LA VARENDE Jean deMareMagnum
3 371 résultats
- Editions du Rocher, Monaco 1954, 12x19 cm, broché. - Nouvelle édition. Dos légèrement insolé en pied. Envoi autographe signé de Jean de La Varende à Jean Fleury. [ENGLISH DESCRIPTION ON DEMAND]
Deutsche Handschrift auf Papier. 139 SS. Mit Planskizze und Lacksiegel. Geheftet. Folio (). Protokoll über eine Ortsbesichtigung und die mehrtägige Zeugenvernehmung wegen der Verletzung einer Verdämmung auf dem ehemals nach Gnewitz gehörenden Feld im Besitz des Gutsherrn Flotow auf Reppelin. "Wegen Widersetzlichkeit und Weigerung der Zeugen wurde das weitere Verhör eingestellt und abgebrochen". - Bindung teils gelöst, das letzte Blatt rückseitig mit montiertem Papier, fleckig und gebräunt.
- Edimbourg 24 mars 1973, 13,5x21cm, une feuille + une enveloppe. - Drôle lettre autographe signée de Lawrence Durrell adressée à Jani Brun, redigée aux feutres noir, marron et mauve (15 lignes), entremêlant français et anglais enveloppe jointe écrite aux feutres mauve et noir. La lettre est a en-tête de sa maison de Sommières dans le Gard. "Buttons - telephone moi le soir lundi mardi - ou un de ces matins - apropos Cannes ! Vous serez cup-bearer, sword-bearer, spear-holder, food-taster, centurion, sherpa, et caddy - pourquoi des mots n'existent t-ils pas en français ? Faut parler à Duhamel. Le caïd". Au dessus du premier mot de la lettre, Lawrence Durrell a inscrit au feutre marron : "Mais compromettant ! " et en bas de la lettre, au feutre mauve, : "Ecrivez plus clairment" Après de nombreuses années passées en Grèce, en Egypte et à Rhodes, l'écrivain voyageur Lawrence Durrell fut contraint de fuir Chypre à la suite de soulèvements populaires qui menèrent l'île à son indépendance de la couronne britannique. Riche seulement d'une chemise et d'une machine à écrire mais auréolé du succès de son roman Bitter Lemons of Cyprus (Les citrons acides), il arriva en 1956 en France et s'établit dans le village languedocien de Sommières. Dans la « maison Tartès », sa grande demeure entourée d'arbres, il écrivit la seconde partie de son uvre, son monumental Quintette d'Avignon, s'adonna à la peinture et reçut ses illustres amis, dont le couple Henry Miller et Anaïs Nin, le violoniste Yehudi Menuhin, l'éditeur londonien Alan G. Thomas, et ses deux filles Pénélope et Sappho. Parmi les oliviers et sous le soleil méditerranéen, il y rencontre au milieu des années 1960 la jeune et pétillante "Jany" (Janine Brun), montpelliéraine d'une trentaine d'années à la beauté ravageuse, qui travaillait au département des Antiquités de la Sorbonne à Paris. Elle fut prénommée « Buttons » en souvenir de leur première rencontre, où la jeune fille portait une robe couverte de boutons. Henry Miller tomba également sous le charme de « Buttons », louant sa beauté et son éternelle jeunesse dans d'exceptionnelles lettres restées inédites. Les trois compères passèrent des soirées parisiennes mémorables dont nous gardons de précieuses traces autographes à travers leurs échanges épistolaires. Recommandée par Durrell, elle fit de nombreux voyages notamment en Angleterre d'où elle reçut une vaste correspondance de l'écrivain ainsi que des uvres d'art originales signées de son pseudonyme d'artiste, Oscar Epfs. [ENGLISH DESCRIPTION ON DEMAND]
Small 4to (140 x 195 mm). 91 leaves, 149 written pages in two hands, the main body of the text complete, up to 29 lines per page, ruled space 85 x 155 mm. Incipit: "In nomine domini amen. Noch dem also gesprochen ist daß alle kunst kunftigk ist von got und ist by im on ende...". Rubrics touched in red, calligraphic initials in red and some with flourishing, 25 watercolour illustrations of scientific apparatus, 10 mathematical and architectural diagrams in pen. 15th century German calf over wooden boards, tooled in blind with vertical rows of hunting scenes within a triple-filet frame, remains of two fore-edge clasps. Stored in custom-made half morocco clamshell case. A Renaissance alchemist's handbook, quoting Al-Razi by name and deeply rooted in the Islamic tradition of alchemical art. An intriguing manuscript which bears witness to early practical chemistry in 15th century Germany and to the immense influence of Arabic alchemy, illustrated with talented watercolour diagrams of the associated apparatus. - Indeed, the word 'alchemy' itself is derived from the Arabic word 'al-kimia', and it was Al-Razi who claimed that "the study of philosophy could not be considered complete, and a learned man could not be called a philosopher, until he has succeeded in producing the alchemical transmutation". Alchemy and chemistry often overlapped in the early Islamic world, but "for many years Western scholars ignored Al-Razi's praise for alchemy, seeing alchemy instead as a pseudoscience, false in its purposes and