Kircher AthanasiusMareMagnum
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Folio (320 x 215mm). (16) ll, including frontispiece, 618 pp, (14) ll. Engraved frontispiece, title in red and black with large engraved vignette, numerous engraved illustrations including large-format ones, and numerous woodcut illustrations, headpieces and initials, with final blank. Contemporary vellum, manuscript title on spine. Somewhat browned and with a small defect in the engraved title-page, but still in good condition, binding slightly bowed.
In -4°, pp. (22), 289 (i.e. 379), (9); frontespizio inciso (al fr. la data è 1633) e un ritratto calcografico dell’autore che precede il testo. Carta Yy con prova di penna, con testo ancora leggibile. Saavedra, nato e vissuto a Cordoba fra il XVI e il XVII secolo fu un poeta spagnolo, lontano parente di Cervantes. Fumagalli 428. Il volume è rilegato con la raccolta poetica del figlio di Saavedra, “Ocios de Aganipe divididos en differentes poesias” - pp. (6), 260, frontespizio inciso -, pubblicato anch’esso a Trani nello stesso anno. Due rarissime opere spagnole appartenenti al Siglo de oro. In -4 °, pp. (22), 289 (i.e. 379), (9); engraved title page (the title page date is 1633) and a chalchographic portrait of the author preceding the text. Yy leaf with spoiled with ink, yet the text is still readable. Saavedra, was born and lived in Cordoba between the 16th and 17th centuries, was a Spanish poet, distant relative of Cervantes. Fumagalli 428. The volume is bound with the poetic collection of Saavedra’s son, “Ocios de Aganipe divididos en differentes poesias” - pp. (6), 260, engraved title page -, also published in Trani in the same year. Two very rare Spanish works belonging to the Siglo de oro.
Four volumes. A COMPLETE SET, ON SPECIAL PAPER, OF THE MOST IMPORTANT PUBLICATION OF SPANISH MEDIEVAL TEXTS. Comprises, IN FIRST EDITION, (I) the Poema del Cid, (II) the complete works of Berceo, (III) the Poem of Alejandro Magno, and (IV) the Arcipreste de Hita's Libro de buen amor (this fourth volume is almost always missing.) This is A SPECIAL SET, PRINTED ON THICK PAPER. This is furthermore AN ASSOCIATION COPY, from the library of DANIEL DEVOTO AND MARIA BEATRIZ DEL VALLE-INCLAN (their stamp on rear endpapers). Devoto (1916-2001) was an important intellectual figure who counted among his close friends many of the great literary figures of 20th-century Spain, France, and Latin America. He wrote many books and articles, some of which concern the texts which appear in the present publication. COMPLETE WITH ALL HALF-TITLES. 8vos. ATTRACTIVELY BOUND IN SPANISH CALF. Tiny traces of wear to bindings, else an EXCELLENT SET. In the introduction to his edition of El poema del Cid, Colin Smith emphasizes the great importance of this publication, pointing out that Sanchez was way ahead of his time as a textual editor. AN OUTSTANDING SET OF AN EXTREMELY RARE AND IMPORTANT PUBLICATION, WITH A FINE PROVENANCE.
4 vols., 8vo., First Edition, with 4 portrait frontispieces, and numerous plates, facsimiles, maps and plans; handsomely bound in half navy crushed and polished morocco BY SOTHERAN, blue cloth sides ruled in gilt, backs with raised bands with gilt fillets, second and third compartments with red leather labels framed and lettered in gilt, all other compartments framed in gilt, gilt tops, marbled endpapers, an elegant set ideal as a gift or presentation. THE BINDINGS ARE SIGNED ON FRONT FREE ENDPAPER VERSOS. AN ELEGANT SET OF THE ORIGINAL EDITION AND SCARCE IN THIS CONDITION. Cohen A97.2(I-IV).a, Woods/ICS A40(aa).
