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Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
Acquaforte stampata in verde / blu, tratta da The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Poco dopo la sconfitta dell'armata spagnola del 1588, Lord Howard of Effingham, comandante della flotta britannica, commissionò a Robert Adams la produzione di una serie di disegni che rappresentavano le varie fasi dell'azione; poi commissionò H.C. Vroom la realizzazione di una serie di disegni per arazzi, basati sul lavoro di Adams. Le tele furono tessute da Francis Spiring di Haarlem. Alcuni anni dopo, i disegni furono venduti a Giacomo I e, successivamente, arredarono le pareti della Camera dei Lord. Tutti gli arazzi, tranne uno rubato precedentemente, furono bruciati, insieme a gran parte del Palazzo di Westminster nel 1834. La grande opera di Pine che raffigura questa famosa battaglia navale è, ora, di grande importanza storica. A parte il notevole dettaglio dell'incisione e la ricchezza dell'invenzione nei vari cartigli, l'uso contenuto dell'inchiostro colorato per stampare la superficie della lastra produce un effetto sorprendentemente attraente e rappresenta un importante esempio primordiale della stampa a colori per le illustrazioni. Bellissimo esemplare, stampato su carta vergata coeva, con pieni margini, in ottimo stato di conservazione. Etching printed in green/blue, taken from The tapestry hangings of the House of Lords: representing the several engagements between the English and Spanish fleets, in the ever memorable year MDLXXXVIII, with the portraits of the Lord High-Admiral, and the other noble commanders, taken from the life. To which are added, from a book entitled, Expeditionis Hispanorum in Angliam Vera Descriptio, A.D. 1588, done, as is supposed, for the said tapestry to be work'd after, ten charts of the sea-coasts of England, and a general one of England, Scotland, Ireland, France, Holland, &c. shewing the places of action between the two fleets; ornaments with medals struck upon the occasion, and other suitable devices. Also an historical account of each day's action, collected from the most authentic manuscripts and writers. By John Pine, engraver. London, MDCCXXXIX. Sold by J. Pine in Old Bond Street near Picadilly. Shortly after the defeat of the Spanish “Armada” in 1588, Lord Howard of Effingham, commander of the British Fleet, commissioned Robert Adams to produce a series of charts representing the various phases of the action and then H.C. Vroom to produce a series of designs for tapestries, based on the work of Adams. They were woven by Francis Spiring of Haarlem. Some years later, they were sold to James I and eventually came to furnish the walls of the House of Lords. All the tapestries, except one stolen at an earlier date and now lost, were burned in the fire that destroyed most of the Palace of Westminster in 1834. Pine's great work depicting this famous naval battle is therefore now of great historical importance. Apart from the remarkable detail of the engraving and the wealth of invention in the various cartouches, the restrained use of coloured ink to print the plate surface produces a strikingly attractive effect, and represents a very early example of the colour-printing of illustrations. T.Clayton, 'The English Print 1688-1802', New Haven and London, 1997, pp.87; Berlin Catalogue 1677.
First edition, 3 vols., folio, [4], v-xiv, [1], ii-cviii, [22], 7-714; [2], iii-xvi, 860; [2], iii-viii, 702, [1] ii-ccxxxpp., 97 engraved plates, 2 large folding maps, 13 facsimile leaves, 13 folding pedigrees, some light staining to frontis and title to vol. II with repairs, some occasional scattered foxing, several plate lightly offset, cont. full Russia leather, marbled boards, spines gilt tooled extra, slight stain to head of vol. I, a couple of short cracks to joints, lightly rubbed, a.e.g. a handsome set. Provenance: Signature of "William Hardman, Norbiton Hall, 1867" to title-page on vol. I; Bookplate of James S. Burgett to front paste-down. Upcott III, pp. 1209-1216.
10 volumes, 8vo, half titles, vignette titles and one engraved vignette to the first page of each volume (the vignettes in the Pearch publication by Isaac Taylor), very handsomely leather bound in uniform full period eighteenth century calf with red and black leather lettering labels. A clean and complete set of this renown and much published anthologies. Provenance: Contemporary armorial bookplate of Thomas Parker.
