BIBLE; Latin; GILL, EricBiblio.com
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1926149674Waltham St Lawrence: The Golden Cockerel Press 1926. The Passion of the Lord Jesus Christ with six wood-engravings by Eric Gill rare with dust jacket Limited edition number 31 of 250 copies only. Reviewed by the Times Literary Supplement on 29 July 1926 the reviewer noted "this is a production for which we have nothing but praise. The first requirements a harmony of form and balance of weight between illustrations and type are perfectly fulfilled. In spirit Mr Gill's illustrations could hardly be bettered; they are both religious and decorative." Quarto. 2 full-page and 4 other illustrations by Gill. Original white buckram spine lettered in gilt. Text printed in red and black. With dust jacket. Minimal soiling to covers with corners slightly bumped else an attractive near-fine copy. Dust jacket toned at spine with extremities frayed still a very good copy of a scarce dust jacket. Gill 276. hardcover
1911CA0100a3 volumes. Volume 1. vi314 with frontispiece and plates; volume 2. 372 pages with frontispiece and plates. volume 3. 518 pages with frontispiece and one plate. Royal octavo 9 1/4" x6 1/4" Bound in quarter leather with gilt lettering to spine and raised spine bands; marbled boards. Preface par M. le Cte de MoüyFirst edition.<br /><br />Mémoires: L'Intervention Française au Mexique by Charles Blanchot. This very rare memoir by Charles Blanchot was aide-de-camp to General Bazaine Supreme Commander of French Forces in Mexico during Mexico's Second Empire. There is so much in here that has never seen light in either Spanish or English for instance: the powerful if behind-the-scenes role of Doña Juliana de Gómez Pedraza widow of Manuel Gómez Pedraza and the vicious if as Blanchot suggests unfounded rumors circulating in Mexico City about Bazaine in 1866-7. Blanchot who married an American of French origin in Mexico City also offers a detailed and lively portrait of Mexico City society at the time.<br /><br />Condition:<br /><br />First signature of volume one detached with some edge wear along the fore-edges title to volume two detached binding edges and hinges rubbed spines darkened. A good copy of a very rare and scarce work. Librairie Emile Nourry hardcover books
1924R118512Ad Claras Aquas (Quaracchi), Ex typographia collegii S. Bonaventurae 1924-1948 Complete work [tomus I-IV, bound in 5 physical volumes]: xlv,769 + lxiv,801 + lviii,858 + ccclxx + ix,1170pp., title in red and black, 33cm., text printed in 2 columns, small stamp on title page, nice solid modern and uniform bindings, spines in brown cloth with gilt lettering, text in Latin, interior is clean and bright, [full title of the work: Doctoris irrefragabilis Alexandri de Hales ordinis minorum Summa Theologica seu sic ab origine dicta "Summa fratris Alexandri", Tomus I: liber primus. Tomus II: prima pars secundi libri. Tomus III: secunda pars secundi libri. Tomus IV: liber tertius (prolegomena). Tomus IV: liber tertius (textus)], weight: 15kg., R118512
1922List2026N.P. 1922. Oblong 8vo wraps 9 x 6 inches. Rear wrap detached tears and chips to front wrap fine contents very good overall. Very Good. An uncommon first edition copy of Manuel Gomez Miralles’ photographic survey of Costa Rica. Miralles was one of Costa Rica’s most prolific photographers operating for many decades and this book is an early collection of his work. Miralles work is compositionally advanced and his large format images are reproduced effectively in the volume. This book was the only survey of Miralles’ work to appear in his lifetime and after his death his negatives were sold to a foreign photographer. We find no records of this book in the trade or auction records at the time of this listing. unknown
19424754Washington DC: El Coordinador de Asuntos Interamericanos 1942. Very good. Pictorial lithograph 20 x 14.25 inches printed in red gray yellow and black. Minor surface wear mild creasing light dust-soiling a few pinholes. A rare poster issued by the Office of the Coordinator of Inter-American Affairs CIAA during World War II attempting to sway public opinion in Latin America to the Allied side. The CIAA was established by executive order in July 1941 in order to distribute news advertising film reels and more to and from Latin America to counter Italian and German propaganda campaigns in the region. The text of the present poster translates from the Spanish as "Freedom of Speech. One of the four freedoms for which the Allies are fighting." The central image features an open-mouthed face breaking open a large swastika which is itself on fire. A mildly subtle message that free speech destroys fascism. The poster was designed by noted Russian-American graphic designer and photographer Alexey Brodovitch whose printed credit appears at top right; Brodovitch is most well-known for his art direction of Harper's Bazaar from 1934 to 1958. A powerful visual display with only one copy reported in OCLC at MOMA though we also find two other institutional holdings at the United States Holocaust Museum and the Hoover Institute. El Coordinador de Asuntos Interamericanos unknown