fundamentally wrong in its methods, closer to magic and superstition than to the 'enlightened' sciences. Only in recent years have pioneering studies conducted by historians of science, philologists, and historians of the book demonstrated the importance of alchemical practices and discoveries in creating the foundations of modern chemistry" (Ferrario). The quest to transmute base metals into gold and to obtain the Philosophers' Stone was a practical as well as theoretical pursuit, as attested by the existence of this manuscript. The main body of the text opens on fol. 5 with an introduction to the art of alchemy, whose practice requires reference to the ancient authorities. Recipes for the various pigments, solutions, acids and alkalis are listed in groups, before descriptions are given of the planets relevant to the alchemist's art, starting with Saturn, and their effect on the elements, again with reference to the ancient authorities including Al-Razi, Origen, Aristotle, Albertus Magnus, and Hermes Trismegistus. There follow notes on the ease of obtaining various elements, before lists of alchemical compounds - including 'sal petri' and 'aqua lunaris' - are grouped according to their nature. Practical instructions, organised by chapter, begin on fol. 17v with the manufacture of vermillion and 'spangrün'; the first of the illustrations depicts two vessels for the burning of cinnabar. Further recipes involve the burning of various substances - illustrated with drawings of furnaces, cucurbits and other vessels, and distillation apparatus - before moving on to the manufacture of acids, bases and oils, mentioning the use of quicksilver, then, finally, turning to the manufacture of gold. The end of the text on fol. 69 is marked with the words 'Alchimia & Scientia' in red ink with calligraphic flourishes, above a floral device. - Collation: written by another scribe and bound before the alchemist's handbook (ff. 5-69) are astrological calculations, including those charting the trajectories of the Sun and the Moon (ff. 1-4, obviously incomplete). At the end, 9 leaves with geometrical calculations, illustrated with pen diagrams (ff. 70v-78, apparently incomplete, 2 leaves loose). The last 12 leaves are blanks (ff. 79-91). - Condition: The binding is sound and intact, but shows significant losses to the upper cover; spine entirely lost. Two leaves loose at the end of the manuscript, outer margins waterstained and tattered, surface soiling most notable to f. 1. Occasionally loose and split at gatherings; presence of bookworm damage on some pages; very occasional wax stains. - Provenance: 1) The script, watermark and binding indicate that the manuscript was made in Germany in the final two decades of the 15th century. The watermark visible on certain pages - a heart beneath a crown, above 'Ib' - is closest to a motif widely used in Germany around 1480-1500 (cf. Piccard 32464-32481), and the binding is contemporary. The pastedowns, taken from a Litany of Saints, are also roughly contemporary. 2) This compendium of cryptic knowledge seems to have lain undisturbed for many years after its compilation: the contemporary stamped leather binding is preserved and no booklabels or ownership inscriptions mark the manuscript changing hands. 3) Zisska & Schauer, 4 May 2010, lot 6. 4) Braunschweig Collection, Paris. - The first pigment recipe books in German would not be published until the 1530s (cf. Schießl, Die deutschsprachige Literatur zu Werkstoffen und Techniken der Malerei, 1989). While the manual at hand never appeared in print, a much later manuscript of the same text, apparently copied by no less an authority than the botanist Hieronymus Bock (1498-1554), survives in Heidelberg's University Library under the title of "Ordenlicher proces der waren alten heimlichen kunst der alchymey in drey bucher gestelt" ("Alchemistisches Kunstbuch", Cod. Pal. germ. 294, dated to the middle or third quarter of the 16th century). Unlike the vividly coloured and deftly shaded illustrations in the present volume from the 15th century, the unsophisticated pen drawings in the later Palatina manuscript were clearly executed by the scribe himself rather than by a trained artist. Also, our manual contains additional illustrations at the end, showing some of the most necessary equipment on a double-page spread, as well as five additional pages of recipes for "lutum sapientiae", "postulatz golt" etc., some parts written in a secret cipher, all of which are lacking from Bock's copy. - A unique survival: the Schoenberg Database of Manuscripts lists no more than eight 15th century German alchemy tracts in institutional possession worldwide. Schoenberg Database SDBM_177979. G. Ferrario, Al-Kimiya: Notes on Arabic Alchemy. In: Chemical Heritage, 25 (2007), 32ff.