Very Good Turkish, Ottoman (1500-1928) Contemporary burgundy cloth. Cr. 8vo. (20 x 14 cm). In Ottoman script (Turkish with Arabic letters). 223 p., 224 p. (Two books bound together with 'Düsünce fikrinin gayr-i matbua' es'arindan'). Extremely rare first Turkish edition of Shakespeare's 'Antony and Cleopatra', translated by Abdullah Cevdet, (1869-1932). This is the last translation of Shakespeare into Turkish language made by Abdullah Cevdet. Cevdet translated and published five of Shakespeare's plays in his own printing house first in Cairo and then in Istanbul, beginning with Hamlet in 1908 and ending the series with Antony and Cleopatra in 1921. OCLC 66685311, 907298598. Library of Congress. Karl Süssheim Collection, no. 605.
Very Good Turkish, Ottoman (1500-1928) In a contemporary creme cloth. Cr. 8vo. (19 x 14 cm). In Ottoman script (Old Turkish with Arabic letters). 165 p. Kütüphane-i Ictihad, Aded, 20. First Turkish edition of Julius Caesar by Shakespeare. Between 1908 and 1910, Abdullah Cevdet produced a large oeuvre of translations, including four translations of Shakespeare's tragedies: The translations of Hamlet and Julius Caesar (translated by Cevdet as Jül Sezar) were published in 1908, the same year as the declaration of the Second Constitution. [.] Nonetheless, Abdülhamid II seemed to be even less tolerant of the dissemination of Hamlet, Macbeth, and Julius Caesar, since they were about unjust rulers who were executed in the end. It is not surprising that the performances of these plays were subject to strict censorship in the Ottoman lands and banned (Paker 1986: 91). This could be shown as a reason why Abdullah Cevdet was able to publish the translations of these plays only after 1908, though he had finished translating Hamlet in 1902, Julius Caesar and Macbeth in 1904, and Romeo and Juliet in 1905 (Süssheim 1987). Due to the fact that Abdullah Cevdet was a culture-planner, his literary translations cannot only be judged on their "aesthetic" level. It will be discussed in this chapter that Abdullah Cevdet's translations of Hamlet, Julius Caesar, and Macbeth could be read as critical texts directed against Abdülhamid II's absolutist regime. Due to the fact that the selection of source language and culture is an important factor in accounting for any kind of "translation policy", Abdullah Cevdet's selection of source language and culture needs to be questioned (Toury 2000: 202). Even though Abdullah Cevdet does not include Julius Caesar (translated by Abdullah Cevdet with the title Jül Sezar) among what he calls "the four inauspicious tragedies", it was the only play for which Abdullah Cevdet wrote an impressive preface, and it was the second play he translated and published after Hamlet. In a sense, special importance was attributed to Julius Caesar by Abdullah Cevdet for ideological reasons and it was also highly esteemed by other revolutionaries in the Union and Progress Party (Enginün 1979: 119). Abdullah Cevdet was an Ottoman-born Turkish intellectual and physician of ethnic Kurdish descent. He was one of the founders of the Committee of Union and Progress (CUP). In 1908, he joined the Democratic Party, which later on merged with the Freedom and Accord Party in 1911. He was also a translator, radical free-thinker, and an ideologist of the Young Turks until 1908. The son of a physician, and himself a graduate from the Military College in Constantinople as an ophthalmologist, Cevdet, initially a pious Muslim, was influenced by Western materialistic philosophies and came to oppose institutionalized religion, but thought that "although the Muslim God was of no use in the modern era, the Islamic society must preserve Islamic principles". He published the periodical Içtihat from 1904-1932, in which articles he used to promote his modernist thoughts. He was arrested and expelled from his country several times due to his political activities and lived in Europe, in cities including Vienna, Geneva and Paris. His poetry was linked with the Symbolist movement in France, and he received accolades from leading French authors like Gustave Kahn. Özege 9788. Four institutional copies in OCLC: 4026865.