19393493Couverture rigide Philippe Gonin 1939 22,5x15 cm
1924R120445Ad Claras Aquas (Quaracchi), Ex typographia collegii S. Bonaventurae 1924-1948 Complete work [tomus I-IV, bound in 5 physical volumes]: xlv,769 + lxiv,801 + lviii,858 + ccclxx + ix,1170pp., title in red and black, 33cm., text printed in 2 columns, small stamp on title page, solid hardcover bindings in half-cloth (spines bit soiled, with a vague trace of a removed small label), decorated endpapers, text in Latin, interior is clean and bright, [full title of the work: Doctoris irrefragabilis Alexandri de Hales ordinis minorum Summa Theologica seu sic ab origine dicta "Summa fratris Alexandri", Tomus I: liber primus. Tomus II: prima pars secundi libri. Tomus III: secunda pars secundi libri. Tomus IV: liber tertius (prolegomena). Tomus IV: liber tertius (textus)], weight: 14kg., R120445
196787336Santiago: Editorial Cooperativa Lambda 1967. First Edition. Octavo 24cm. Coated card wrappers with French flaps; unpaginated 193pp; illus. Very light wear to covers; internally complete and clean but for a few faint pencil marginal markings by the previous owner the noted poet and translator Nathaniel Tarn. Near Fine. Text entirely in Spanish.<br /> <br /> A collaborative book-length work combining poetry and conceptual imagery; published anonymously but compiled and edited primarily by Chilean avant-garde poet Godofredo Iommi. "Amereida" a composite neologism for "American Aeneid" is a conceptual chronicle of a literal cross-country trek from Tierra del Fuego to Southern Bolivia undertaken in 1965 by a group of like-minded poets architects designers philosophers and artists including Iommi 1925-2001 the architect Alberto Cruz 1917-2013 sculptor Claudio Girola 1923-1994 French philosopher François Fédier 1935-2021 and numerous others. Many of the participants in this first "Travesia Amereida" had originally coalesced around the surrealist group in post-war Paris and were later responsible for modernizing the faculty and curriculum of the College of Architecture at the Universidad Católico de Valparaíso. In 1971 the group founded an intentional community the "Ciudad Abierta" "Open City" in Ritoque Chile some kilometers southwest of Valparaíso; the community is still in existence and the tradition of the "Travesias" continues with annual journeys through the South American wilderness that become stages for performance poetry readings and art installations. La Ciudad Abierta quoting the editorial introduction to the poem in the Oxford Book of Latin American Poetry ".is probably the only site in the world where architecture is conceived as an outgrowth of poetry" OBLAP p.362ff. The current volume nominally the community's founding document is notoriously scarce almost never encountered in commerce; OCLC locates only about a dozen holdings worldwide 8 in North America. Editorial Cooperativa Lambda unknown
1910CA01065 volumes: volume 1 Texto: xx607 pages with frontispiece portraits illustrations facsimiles maps and plates; volume 2 Documentos: 552 pages; volume 3 Vida de Ercilla: 337 pages with portraits illustrations and index; volumes 4-5 Illustrations: 512 pages with facsimile titles to the first publications; 559 pages with facsimile signatures plates and index. Folio 15" x 10 3/4" with original wrappers bound in to cloth binding. Compiled and arranged by Jose Toribio Medina. First edition.<br /><br />La Araucana is an epic poem in Spanish about the Spanish conquest of Chile by Alonso de Ercilla; it is also known in English as The Araucaniad. It was considered the national epic of the Kingdom of Chile and one of the most important works of the Spanish Golden Age Siglo de Oro. The poem consists of 37 cantos that are distributed across the poem's three parts. The first part was published in 1569; the second part appeared in 1578 when it was published with the first part; the third part was published with the first and second parts in 1589. The poem shows Ercilla to be a master of the octava real the complicated stanza in which many other Renaissance epics in Castilian were written. A difficult eight-line unit of 11-syllable verses that are linked by a tight rhyme scheme the octava real was a challenge few poets met. It