London, E. Benn, 1930, in-8, tela editoriale con sovraccoperta, pp. 292. Con 8 illustrazioni in bianco e nero fuori testo. Condizioni molto buone.
vii + 297pp., cloth, 21cm., ex.library (few stamps, label on spine), else VG
- Brentano's, New York 1945, 18x25,5cm, broché. - Troisième édition enrichie de notes bibliographiques et de textes de Valéry Larbaud, Hugo Von Hofmannsthal et T.S. Eliot, un des exemplaires numérotés sur strathmore, seul tirage après 300 papier Italia. Agréable exemplaire, discret ex-dono à la plume du dédicataire en tête de la première garde. Envoi autographe signé de Saint-John Perse à Jean-Dominique Rey : "... au seuil de sa vie d'artiste, avec mes voeux, qui n'ont jamais été déçus." [ENGLISH DESCRIPTION ON DEMAND]
New English Paperback. Pbo. 4to. (28 x 20 cm). In Turkish. [xiii], 272 p., many numerous b/w and color plates. Anadolu Selçuklu sanatinda gezegen ve burç tasvirleri. Depiction of planets and zodiac constellations in the art of the Anatolian Seljuks. Study of Seljuk-era iconography.
Manuscrit en 1 vol. in-8 reliure demi-chagrin noir, dos à 4 nerfs, 1868-1869, circa 260 pp. Beau manuscrit de catéchisme, orné de nombreux jolis billets de catéchisme de la paroisse de Saint Porchaire. Français
xv + 56p., original 1931-edition, large folio (45x35cm.), publisher's hardcover (spine in cloth, gilt lettering on spine and on upper cover), published by the Irish Manuscripts Commission, some occasional foxing (text and manuscript always well readable), small stamp and inscription on first blanco endpaper, good condition, rare, weight: almost 2kg., J105955
- 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]
- 1943, 3 feuillets in-8 (21,2 x 13,6 cm) paginés, en feuilles. - Manuscrit autographe de l'auteur de 5 pages in-8 publié dans le numéro du 3 février 1943 du Journal des Débats, repris, légèrement modifié, dans Faux Pas (1943). Manuscrit recto-verso complet, à l'écriture très dense, comportant de nombreux ratures, corrections et ajouts. Chronique parue à l'occasion de la publication du Théâtre de Wolfgang von Goethe dans la « Pléiade » avec une introduction d'André Gide. Maurice Blanchot avait consacré dans les pages du Journal des débats une première étude à André Gide en novembre 1942 ; à propos des Nourritures terrestres, dont il louait « la grandeur authentique », il écrivait alors, dans une forme de réhabilitation : « Cet ouvrage n'est pas seulement un essai dans un sens impersonnel, un essai sur quelque chose, à propos de quelque chose, mais un essai de l'auteur sur lui-même, où il s'essaie par l'intermédiaire de pensées et d'images, où, en se donnant dans une complète adhésion à une certaine vue du monde, il entreprend une expérience dont il est le sujet, dont il accepte aventureusement le risque et qui ne peut pas le modifier d'une certaine manière. » Cette nouvelle étude est l'occasion pour Blanchot de revenir à Gide, cet auteur « si divers quoique si fidèle » à lui-même, et à l'étonnement que lui a causé sa préface au Théâtre de Goethe parue dans la « Pléiade » : « Ce qu'André Gide voit dans Goethe, ce n'est pas le devenir infiniment riche d'une existence qui a su être quantité d'êtres et tant de choses tout en étant de plus en plus elle-même, mais ce qu'il y a de plus stable, d'un peu guindé dans l'éternel, la figure mythique glorifiée par Eckermann ; ce qu'il admire, ce n'est pas le Titan qui cherche à étreindre plus qu'il n'est, qui veut tout sans se perdre, c'est le vieillard solennel des dernières années, devenu le modèle de l'univers et préoccupé de tirer de chaque chose une leçon. » C'est aussi l'occasion d'écrire sur Goethe, étudié à l'Université de Strasbourg, et sur lequel Blanchot reviendra notamment dans un article publié en 1950 dans L'Observateur et intitulé « Le Compagnon de route ». Intéressante lecture des liens unissant Gide à Goethe. [ENGLISH DESCRIPTION ON DEMAND]