Two decorated wooden panels, painted in polychrome tempera, gold gilt, and gesso, with a leather spine. 330 x 250 mm. Elaborately decorated on one board with four armorial shields, surrounded by incised stamps on gilt fields and gilt floral sprays on a blue field. The text below the shields reads: "INVENTARIO DELLE COSE DEL LA SAGRESTIA DEL DUOMO EDE LALTRE COSE MOBILI DELU OPARA RIFATTO LASICO DA VOLTA AL TENPO DEL UENE RABILE UOMO FRANCESCHO DI PAOLO TADDEI ANNO D. 1475." [Roughly translated: Inventory of the things in the sacristy of the Duomo Ede. Taken from the last by the incomparable Frances Taddei in the year 1475. The front board has a lovely Rennaisance Madonna and Child, with "Samis de Petris" below. This de may have been an attempt to attribute the painting to the artist Sano di Pietro. Beveled edges. Brass bosses at each corner. Very good. RARE. A contemporary of the famed "Spanish Forger", Icilio Federico Joni (1866-1946) was born in Siena. As a young man he worked in the shop of a gilder and art restorer. He began, as a sideline, to produce imitations of fifteenth century Sienese painted wooden panel book covers. He based these tempera painted wooden panels on the Tavolette in the Archivio di Stato, which he probably never saw in person. It is quite clear from his autobiography (1932) that he was proud of his skill and his brilliant imitations of the ancient art of Siena. He considered them original art rather than 'forgeries'. There are probably no more than twenty examples of his work extant today. From the Bridwell Library, SMU: "A skilled producer of imitation "Gothic" altarpieces, he received a commission c. 1890 to create a book cover in imitation of those found on Siena's Tavole di Biccherna, the elaborately gilt and painted fourteenth-century tax registers. Without ever seeing a real Biccherna, he established a lucrative business of faking Biccherna covers. Joni later boasted of incidents in which the local police were alerted to books purportedly stolen from Siena Cathedral or the state archives, only to discover that they were by Joni. A number of book collectors were deceived by Joni's creations, and several of his works were published as Gothic originals. Today, Joni's forgeries are highly valued in their own right. In his autobiography Joni discussed his methods for antiquing the covers by mixing soot, turmeric, chrome yellow, and gilding gesso with gum arabic to produce the patina on the gold. The bosses were bathed in ammonia and the clasp plates were dipped in iodine, "which rusted them in just the right way." Note that Joni's boards are simply glued onto a rough leather spine; he apparently did not know how to replicate a fifteenth-century sewing structure." Research in America has clarified Joni's role as a restorer in such works as Piermatteo d'Amelia's Annunciation (Gardner Museum) and the half-length figures in Fra Angelico's Annunciation (Mrs E. Ford Collection). **PRICE JUST REDUCED! Front Case 1/R
Acquaforte, acquatinta brunita e bulino, 1799. Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 15. Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, piccoli strappi di carta alle estremità dei margini, per il resto in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa - First edition -Etching, burnished aquatint and engraving, 1799. From the rare first edition (of twelve) of Los Caprichos, plate 15. A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, small tears at left white margin, otherwise in perfect condition. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. The title can be translated into: Pretty teachings. Harris 50, Delteil 52.
Acquaforte, acquatinta brunita e bulino, 1799.Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 54.Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi sono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Bellissimo esemplare. Al verso timbro di collezione HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980), editore, libraio e mercante di stampe a Parigi (Lugt 5031). - The rare first edition -Etching, burnished aquatint and engraving, 1799.From the rare first edition (of twelve) of Los Caprichos, plate 54.A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, perfect condition.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example from the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 1964, 89.