had been adapted from Italian only in the 16th century and it produces resonant serious-sounding verse that is appropriate to epic themes. The work describes the initial phase of the Arauco War which was born as a Spanish conquests attempt not at all comparable in importance to those of Hernán Cortés who helped conquer the Aztec empire and Francisco Pizarro who initiated the overthrow the Inca empire. Contrary to the epic conventions of the time however Ercilla placed the lesser conquests of the Spanish in Chile at the core of his poem because the author was a participant in the conquest and the story is based on his experiences there. On scraps of paper in the lulls of fighting Ercilla jotted down versified octaves about the events of the war and his own part in it. These stanzas he later gathered together and augmented in number to form his epic. It was the first poem of its kind written by a participant in the course of the events narrated and the first to immortalize the beginnings of a modern country. In the minds of the Chilean people La Araucana is a kind of Iliad that exalts the heroism pride and contempt of pain and death of the legendary Araucanian leaders and makes them national heroes today. Thus we see Ercilla appealing to the concept of the "noble savage" which has its origins in classical authors and took on a new lease of life in the renaissance - c.f. Montaigne's essay Des Canibales and was destined to have wide literary currency in European literature two centuries later. He had in fact created a historical poem of the war in Chile which immediately inspired many imitations.<br /><br />La Araucana is deliberately literary and includes fantastical elements reminiscent of medieval stories of chivalry. The narrator is a participant in the story at the time a new development for Spanish literature. Influences include Orlando furioso by Ludovico Ariosto. Also features extended description of the natural landscape. La Araucana's successes—and weaknesses—as a poem stem from the uneasy coexistence of characters and situations drawn from Classical sources primarily Virgil and Lucan both translated into Spanish in the 16th century and Italian Renaissance poets Ludovico Ariosto and Torquato Tasso with material derived from the actions of contemporary Spaniards and Araucanians. The mixture of Classical and Araucanian motifs in La Araucana often strikes the modern reader as unusual but Ercilla's turning native peoples into ancient Greeks Romans or Carthaginians was a common practice of his time. For Ercilla the Araucanians were noble and brave—only lacking as their Classical counterparts did the Christian faith. Caupolicán the Indian warrior and chieftain who is the protagonist of Ercilla's poem has a panoply of Classical heroes behind him. His valour and nobility give La Araucana grandeur as does the poem's exaltation of the vanquished: the defeated Araucanians are the champions in this poem which was written by one of the victors a Spaniard. Ercilla's depiction of Caupolicán elevates La Araucana above the poem's structural defects and prosaic moments which occur toward the end when Ercilla follows Tasso too closely and the narrative strays from the author's lived experience. Ercilla the poet-soldier eventually emerges as the true hero of his own poem and he is the figure that gives the poem unity and strength. The story is considered to be the first or one of the first works of literature in the New World cf. Cabeza de Vaca's Naufragios—Shipwrecked or Castaways for its fantastical/religious elements it is arguable whether that is a "traveler's account" or actual literature; and Bernal DÃaz del Castillo's Historia verdadera de la conquista de Nueva España The Conquest of New Spain. La Araucana's more dramatic moments also became a source of plays. But the Renaissance epic is not a genre that has as a whole endured well and today Ercilla is little known and La Araucana is rarely read except by specialists and students of Spanish and Latin American literatures and of course in Chile where it is subject of special attention in the elementary schools education both in language and history. La Araucana makes Chile the only American country that was founded under the lights of an epic poem. <br /><br />Condition:<br /><br />Bound in red cloth with original wrappers bound in. Volume one first 15 pages closed tear at heal repaired back page fore edge repaired. A very good set. Imprenta elzeviriana hardcover books
1998EL429031998-2020 Hundreds of large coloured plates, royal 4to (24 x 34 cm), paperbound/printed wrappers. A very good and almost complete set of this sumptuous publication, as good as new. Supplement no. 2 never issued.