4to (172 x 202 mm). German manuscript on paper by various hands. 298 written pp. on 180 ff. (including flyleaves). Contemporary half calf over marbled boards. An extensive German commonplace book, continuously expanded for nearly a century by a family of merchants, farmers, and mariners, one of whom sailed to Virginia on the HMS Lion to join the fleet of Admiral Cornwallis, probably in 1779 during the American Revolutionary War. - The first part (comprising some 40 ff.) offers an anthology of maxims, aphorisms, and anecdotes about the Vienna Court Theatre, about Garrick and Hogarth, King George III and Voltaire, etc., apparently mainly compiled in the 18th century, with a few later additions by other hands. The second part, begun by the same writer and considerably expanded by several later owners of the book, contains a vast miscellany of historical and historico-cultural themes. Items include a piece about verbal responses to sneezing, another about wigs and elaborate hairstyles throughout history, about the history of playing cards; and tables for housewives with which to calculate their annual expenses. Later entries focus more strongly on household remedies against illnesses (such as cholera and dropsy) and agricultural advice (how to get rid of weevils, how to increase the fertility of fruit trees). - Occasionally, the notes will provide a more immediate glimpse of the life of the writer: underneath a discussion of how to calculate the deadweight tonnage of a ship of 100 cannons with a crew of 1000 men, an early 19th century owner who signs his name "Bindseil" states that he himself "sailed on an English ship of the 2nd line, blue flag, of 64 cannons, named Lion, under Captain Fox, which was taking us to the English general Cornwallis in Virginia. On this ship were 1375 souls, 4 live oxen, 12 large pigs, the same number of rams, and 4 horses, which are not taken into account by the above calculation, as little as the minimum two anchors are, each of which weighs some 600 pounds and yet is quite indispensable [...]" (transl.). Not infrequently, an entry will cite the source from which it is drawn: newspapers and journals mentioned include the "Hamburgischer Correspondent", "Holzmindisches Wochenblatt", "Hannoverscher Anzeiger" and "Braunschweigische Zeitung", pointing to a Northern German origin. - Occasional light brownstaining; binding somewhat rubbed. A fine survival worthy of detailed study.
cm. 18 x 25,5, 92 pp. con 21 ill. f.t. Biblioteca di bibliografia italiana 250 gr. 92 p.
Folio. (464) pp. Contemporary half calf over marbled boards with four ties. An interesting manuscript originating from Vienna's St. Elizabeth Hospital, founded in 1710 and operating to the present day. It lists the incoming women patients day by day, stating their names, age, civil status, birthplace, address, place of work and medical condition. At the end of each entry is either the date of their discharge or of their passing. As the hospital admitted female patients only, this MS provides an exceptional insight into the living conditions of women in 18th century Vienna, thus representing an important source for social history, containing information on common diseases and life expectancy, as well as on the patients' occupation and private life. Likely just one of a series, the MS documents the busy operations of a city hospital over a period of six years. - Old pencil shelfmark to lower pastedown. Insignificant traces of worming to spine, a bit of the lower spine end chipped. Light browning to paper, otherwise well preserved. From the library of the Viennese collector Werner Habel, with his signed and stamped ownership, dated 1985, to the pastedown.