Unread. As new. Number 216 of limited edition of 350 copies. Signed by co-author R.E. Gosnell. "Few publications, if any, of similar size and excellence have been produced in Canada." - From Editor's Foreword. Part I includes 210 pages and eighteen chapters which constitute "a survey of events from the earliest times down to the Union of the Crown Colony of British Columbia with the Dominion of Canada." Part II is "a history, mainly political and economic, of the Province since Confederation up to the present time." Part I is preceded and followed by dozens of tissue-protected black and white portraits of individuals influential in the early history of the province, complete with their brief biographies upon the tissue. Part II comprises eighteen chapters over 226 pages plus 5 pages of addenda followed by dozens of tissue protected portraits of "some of the men conspicuous as present day factors in development." Top edge gilt. Gilt lettering upon backstrip. Marbled endpapers. Exceptionally clean, bright, and unmarked with zero wear. Brown suede exterior appears as fresh as the day it was applied over 100 years ago. This majestic fourteen pound tome measures 13" x 10.5" x 4". A magnificent acquisition for any serious collector of British Columbia history. A better copy will not be found. [Lowther 1607, Hale 2523, Edwards & Lort 3177, Strathern 495] Book
In -4°, pp. (16), 557, (9) - errore di numerazione alle pp. 120-23; antiporta incisa in rame; legatura in pelle con fregi in oro alle armi di Benedetto XIV. Tagli dorati. Calf binding with golden ornaments, gilt edges.
In-4°, prima edizione, copertina morbida, pp. 191, con due disegni a colori e due in b/n, esemplare perfetto. Poesie scritte tra il 1929-1930, inedite fino a quel momento, pubblicate durante l’esilio forzato in Messico, accompagnate dal poema ‘El crimen fue en Granada’ di Antonio Machado e dello scritto in prosa ‘Federico Garcia Lorca. La muerte vencida’ di José Bergamin. Presenti quattro disegni del poeta. First edition, 191pages, with four drawings (2bw and 2 colours), fine edition, soft cover.Poetries written between 1929 and 1930, published during Garcia Lorca’s exile in Mexico; additional poems ‘El crimen fue en Granada’ by Antonio Machado and ‘Federico Garcia Lorca. La muerte vencida’ by José Bergamin
In -4°, pp. (28), 156, (26), all’antiporta ritratto inciso da Blondeau; pergamena coeva con titolo manoscritto al dorso. Prima e unica edizione di questa singolare biografia: Sebastian de Aparicio, nato in Spagna nel 1502 e morto in Messico nel 1600, fu beatificato nel 1789 da Pio VI: al di là dell’interesse di retaggio religioso Aparicio, che partì per il nuovo mondo nel 1530, è considerato il primo allevatore di bestiame e il primo “charro” (per estensione il primo “cowboy”) nella storia d’America. Diventato ricco (grazie all’attività di colono, agricoltore, e all’estrazione di metalli, soprattutto argento), e due volte vedovo, si dedicò alla vita ascetica fino a essere ammesso all’ordine francescano, col patto che i suoi beni venissero donati al primo monastero delle Clarisse in Messico (dove sarebbe stato ospitato prima di venir ordinato frate e unirsi alla comunità francescana di Puebla). First and only edition of this unique biography: Sebastian de Aparicio, born in Spain in 1502 and dead in Mexico in 1600, was canonized in 1789 by Pius VI. Beyond the religious interest, Aparicio is considered the first “cowboy” of America (or “charro”, in spanish): he became rich thanks to his agricultural activity (and also for his activity in mines, especially silver ones) he was the first to raise livestock on ground, in America: between his dowries the one to tame savage animals. He left his large fortune to a claires monastry in order to be received in the franciscan order.
Un disegno originale dell'Autore in copertina (ogni volume reca un disegno diverso). Stampato in occasione del sessantesimo compleanno del poeta Stampato dall'Arte Grafica Bartolomé U. Chiesino S.A. di Buenos Aires. 8vo. pp. 14. Bella dedica e firma autografe dell'Autore (Inscribed and signed by the Author). Ottimo (Fine). . Prima ed. di 29 es. numerati e firmati dall'A.. . Empujan, en fin, vientos de libertad marina a la poesía de Rafael Alberti llevándola a explorar todos los espacios de la historia, de la mitología o de la experiencia humana: ''Yo te miraba, oh Cádiz, bahía de los mitos / ... / Canas de antigüedad, tus estelares fábulas, / tus solares historias, / oh gaditano mar de los perdidos / Atlantes, vesperales jardines de la espuma, / islas desvanecidas del Ocaso!'' Los pobres pescadores que salen del Guadalete hacia el mar son los mismos que arribaban a Tarsis en busca de oro y plata y estaño. El mar resume la historia y el mar compendia el sueño. ¿Qué escenario mejor podría soñarse para el encuentro amoroso de Venus y Príapo que el escenario del mar de Cádiz? Uno de los más formidables poemas amorosos de la literatura universal, de ese Diálogo entre Venus y Príapo, acontece en esa bahía: "Amor! La noche se desvae. / Nos baña el mar. (Oh luz!. El mundo canta. / Cae la luna... El viento...)"