1967R96475Frankfurt/Main, Minerva 1967 Complete in 7 volumes ; xxxi,415,[ii] + xix,592 + xii,504 + xv,508 + xv,445 + xv,541 + xv,484,[i] pp., re-edition of the original 1900-1908-edition ("Unveränderter Nachdruk"), 27cm., uniform publisher's hardcover bindings in full cloth (gilt lettering on spines, corners slightly bumped, vague spot at lower end of spines), text in Latin, text printed in 2 columns, good condition, text and interior in very good condition, weight: 10kg., rare, R96475
1910CA01065 volumes: volume 1 Texto: xx607 pages with frontispiece portraits illustrations facsimiles maps and plates; volume 2 Documentos: 552 pages; volume 3 Vida de Ercilla: 337 pages with portraits illustrations and index; volumes 4-5 Illustrations: 512 pages with facsimile titles to the first publications; 559 pages with facsimile signatures plates and index. Folio 15" x 10 3/4" with original wrappers bound in to cloth binding. Compiled and arranged by Jose Toribio Medina. First edition.<br /><br />La Araucana is an epic poem in Spanish about the Spanish conquest of Chile by Alonso de Ercilla; it is also known in English as The Araucaniad. It was considered the national epic of the Kingdom of Chile and one of the most important works of the Spanish Golden Age Siglo de Oro. The poem consists of 37 cantos that are distributed across the poem's three parts. The first part was published in 1569; the second part appeared in 1578 when it was published with the first part; the third part was published with the first and second parts in 1589. The poem shows Ercilla to be a master of the octava real the complicated stanza in which many other Renaissance epics in Castilian were written. A difficult eight-line unit of 11-syllable verses that are linked by a tight rhyme scheme the octava real was a challenge few poets met. It had been adapted from Italian only in the 16th century and it produces resonant serious-sounding verse that is appropriate to epic themes. The work describes the initial phase of the Arauco War which was born as a Spanish conquests attempt not at all comparable in importance to those of Hernán Cortés who helped conquer the Aztec empire and Francisco Pizarro who initiated the overthrow the Inca empire. Contrary to the epic conventions of the time however Ercilla placed the lesser conquests of the Spanish in Chile at the core of his poem because the author was a participant in the conquest and the story is based on his experiences there. On scraps of paper in the lulls of fighting Ercilla jotted down versified octaves about the events of the war and his own part in it. These stanzas he later gathered together and augmented in number to form his epic. It was the first poem of its kind written by a participant in the course of the events narrated and the first to immortalize the beginnings of a modern country. In the minds of the Chilean people La Araucana is a kind of Iliad that exalts the heroism pride and contempt of pain and death of the legendary Araucanian leaders and makes them national heroes today. Thus we see Ercilla appealing to the concept of the "noble savage" which has its origins in classical authors and took on a new lease of life in the renaissance - c.f. Montaigne's essay Des Canibales and was destined to have wide literary currency in European literature two centuries later. He had in fact created a historical poem of the war in Chile which immediately inspired many imitations.<br /><br />La Araucana is deliberately literary and includes fantastical elements reminiscent of medieval stories of chivalry. The narrator is a participant in the story at the time a new development for Spanish literature. Influences include Orlando furioso by Ludovico Ariosto. Also features extended description of the natural landscape. La Araucana's successes—and weaknesses—as a poem stem from the uneasy coexistence of characters and situations drawn from Classical sources primarily Virgil and Lucan both translated into Spanish in the 16th century and Italian Renaissance poets Ludovico Ariosto and Torquato Tasso with material derived from the actions of contemporary Spaniards and Araucanians. The mixture of Classical and Araucanian motifs in La Araucana often strikes the modern reader as unusual but Ercilla's turning native peoples into ancient Greeks Romans or Carthaginians was a