382pp., dans la série "Bibliotheca 'Ephemerides liturgicae' Subsidia, Monumenta Italiae Liturgica" vol.I, br.orig., très bel état, [texte en italien]
8vo. Italian manuscript on paper. 1 p. The poetic persona of this slanderous sonnet is the devil who informs the Jesuits of Clement's demise and incites them to use the opportunity for their malefactions, implying that they are responsible for papicides and regicides: "Mort'é Clemente (all'empia Società / Il Diavol' prese tosto a dir' così.) / Teneri Figli miei, vedete già, / Quanto per voi m'adopri e notte, e dì. / Or sappiate, che in man vi tornerá, / Tutto ciò, che il destin à voi rapí, / E che La Compagnia risorgerá, / Ad onta di Colui, che vi abboli, / Deh.' [Non] cari Figli, non temete più, / Seguite pur à uccider Papi, e Ré, / Ch'io sempre vi darró [!] forza, e virtú, / Ed al vostro valor ampia mercè, / Finchè verrete poi tutti quaggiù, / Eternamente ad abitar con me". - A slightly different version of this poem was published in the posthumous eighth volume of José Ortiz y Sanz's "Historia general de España" with the sardonic comment that the "devil apparently had some prognostic power" but that his words are unreliable, as is to be expected for a statement by the devil. - On 21 July 1773, Clement XIV issued the papal brief "Dominus ac Redemptor Noster" ordering the suppression of the Society of Jesus. This was probably the most controversial political decision of the 18th century, leading to a surge of propaganda for and against the Jesuits and the Pope that culminated after Clement's death on 22 September 1774. - Traces of folds. With a small burn hole and minor stains. J. Ortiz y Sanz, Historia general de España, Volume VIII (Madrid, 1846), p. 243.
4to. Italian manuscript on paper. ½ p. The premise of this unpublished eulogy for Clement XIV (1769-1774) is a comparison between the Pope and the hero Rinaldo in the enchanted forest, the most famous episode of Torquato Tasso's "La Gerusalemme liberata" with the Jesuits serving as his foe. Clement is "greater than Rinaldo and strong and brave / Inspired by heaven, supreme sheperd" who "smashed the Ignatian branch to the soil". - On 21 July 1773, Clement XIV issued the papal brief "Dominus ac Redemptor Noster" ordering the suppression of the Society of Jesus. This was probably the most controversial political decision of the 18th century, leading to a surge of propaganda for and against the Jesuits and the Pope that culminated after Clement's death on 22 September 1774. - On the verso are two quotations from Virgil's Aeneid, cautioning against hubris and blasphemy: "Discite iustitiam moniti et non temnere divos!" (VI, 620) and "Flectere si nequeo superos, Acheronta movebo" (VII, 312).