Very Good Turkish, Ottoman (1500-1928) In modern, handsome full brown morocco. Foolscap 8vo. (18 x 12.5 cm). In Ottoman script (Old Turkish with Arabic letters). 159 p. Extremely rare first Turkish translation of Macbeth, printed in Ottoman Cairo. Macbeth reflected Abdullah Cevdet's reaction against Hamidian despotism and his love and advocacy of liberty. One must also remember him as one of the founding members of the Party of Union and Progress - a secret organization that conspired to overthrow Abdülhamid's absolutist regime. The argument that Abdullah Cevdet's translation of Hamlet, Julius Caesar and Macbeth reflected his opposition to Abdülhamid II's absolute monarchy could be justified with the fact that the themes of the translated plays were perceived by the political authorities as threatening since they were about the murder of kings and heads of state. In Abdullah Cevdet's view, Macbeth is famous as a drama of "ambition for status" (hirs-i cah). Abdullah Cevdet was an Ottoman-born Turkish intellectual and physician of Kurdish ethnic descent, and one of the founders of the Committee of Union and Progress (CUP). In 1908, he joined the Democratic Party that later on merged with the Freedom and Accord Party in 1911. He was also a translator, radical free-thinker, and ideologist of the Young Turks until 1908. The son of a physician, and himself a graduate from the Military College in Constantinople as an ophthalmologist, Cevdet, initially a pious Muslim, was influenced by Western materialistic philosophies and came to oppose institutionalized religion but thought that "although the Muslim God was of no use in the modern era, the Islamic society must preserve Islamic principles." He published the periodical Içtihat from 1904 to 1932, of which articles he used to promote his modernist thoughts. He was arrested and expelled from his country several times due to his political activities and lived in European cities including Vienna, Geneva and Paris. His poetry was linked with the Symbolist movement in France and he received accolades from leading French authors like Gustave Kahn. (Source: DR. ABDULLAH CEVDET'S TRANSLATIONS (1908-1910): THE MAKING OF A WESTERNIST AND MATERIALIST "CULTURE REPERTOIRE" IN A "RESISTANT" OTTOMAN CONTEXT; Ayluçtarhan, Sevda). "Between 1908 and 1910, Abdullah Cevdet produced a large oeuvre of translations, including four translations of Shakespeare's tragedies: The translations of Hamlet and Julius Caesar (translated by Cevdet as Jül Sezar) were published in 1908, the same year as the declaration of the Second Constitution. Macbeth, translated by Cevdet as Makbes, was published in the following year. [.] Nonetheless, Abdülhamid II seemed to be even less tolerant of the dissemination of Hamlet, Macbeth, and Julius Caesar, since they were all about unjust rulers who were executed in the end. It is not surprising that the performances of these plays became subject to strict censorship in the Ottoman lands and banned (Paker 1986: 91). This could be shown as a reason why Abdullah Cevdet was able to publish the translations of these plays only after 1908, though he had finished translating Hamlet in 1902, Julius Caesar and Macbeth in 1904, and Romeo and Juliet in 1905 (Süssheim 1987). As Abdullah Cevdet was a planner of culture, his literary translations cannot merely be judged on an "aesthetic" level. It will be discussed in this chapter that Abdullah Cevdet's translations of Hamlet, Julius Caesar and Macbeth could be read as critical texts directed against Abdülhamid II's absolutist regime. [.] Due to the fact that the selection of source language and culture is an important factor in accounting for any kind of "translation policy", Abdullah Cevdet's selection of both these instruments needs to be taken into account (Toury 2000: 202). Özege 12009. Only one copy in OCLC: 949612474 (Bogaziçi University Library of Turkey).
Very Good Turkish, Ottoman (1500-1928) Full morocco in Ottoman style. Foolscap 8vo. (18,5 x 12 cm). In Ottoman script (Old Turkish with Arabic letters). 176 p. Extremely rare first Turkish translation of the Merchant of Venice by Shakespeare in book form. The Merchant of Venice (1885) and The Comedy of Errors (1886-87) were the earliest translations into Turkish by Hasan Sirri, which had the chance to be published in book form. Translators in the Ottoman era had to cope with three obstacles: cultural differences, difficulty in language, and censorship. Shakespeare's works were no exception, as Gönül Bakay argues "the early, Ottoman-period translators and producers expunged the negative imagery" (2004: np) of the Turks in his plays. Even The Merchant of Venice was banned because "it was believed that the theme would offend the Empire's (after 1923, the Republic's) Jewish population". The first play fully translated for print was actually the Merchant of Venice, published in 1885 in Turkish (Arabic letters - Ottoman script). There is a good deal of conjecture about the name of the translator: Only two initials appear on the book, H. and I. now claimed to be the first letter of the first name and the last letter of the last name of a Hasan Sirri. The translator of this book Örikagasizâde Hasan Sirri, (1861-1939), was an administrator and educator who grew up during the reign of Abdulhamid II and was in state service for almost forty years. He was the son of Turkish diwan poet Ahmet Nafiz Pasha and the father of author Nahid Sirri Örik. Özege 22638.; Only three copies in OCLC: 929866546 (NY Uni Lib.; Bogaziçi Uni Lib.; and Library of Congress. Karl Su?ssheim Collection, no. 1527).