common practice of his time. For Ercilla the Araucanians were noble and brave—only lacking as their Classical counterparts did the Christian faith. Caupolicán the Indian warrior and chieftain who is the protagonist of Ercilla's poem has a panoply of Classical heroes behind him. His valour and nobility give La Araucana grandeur as does the poem's exaltation of the vanquished: the defeated Araucanians are the champions in this poem which was written by one of the victors a Spaniard. Ercilla's depiction of Caupolicán elevates La Araucana above the poem's structural defects and prosaic moments which occur toward the end when Ercilla follows Tasso too closely and the narrative strays from the author's lived experience. Ercilla the poet-soldier eventually emerges as the true hero of his own poem and he is the figure that gives the poem unity and strength. The story is considered to be the first or one of the first works of literature in the New World cf. Cabeza de Vaca's Naufragios—Shipwrecked or Castaways for its fantastical/religious elements it is arguable whether that is a "traveler's account" or actual literature; and Bernal Díaz del Castillo's Historia verdadera de la conquista de Nueva España The Conquest of New Spain. La Araucana's more dramatic moments also became a source of plays. But the Renaissance epic is not a genre that has as a whole endured well and today Ercilla is little known and La Araucana is rarely read except by specialists and students of Spanish and Latin American literatures and of course in Chile where it is subject of special attention in the elementary schools education both in language and history. La Araucana makes Chile the only American country that was founded under the lights of an epic poem. <br /><br />Condition:<br /><br />Bound in red cloth with original wrappers bound in. Volume one first 15 pages closed tear at heal repaired back page fore edge repaired. A very good set. Imprenta elzeviriana hardcover
1932H96670Insulae Liri, ex Offic. Typogr. A. Macioce e Pisani 1932 451pp., with autograph inscription in black ink on first blanco endpaper: "Donum Sanctitatis Suae Pii Papae XI Episcopo Harlemensi J.D.J. Aengenent in audientia illi concessa, die 3a Novembr. 1932", PAPAL BINDING : red full-leather hardcover binding, gilt blind-tooled decorations on boards, papal coat of arms (of Pius XI) on front board, gilt title on spine, gilt tooled decorated doublure margins, all edges gilt, endpapers with flower design, small wormhole on lower end of front joint, few marginal stains on cover, 32cm., text in Latin, text clean and bright, very good condition, [This copy was presented by pope Pius XI to the bishop of Haarlem (Netherlands) Joannes Aengenent, during his audiency on the 3rd of November 1932 (cfr. inscription)], H96670
1912CCC-793edition the mining magazine 1912. Reliure vélin moderne. Pages propres et non marquées. In-4 (22 cm X 35 cm), 637 pages, le livre est en tres bon etat, Introduction biographique, annotations et annexes sur le développement des méthodes minières, des procédés métallurgiques, de la géologie, de la minéralogie et du droit minier depuis les premiers temps jusqu'au XVIe siècle. Ce volume est la 1ère traduction anglaise du De Re Metallica, publié en privé par abonnement. Il a été traduit par le futur président Herbert Hoover, un ingénieur des mines, et son épouse, Lou Henry Hoover, un géologue et un érudit classique. Le contenu du livre est divisé en 12 livres: Livre I: Arguments pour et contre cet art; Livre II: Le mineur et un discours sur la découverte des veines; Livre III: Veines et limons et coutures dans les rochers; Livre IV: Délimiter les veines et les fonctions des agents miniers; Livre V: Le creusement du minerai et l'art de l'arpenteur; Livre VI: Les outils et les machines des mineurs; Livre VII: Sur le dosage du minerai; Livre VIII: Rôtissage, concassage et lavage des minerais; Livre IX: Méthodes de fusion des minerais; Livre X: Séparer l'argent de l'or et le plomb de l'or ou de l'argent; Livre XI: Séparer l'argent du cuivre; Livre XII: Fabrication du sel, de la soude, de l'alun, du vitriol, du soufre, du bitume et du verre. Photos possibles
1962000628Paris Tartas 1962