4to. Italian manuscript on paper. 12 pp. on bifolia. The first poem in the manuscript is an anonymous sonnet entitled "In occasione della Vinciza fatta al Lotto di Napoli industriosamente dalli Romani" that compares Roman politics to the "damned game" of lottery, but also a "sorbet" that needs to be swallowed, and attacks several people, including the cardinals and Curia members Luigi Maria Torregiani and Simone Buonaccorsi, as "assassins" and "perfidious ministers" who give Romans the "title of thieves". - The second anonymous poem is an anti-Jesuit sonnet, presented as a kind of prophecy that was "recovered above" a Jesuit building in Rome "nell' Arco de' Greci", probably referring to the Collegium Graecorum. It compares the Jesuits to a "flock of birds" who built their nest from loot but are now "cast out", alluding to the suppression of the Society of Jesus in 1773. The final stave openly calls for violence, even threatening those who do not participate in the extirpation: "Per estirpar la maladetta Razza / Calpesteremo il Nido, i Padri, e l'ova | E proscritto sarà chi non c'ammazza". - This is followed by a copy of Carlo Innocenzo Frugoni's (1692-1768) sonnet "L'Angelo Sterminatore", here appropriated for anti-Jesuit purposes, calling for the "expulsion of the Society" from Parma. The sonnet has been published in the second volume of Frugoni's collected poetry (C. I. Frugone, Opere poetiche II [Parma, 1779], p. 373). - Another comparison of the Jesuits with birds, now ravens, is presented in an anonymous Latin distich: "Dar Lojoliticii [...] Opes, Gusmani Corpus Alumnis: / Num Carnes Corvus, devorat Ossa Canis." According to an added explanation, the poem was written to commemorate a Neapolitan woman who died because she compromised her devotion to St Dominic with her estimation for the Jesuits and followed "their advice" concerning her inheritance. - The fifth poem in the manuscript is another sonnet that is satirically attributed to Lorenzo Ricci, the General of the Society of Jesus at the time of their suppression. In lamenting the downfall of the Jesuits, the fictional Ricci corroborates calumnious accusations brought against them. The first stave reads: "Siam giunte al fine delle nostre imprese, / Speranza più non v'è di coglier frutti, / Il colpo già letal, onde palese / E la scentura, che sovrasta à tutti." This is followed by another sonnet that traces in a highly spiteful tone the "situation and conduct" of several important Jesuits following the suppression: "Situazione, e condotta del P. N., e di varii del Cordon Bleu dell'Ordine Lojolitico", starting with the General: "Ricci singhiozza smania, e si tapina". - Two further sonnets are actual works of the Jesuit poets Severio Bettinelli and Giulio Cesare Cordara, although the second sonnet is wrongly attributed to Bettinelli as well. Bettinelli's sonnet "Tuona, fulmina, e sbuffa Torregiani", apparently written after the expulsion of the Jesuits from Spain in 1767 in order to "slander diverse Cardinals" such as Luigi Maria Torregiani, is met with critical annotations, whereas Cordara's apologetical sonnet "Cadrà, se così in Ciel si trova scritto" is derided in two anti-Jesuit "responses" in the form of sonnets. These are immediately followed by a satirical sonnet that ridicules the expulsed Jesuits of Spain who "cannot find anybody who allows them to disembark", starting "Ah nave, ah nave che nel mezzo all'onde". Cordara's poem has been published in the Italian journal "La Voce della Ragione" in 1832, where it is dated to 1773. - Another sonnet is couched in the form of a dialogue between "Pasquino e Marforio" and is thus a classical Roman pasquinade. Pasquino asks Marforio whether it is true that a Dominican friar has been murdered in Martinique. Marforio confirms this, implicating a Jesuit named Scarponio who had brought the news to him through a disciple. - The final and longest poem of the collection (82 verses of 4 lines) is a "Canzonetta to the Genovese Signori who welcomed the Jesuits expulsed from Spain on Corsica". The poem is a furious denouncement of Genovese hospitality and closes with a plea for Justice, asking God to "release the brakes" and have the "evil Society completely suppressed and extinguished", followed by an "Amen". More than 2,600 Jesuits were forced to leave Spain in 1767 and take refuge in Corsica until 1768, when the island was taken over by France, which had already expelled the Jesuits from its territories in 1764. This development finally forced Pope Clement XIII grudgingly to allow the exiles to enter the Papal states. - Occasional stains and browning. Well preserved.