The best monograph on the work of this modern Catalan artist (1912-1999), profusely illustrated in color. WITH A SIGNED COLOR SELF-PORTRAIT IN PROFILE BY THE ARTIST ON THE TITLE-PAGE. Large 4to. Original wraps. FINE AND BRIGHT, LIKE NEW.
Three volumes, complete. ALL THREE VOLUMES ARE SIGNED FIRST EDITIONS. GOYTISOLO RARELY SIGNS BOOKS, AND THIS SET MAY BE THE ONLY COMPLETE SIGNED SET EVER OFFERED FOR SALE. This trilogy established Goytisolo as a major modern writer and remains his greatest accomplishment. SeÒas de identidad was published in Mexico City in 1966 in an edition of 4100 numbered copies. Don Julian was published in 1970, also in Mexico City, in an edition of 5000 numbered copies. Juan sin tierra was published in 1975 in Goytisolo's native Barcelona. 8vo. First two volumes near fine in publisher's cloth, with very good djs. Third volume very good in publisher's wraps. SeÒas de identidad signed by Goytisolo on half-title, with prior owner's signature on front free endpaper. ReivindicaciÛn signed and inscribed by Goytisolo on front free endpaper. Juan sin tierra signed by Goytisolo on title-page, with prior owner's signature underneath. ALL THREE VOLUMES WERE SIGNED IN TANGIER IN AUGUST, 2013. Included with this set: a great digital photograph of Goytisolo signing the the books.
4 vols., 8vo., First Edition (one volume a Second Impression), with 4 portrait frontispieces, and numerous plates, facsimiles, maps and plans, neat contemporary inscription on front free endpaper of first volume; original maroon buckram, upper boards blocked in gilt, gilt backs, gilt tops, a very good, bright, crisp, clean set in unclipped, mildly age-soiled dustwrapper. Volume I is a second impression published in the same month as the first edition. SCARCE IN THIS CONDITION. Cohen A97.2(I-IV).a, Woods/ICS A40(aa).
In -folio, 2 voll., pp. (4), VIII, 1-224, (2), 223-244, 70 tavv. a colori; (4), XLIX, 464, tela con tassello e titolo al dorso. Sontuosa edizione completa di 70 litografie che riproducono, a colori, il cosiddetto “Codice Troano”, uno dei pochi manoscritti superstiti della lingua maya. Si tratta di uno dei primi cospicui tentativi di decodificare la scrittura della civiltà precolombiana: Brasseur (1814-1874) vi si dedicò per oltre cinque anni con passione, diligenza e competenza ma, purtroppo, partendo dallo sbagliato presupposto che i codici riproducessero un alfabeto fonetico, convinzione che derivava da un metodo cinquecentesco messo a punto da Diego de Landa, monaco spagnolo che sarebbe diventato vescovo dello Yucatàn. La tavola comparativa tra alfabeto latino e caratteri maya era inaffidabile. In base alla decrittazione di questo codice, fra l’altro, si ipotizzò la suggestiva descrizione del continente perduto di Mu, mitica terra collocata nel Pacifico. Il lavoro di Brasseur avrebbe avuto un corso scientifico molto limitato, e la sua teoria fu smentita entro la fine del secolo, ma una serie di miti costruiti sulle sue presunte scoperte, fra tutti proprio quello della terra di Mu, hanno avuto corso fino a oggi in ambito parascientifico e in numerose suggestioni letterarie. La pubblicazione fa parte di una serie di opere commissionate da Napoleone III (“Mission scientifique au Méxique”) intese allo studio del Sud America. A luxury edition, complete of 70 lythographies reproducing, in colors, the so said “Troano codex”, one of the few manuscripts survived to Maya civilization’s destruction. This is one of the first attempts to decipher their writing: Brasseur (1814-1874) studied the matter for five years but he was wrongly convinced that the codex was reproducing a phonetic alphabet. The myth of “Mu” land results from this erroneus interpretation. The publication is part of a collection of works about South America commissioned by Napoleon the III.