1909RO40261906Analecta Ecclesiastica, Romae. 1893-1909. In-4. Relié demi-cuir. Etat d'usage, Coins frottés, Dos frotté, Intérieur acceptable. 18 volumes (tomes). Texte principalement en latin, mais aussi en français. Titres, tomaisons, bandeaux et filets dorés sur les dos. Grands In-4°. Epidermures sur les dos.. . . . Classification Dewey : 470-Langues italiques. Latin
1967ZB642996University of Kansas. Center of Latin American Studies 1967. Volumes 1-18 partly bound minor library markings else text clean & bindings tight. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. University of Kansas. Center of Latin American Studies unknown
1969TBLrnBIB63Geneva: Éditions De l'Institut D'Histoire De L'Art Du Moyen Age 1969. 1969. 2 Volumes. 8vo. pp. 2 p.l. ix-xiv 1 leaf 316 1 leaf. numerous text illus. after the woodcuts by Bernard Salomon. the porfolio volume containing 40 woodcuts on china paper loose in paper folder with list of illus. loose in binding. full antique-style blind-stamped vellum over heavy bds. small nick on one cover otherwise fine. in slightly damaged slipcase. Limited to 390 numbered copies plus 10 'hors-commerce' on 'Ingres d'Arches'. The French and Latin texts are taken from the Bibles publlished by Jean de Tournes at Lyon in 1554. René Loche wrote the introduction and compiled the tables relatiing to the occurrence of the Salomon cuts in the various De Tournes editions pp. 249-316 which are adapted from Cartier's bibliography of that printer's works. The photographs of the Salomon woodcuts were executed by Yves Siza from 'The true and lyvely historyke purtreatures of the woll Bible' 1553 'Quadrins historiques de la Bible' 1560 and 'Quadrins historiques de la Bible' 1583. The text was printed in Garamond types by Étienne Braillard and the binding was executed by Henri Donzel in Geneva. The woodcuts on china paper in the separate portfolio were pulled from the original Salomon blocks belonging to the Musée d'Art et d'Histoire de Genève. [Geneva: Éditions De l'Institut D'Histoire De L'Art Du Moyen Age, 1969]. hardcover
1976ZB393682Athens 1976-1984. numbers 1-17 an uninterrupted run in original paper wrappers minor ownership markings overall very good; sold as a lot only. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. Athens unknown
19269150Waltham St Lawrence: The Golden Cockerel Press 1926. Limited edition number 180 of 250 copies of a beautifully achieved piece of Biblical private press printing from the 1920s illustrated by Eric Gill. Cream buckram clean and fresh; pages unopened along top fold; gutter visible between pages 8 and 9; limitation statement numbered in black ink with cockerel emblem. A very good copy. Gill contributes two full page and four vignette illustrations. Initial letters printed in red. The jacket is chipped and worn fair only but has done an excellent job protecting the book itself. Please contact Christian White Rare Books Ltd for more information or images of this item 1926 The Golden Cockerel Press hardcover
1932CA0246Description:<br /><br />3 volumes. xxix-574 pages with 4 folding maps; 466 pages with folding coats of arms 6 folding native illustrations and map; 469 pages with 2 coats of arms one folding and 6 folding native illustrations. Royal octavo 9 1/2" x 7" bound in three quarter blue leather with raised spine bands and gilt lettering to spine. Introduction by Rafael Lopez. From the library of George Foster. Publicaciones del Archivo General de la Nacion volume XVII XVIII and XIX.<br /><br />There are only meager biographical data about Pablo de la PurÃsima Concepción Beaumont whose work is a major source on Michoacán. Despite its title "Chronicle of the Holy Apostles St Peter and St Paul of Michoacán" Beaumont's work in fact spans a much greater area including much of western Mexico northward to New Mexico and tending toward a general history. It provides details to 1565. Beaumont divided his total work into tow major parts the firs or Aparato intended to be introductory to the second or the Crónica proper. the first seems complete but the second was never finished. The Aparato takes up fully a third of the extant Beaumont work although nominally introductory. It deals with the discovery of America and the conquest of Mexico to the year 1521. It was twice published before appearance of the total work. Far more valuable is the Crónica. It consists of two books and one chapter of book 3. Beaumont drew on a wide variety of sources. He tell us us