer, je trouve que la méthode même est mauvaise. Au lieu de servir l'artiste, l'ankylose et le glace. Si je vous ai fait des compliments cette année, c'est parce que j'ai trouvé vos dernières toiles mieux que celles que vous aviez exposées aux Indépendants, mais je suis loin de trouver que vous êtes dans la voie qui convient à votre tempérament essentiellement peintre et si, jusqu'à présent, je ne vous ai rien dit à ce sujet, c'est parce que j'étais sûr de vous être désagréable et, somme toute, mes convictions peuvent ne pas être partagées par vous. Réfléchissez mûrement et voyez si le moment n'est pas venu de faire votre évolution vers un art plus de sensation, plus libre et qui serait plus conforme à votre nature. » « Dépité, et privé de l'autorité d'un maître vénéré par le critique, Signac en est réduit à élaborer lui-même, et sans plus attendre, la réponse à adresser à Mirbeau [...] » (ibid.) Cette réponse prend la forme d'une longue lettre rédigée le même jou
xvi + 222pp. + 4pp. ("siglen"), 21cm., in the series "Rerum Ecclesiasticarum Documenta. Subsidia Studiorum:5. Series minor: Konkordanztabellen zu den Lateinischen Sakramentarien" vol.2, original softcover, good condition, R63444