Un disegno originale dell'Autore in copertina (ogni volume reca un disegno diverso). Stampato in occasione del sessantesimo compleanno del poeta Stampato dall'Arte Grafica Bartolomé U. Chiesino S.A. di Buenos Aires. 8vo. pp. 14. . Ottimo (Fine). . Prima ed. di 29 es. numerati e firmati dall'A.. . Empujan, en fin, vientos de libertad marina a la poesía de Rafael Alberti llevándola a explorar todos los espacios de la historia, de la mitología o de la experiencia humana: ''Yo te miraba, oh Cádiz, bahía de los mitos / ... / Canas de antigüedad, tus estelares fábulas, / tus solares historias, / oh gaditano mar de los perdidos / Atlantes, vesperales jardines de la espuma, / islas desvanecidas del Ocaso!'' Los pobres pescadores que salen del Guadalete hacia el mar son los mismos que arribaban a Tarsis en busca de oro y plata y estaño. El mar resume la historia y el mar compendia el sueño. ¿Qué escenario mejor podría soñarse para el encuentro amoroso de Venus y Príapo que el escenario del mar de Cádiz? Uno de los más formidables poemas amorosos de la literatura universal, de ese Diálogo entre Venus y Príapo, acontece en esa bahía: "Amor! La noche se desvae. / Nos baña el mar. (Oh luz!. El mundo canta. / Cae la luna... El viento...)"
In -8°, pp. XX, 234; legatura in mezza tela ottocentesca, testo in arabo e spagnolo, il libro è in gran parte intonso.La prima edizione biingue, stampata inspagnolo ed arabo, della descrizione di Al-Idrisi descrizione della Spagna e del Nord Africa. La traduzione è di Josef Antonio Conde, sovrintendente della biblioteca del Monastero reale di San Lorenzo dell’Escorial, che curò un ampio commentario. Text in arab and spanish, the book is partly uncut. THE FIRST BILINGUAL EDITION, PRINTED IN SPANISH AND ARABIC, OF AL-IDRISI’S DESCRIPTION OF SPAIN AND NORTH AFRICA. THE TRANSLATION IS BY JOSEF ANTONIO CONDE, KEEPER OF THE LIBRARY OF ROYAL MONASTERY OF SAN LORENZO DE EL ESCORIAL, WHO EDITED AN EXTENSIVE COMMENTARY.
In -4°, due parti legate assieme, ciascuna con frontespizio autonomo; pp. IV (4) VI-XV, (1), 120 (8); (4), 48. Legatura in pergamena. La seconda parte s’intitola “Predica contro l'abuso delle comedie, fatta nella citta di Huesca la sera della circoncisione dell'anno 1629 dal p. Gaime Alberto della Compagnia di Giesu, e tradotta di spagnuolo in italiano dal signor Alessandro Adimari”. Fra le due opere è inserito un quartino, non rilegato, che titola “Aggiunta al libro terzo della christiana moderatione... fatta l’anno 1656”. The second half’s title is “Predica contro l’abuso delle comedie…” Between the two works a gathering is included, not bound, whose title is “Aggiunta al libro terzo…”
186 pages. "Published to expose the ramifications of the International Conspiracy which was originated by a small group of wealthy and influential men in 1773 for the purpose of ultimately obtaining undisputed control of the wealth, natural resources, and manpower of the entire world... Explains how the continuity of their Long Range Plan was assured by appointing their successors from their own entourage while still alive." - Foreword. William Guy Carr [1895-1959] was a man's man, an English-born Canadian naval officer who described his adventurous early life in seven preceeding books. Sombre cover illustration depicts Soviet chess pieces moving in for the kill. Above-average but not excessive external wear. Binding intact. "American Nationalist" sticker on title page may refer to the book's American distributor. Ink underlining and markings throughout. Errata list not included. A sound first edition copy of this conspiracy classic. Singerman 921, Weems p.58. Book