that he gathered a large quantity of manuscripts from various Franciscan archives as well as listing 30 standard writers in printed sources. He gives full copies of some of his documents of which several have since disappeared. He speaks of obtaining a native painting possibly from which his illustrations came. These paintings show incidents of the first visits of Spaniards to Michoacán there reception by Tarascans labors of the Franciscans coats of arms of principal cities of Michoacán. It is usually through that Beaumont composed his work around 1777. That is the last date in the later copies of the original manuscript. Unfortunately his original manuscript is lost. It was copied in Mexico City around 1792 to for volumes 7-11 of a 32 volume Collection of Memories on New Spain ordered by Viceroy Conde de Revilla Gigedo and compiled by Manuel de la Vega. Three partially complete sets of these Vega Memorias are known; from one or another of them come other recopied manuscript copies as well as the printed versions. Editions of the work have a somewhat unfortunate publishing history. In 1826 Bustamante published an incomplete and useless edition of the Aparato attributing it to Vega who had owned the manuscript Bustamante used. In 1873-74 a five volume edition of both Aparato and Crónica appeared in Mexico; it lacks the Indian drawings and was based on a secondary manuscript copy made b y J F Ramirez that then belonged to Alfredo Chavero. A three volume version was published by the National Archives of Mexico in 1932 based on their copy of the 1792 collection of Memorias; it contains the Indian drawings and an introduction by Rafael Lopez. The text seems slightly corrupt but it may be near the original as Beaumont said his Spanish was defective owing to his Parisian rearing.<br /><br /> George McClelland Foster Jr born in Sioux Falls South Dakota on October 9 1913 died on May 18 2006 at his home in the hills above the campus of the University of California Berkeley where he served as a professor from 1953 to his retirement in 1979 when he became professor emeritus. His contributions to anthropological theory and practice still challenge us; in more than 300 publications his writings encompass a wide diversity of topics including acculturation long-term fieldwork peasant economies pottery making public health social structure symbolic systems technological change theories of illness and wellness humoral medicine in Latin America and worldview. The quantity quality and long-term value of his scholarly work led to his election to the National Academy of Sciences in 1976. Virtually all of his major publications have been reprinted and/or translated. Provenance from the executor of Foster's library laid in.<br /><br />Condition:<br /><br />Some underlining in pencil through out by Foster. Foster's date of acquire on front paste down early owner's name on front end paper. some light soiling and rubbing to extremities else a very good set. Talleres Graficos de la Nacion hardcover books
1932CA02463 volumes. xxix-574 pages with 4 folding maps; 466 pages with folding coats of arms 6 folding native illustrations and map; 469 pages with 2 coats of arms one folding and 6 folding native illustrations. Royal octavo 9 1/2" x 7" bound in three quarter blue leather with raised spine bands and gilt lettering to spine. Introduction by Rafael Lopez. From the library of George Foster. Publicaciones del Archivo General de la Nacion volume XVII XVIII and XIX.<br /><br />There are only meager biographical data about Pablo de la Purísima Concepción Beaumont whose work is a major source on Michoacán. Despite its title "Chronicle of the Holy Apostles St Peter and St Paul of Michoacán" Beaumont's work in fact spans a much greater area including much of western Mexico northward to New Mexico and tending toward a general history. It provides details to 1565. Beaumont divided his total work into tow major parts the firs or Aparato intended to be introductory to the second or the Crónica proper. the first seems complete but the second was never finished. The Aparato takes up fully a third of the extant Beaumont work although nominally introductory. It deals with the discovery of America and the conquest of Mexico to the year 1521. It was twice published before appearance of the total work. Far more