4to. 1¾ pp. on bifolium. The first text is a Life of the controversial Jesuit Gabriel Malagrida (1689-1761) with its satirized counterpart, written in opposing columns. Italian introductions were added in order to lend the Latin "original texts" a note of authenticity: "Short chronicle printed underneath the image of Father Malagrida, found in the case of a Jesuit father who had been robbed in Belforte. The figure is conical and Father Malagrida is represented in the habit of a Jesuit missionary with a walking stick in hand [...]". The satirized version of the introduction identifies the Jesuits as thieves and describes Malagrida in "the habit of an assassin with a deadly knife in hand". Both "vitas" follow an established formula for short biographies of deceased Jesuits. The satirical version is fiercely vitriolic, repeating common accusations against the Jesuits such as disloyalty, idolatry, and regicide. The description of the image probably refers to an actual engraved "portrait" of Malagrida. This anonymous engraving, clearly libellous, would not have been carried by a Jesuit and circulated in various copies with anti-Jesuit captions. - Gabriel Malagrida was an Italian Jesuit who worked as a missionary in Brazil for 28 years. When he returned to Portugal in 1750, Malagrida was highly respected at court. His fervour in explaining the 1755 earthquake of Lisbon as a divine punishment gave his biggest enemy at the court, prime minister Sebastião José de Carvalho, the leverage to procure Malagrida's banishment from the capital. In 1758 he was falsely accused of having been part of the conspiracy behind an attempt on the life of King José I and found guilty of high treason. This so-called Távora affair served as a pretext for the banishment of the Jesuits from Portugal in 1759. As the Inquisition found no proof of his guilt, Malagrida could not be executed for treason, and Carvalho moved on to accuse him of heresy based on falsely attributed texts. In a blatant miscarriage of justice, Gabriel Malagrida was strangled and burned in Lisbon on 21 September 1761. - The first of two sonnets completing the collection is presented as if it had been recited by a brother of King George III during the solemn unveiling of a statue of Pope Clement XIV in the house of a Catholic English Lord. Pope Clement XIV was surprisingly popular in Britain, as he did not recognize the Catholic Jacobites as pretenders to the British throne, and for his anti-Jesuit stance. A bust of the Pope by Christopher Hewetson was copied several times for members of the British nobility. - The second anonymous sonnet "against the Jesuit fathers" was supposedly "sent to Rome printed in golden characters to the ambassador of Spain and presented to the Pope by him". The sonnet describes the purported reaction of Lorenzo Ricci, the Superior General of the Jesuits, to the suppression of the Society by Pope Clement XIV. The first stave reads: "Ricci crollando l'orgogliosa testa / Chiamo fremente i suoi Compagni, e disse / Reco novella, o Figli miei funesta, / Il rio Clemente il gran decreto scrisse". - Lorenzo Ricci was arrested soon after the suppression of the Jesuits on 21 July 1773. He was indefinitely imprisoned without trial at the Castel Sant'Angelo in Rome and died there in 1775. - Some browning, creases, and minor tears. Minimal damage due to ink corrosion.
VOLUME VI B ONLY (6,2 / 6 B). RARE critical edition of one of the parts of al-Baladhuri's (d.892) magnum opus 'Ansab al-Ashraf' ('Lineage of the Nobles') - a biographical work in genealogical order devoted to the Arab aristocracy, from Muhammad and his contemporaries to the Umayyad and Abbasid caliphs. In this part al-Baladhuri deals with the career of the Umayyad caliph Hisham b.Abd al-Malik (724-743). Contains an English introduction by the editor - Prof. Athamina Khalil (b.1934) of Birzeit University in Ramallah. 220x150mm. 18+306 pages [+20]. Softcover with dust-jacket. Jacket front side bottom edge torn in two places. Jacket upper edges and corners worn/wrinkled. Spine slightly wrinkled. Spine bottom edge bumped and wrinkled. [SUMMARY]: This extremely rare critical edition of a key biographical work by one of the eminent medieval Muslim historians is otherwise in very good condition.
- Editions théâtrales, Paris 2005, 15x21cm, broché. - Nouvelle édition de la traduction française du chef d'oeuvre de Janusz Glowacki. Une adresse e-mail inscrite en marge de la dernière garde, agréable exemplaire. Rare signature manucrite datée de Janusz Glolwacki réalisée à Varsovie. [ENGLISH DESCRIPTION ON DEMAND]
- S.n., Paris -Lapras 1929, (2) 49pp. in-4, en feuilles. - Manuscrit autographe complet de 49 pages rédigées et foliotées à l'encre noire sur le recto. Quelques corrections autographes de l'auteur.Chemise autographe portant le titre et les dates : Paris - 4 juillet 1929 et Lapras - 22 août 1929. Adaptation inédite de la tragédie de Sophocle, en trois actes et en vers. [ENGLISH DESCRIPTION ON DEMAND]
SIGNED BY AUTHOR. 280X220 mm. 158 pages. Gilt hardcover. Spine edges bumped. Else in good condition.
Contains color and b&w plates. 280x220 mm. 158 pages. Gilt hardcover with dust jacket. In good condition.