In -4°, pp. (40), 450, (42), frontespizio in cornice con vignetta, testo su due colonne; legatura in piena pergamena con titolo manoscritto al dorso, piccoli fori su un angolo del frontespizio, non intaccano testo e cornice. Nato in Bolivia, intorno al 1626, l’autore fu sacerdote a Sucre, prolifico scrittore teologo e predicatore. Small holes on a corner of title page, text and frame are untouched. Born in Bolivia around 1626 the author was a priest in Sucre, writer, theologist and preacher. ARch. S
In - 4°, pp. (8), 276; testo su due colonne; piena pergamena coeva con titolo manoscritto al dorso. Edizione settecentesca del romanzo di Espinel, molto popolare nel secolo precedente: storia picaresca e movimentata che avrebbe ispirato poco più tardi la “Storia di Gil Blas di Santillana” di Le Sage, lo scudiero Marcos de Obregon, accompagnatore di dame, compie diversi viaggi, sulla falsariga della biografia dell’autore. XVIII Century edition of Espinel’s novel, much popular since the XVII: a picaresque plot that inspired, not much later, the “Gil Blas of Santillana” by Le Sage: Marcos de Obregon, an esquire convoying ladies, travels in Europe, as the author used to.
In -4°, pp. (108), 216, 196-199, (8), 229-326, capilettera, testatine e finali; pergamena coeva con lacci e titolo manoscritto al dorso. Qualche foro di tarlo che non incide sul testo. Vari errori di segnatura e numerazione delle pagine. Prima edizione di quest’opera del maggiore poligrafo e scienziato del Perù in epoca colonialista. Il libro si distingue per una vasta incoerenza delle segnature, per l’uso esteso dei capilettera di tipo “factotum”, caratteristiche entrambe dell’editore, Antonio José Gutierrez de Cevallos che possedeva la tipografia “extra muros de Santa Cathalina e fu attivo in città fino al 1750. Pedro Peralta Barnuevo (1663-1743) era rettore della Università di San Marcos e con evidenza scrisse questi dieci sermoni sulla Passione di Cristo per presentarli a una platea universitaria: si distinguono infatti per il ritmo narrativo del testo. Il lavoro è preceduto da un saggio di genealogia sulla famiglia Moscoso, una delle più influenti famiglie del Nuovo mondo, ed è ricco di informazioni storiche e politiche circa questa e altre importanti famiglie messicane, peruviane e spagnole. Vari errori di numerazione e segnatura ma libro completo. The first edition of this work by the major writer and scientist of Peru, at time. The book is interesting under a typographic point of view, because of the extended use of “factotum” initials and a wide incoherence in signatures, both typical of its publisher, Antonio José Gutierrez de Cevallos. The author was dean of San Marcos university and he wrote these ten speeches about Christ passion towards an academic audience. The work is introduced by a genealogic essay about Moscoso family, one of the most important in the New World, rich of historic and politic information about Peru and spanish colonies. Many page number and signature mistakes, but the book is complete.
A bibliophile edition of selections from Berceo's masterpiece, ILLUSTRATED WITH 9 FULL-PAGE HORS-TEXTE MIXED ETCHINGS BY ASCENSION BIOSCA AFTER SANDRA ESCOHOTADO AND FERNANDO CANO. Each etching is SIGNED AND JUSTIFIED BY BIOSCA IN PENCIL. From a total edition of 89 numbered copies, all printed on fine, thick wove paper, this is ONE OF ONLY 40 COPIES WITH THE ETCHINGS PRINTED IN BLACK. Large folio. Loose as issued in wraps. Housed in publisher's attractive silk folding case. Prospectuses laid in. FINE AND BRIGHT. New.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quinta edizione di dodici, stampata dalla calcografia di Madrid, circa 1883. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa Plate 1: portrait of the artist wearing hat, bust-length to left; Fifth Edition c.1883 impression. 1799 Etching, aquatint, drypoint and burinFrom the fifth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1883].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 36, Delteil 38.