valuable is the Crónica. It consists of two books and one chapter of book 3. Beaumont drew on a wide variety of sources. He tell us us that he gathered a large quantity of manuscripts from various Franciscan archives as well as listing 30 standard writers in printed sources. He gives full copies of some of his documents of which several have since disappeared. He speaks of obtaining a native painting possibly from which his illustrations came. These paintings show incidents of the first visits of Spaniards to Michoacán there reception by Tarascans labors of the Franciscans coats of arms of principal cities of Michoacán. It is usually through that Beaumont composed his work around 1777. That is the last date in the later copies of the original manuscript. Unfortunately his original manuscript is lost. It was copied in Mexico City around 1792 to for volumes 7-11 of a 32 volume Collection of Memories on New Spain ordered by Viceroy Conde de Revilla Gigedo and compiled by Manuel de la Vega. Three partially complete sets of these Vega Memorias are known; from one or another of them come other recopied manuscript copies as well as the printed versions. Editions of the work have a somewhat unfortunate publishing history. In 1826 Bustamante published an incomplete and useless edition of the Aparato attributing it to Vega who had owned the manuscript Bustamante used. In 1873-74 a five volume edition of both Aparato and Crónica appeared in Mexico; it lacks the Indian drawings and was based on a secondary manuscript copy made b y J F Ramirez that then belonged to Alfredo Chavero. A three volume version was published by the National Archives of Mexico in 1932 based on their copy of the 1792 collection of Memorias; it contains the Indian drawings and an introduction by Rafael Lopez. The text seems slightly corrupt but it may be near the original as Beaumont said his Spanish was defective owing to his Parisian rearing.<br /><br />George McClelland Foster Jr born in Sioux Falls South Dakota on October 9 1913 died on May 18 2006 at his home in the hills above the campus of the University of California Berkeley where he served as a professor from 1953 to his retirement in 1979 when he became professor emeritus. His contributions to anthropological theory and practice still challenge us; in more than 300 publications his writings encompass a wide diversity of topics including acculturation long-term fieldwork peasant economies pottery making public health social structure symbolic systems technological change theories of illness and wellness humoral medicine in Latin America and worldview. The quantity quality and long-term value of his scholarly work led to his election to the National Academy of Sciences in 1976. Virtually all of his major publications have been reprinted and/or translated. Provenance from the executor of Foster's library laid in.<br /><br />Condition:<br /><br />Some underlining in pencil through out by Foster. Foster's date of acquire on front paste down early owner's name on front end paper. some light soiling and rubbing to extremities else a very good set.<br /><br /> Talleres Graficos de la Nacion hardcover
1986229746<p>First edition thus. 4to. Woodcuts by Antonio Frasconi. Original red cloth with large tan pictorial board for a front cover. Enclosed in the original publisher's red cloth drop box with tan board for a front cover. Fine fresh copy. No signatures or bookplates. Number 11 of 40 numbered copies on handmade paper signed by David M. Guss and Antonio Frasconi on the colophon page. Original publisher's prospectus laid in loose. Hardcover. Fine/No Jacket.</p> Turkey Press hardcover books
1976G116100Leuven, Leuven University Press 1976-2001 Complete series in 6 volumes, 2440 + ix,231 pp. (continuous pagination in volumes 1 to 5), 25cm., text in Latin, published in the series "Symbolae Facultatis Litterarum et Philosophiae Lovaniensis" Series A volume 3, uniform publisher's hardcover bindings in blue cloth, gilt lettering at spines, text is clean and bright, few small stamps at verso of title pages, else in very good condition, rare complete set, weight: 5kg., [Content: Volume I: Litterae A-I, Volume II: Litterae L-V, Ignoti-Incerti, Volume III: Indices, Volume IV: Supplementum I, Volume V: Supplementum II, VI: Laterculi alarum, cohortium, legionum], G116100