TWELVE VOLUMES. LARGE PAPER EDITION. PLATES IN PROOF STATE. Twelve volumes, illustrated with 240 engraved plates, in their proof state, printed on light paper and mounted to heavier sheets. Each with a protective sheet. Some slight foxing and browning. 313 x 250 mm. All edges gold gilt. Contemporary full dark red morocco bindings. Covers decorated with an interesting wide gold architectural frame. Spines decoratively tooled in a similar manner and lettered in gold. Bindings slightly rubbed. Sir Walter Scott praised this great work of Lodge as "a collection which at once satisfies the imagination and the understanding, showing us. how the most distinguished of our ancestors looked, moved and dressed, and. how they thought, acted, lived, and died" - Allibone 1120. The portraits and biographical sketches include the most important figures in English history, literature, and cultural development. The original paintings were usually from life and executed by some of the greatest artists of the times: Holbein; Titian; Van Dyke; Reynolds; Gainsborough; Kneller; etc. Some of the famous engravers who contributed to the work include: James Thomson (1788-1850); Samuel Freeman (1773-1857); John Cochran; William Thomas Fry; William Holl (1807-1871); W.H. Mote; and many others. This format in large paper with mounted proof plates is most uncommon. Hardbound. Very good. Lowndes V:1381-2. *PRICE JUST REDUCED! W139
Very Good Turkish, Ottoman (1500-1928) Paperback. Foolscap 8vo. (18 x 12 cm). In Ottoman script. 38 p., 1 b/w portrait of Byron. A heavy tear on the back cover. The Prisoner of Chillon is a 392-line narrative poem by Lord Byron. Written in 1816, it chronicles the imprisonment of a Genevois monk, François Bonivard, from 1532 to 1536. After almost 100 years later, this poem was translated into the Ottoman Turkish by Abdullah Cevdet firstly printed in Geneva. Abdullah Cevdet, (1869-1932), was a leading Ottoman/Turkish free-thinker, materialist, and Westernizer. He was born in the town of Arapgir in Ma?muret?ül-Azîz Province of the Ottoman Empire and grew up in a pious, lower-middle-class Muslim household, where he received a strict religious education. His father's stubborn refusal of smallpox vaccination left him pockmarked for life and contributed to his eventual gravitation towards scientism. Abdullah Cevdet graduated from the Military Middle School in Ma'muret'ül-Azîz in 1885, and then entered the Kuleli Military Medical Preparatory School in Istanbul. Three years later, he enrolled in the Royal Military Medical Academy. At this time, he was still very religious; one of his early poetry books from this period includes a glowing "Na't-i Serif," a eulogy for the Prophet Mu?ammad. However, like many other cadets, Abdullah Cevdet's views underwent a drastic transformation in the academy, where he became an ardent scientistic thinker and materialist. Here he produced his first translations from major works of German Vulgärmaterialismus, such as Ludwig Büchner's Kraft und Stoff and Aus Natur und Wissenschaft. He continued to translate from European writers up until his death, including Vittorio Alfieri, Émile Boutmy, Lord (or George Gordon) Byron, Jean-Marie Guyau, Baron (or Paul-Henri Dietrich) d'Holbach, Friedrich von Schiller, William Shakespeare, and François-Marie Arouet (Voltaire). One of his most important contributions to Ottoman and Turkish intellectual debate was the translation of Gustave Le Bon's writings into Turkish and the introduction of his elitist ideas to the Ottoman elite. Abdullah Cevdet also continued to write poetry throughout his life. Although the poems he wrote in the academy bore strong Parnassian influences, his later work was increasingly Symbolist in nature. He also translated the Persian poetry of Khayyâm into Turkish. (Source: Oxford Islamic Studies Online; Cevdet, Abdullah). Özege 18963.; TBTK 7035. OCLC 754957413 (Not found an institutional copy in OCLC). First Edition. Extremely rare.
First English edition, 2 parts in one, folio (290 x 190 mm), 2 vols., in one, [26], 162, 175, [5], 40, [8], 41-156, 153-236pp, additional engraved title to first volume, by Renold Elstracke, woodcut decorative initials and head-pieces, separate printed title page to part two, engraved title soiled, repair to blank margin and slight fraying to margins, a couple of small worm pin holes throughout, slightly larger worm track to final 20 leaves, light water-staining to upper portion of leaves towards the end of part one, penultimate leaf to part two creased with closed tear repair, terminal leaf with loss to upper and lower corners effecting several lines of text, repaired with archival paper, nineteenth-century half reversed calf, marbled boards. Wing, B2936.
Silografia stampata in bruno, 1763, firmata e datata in tavola in basso a destra.Da un disegno di Luca Cambiaso, prima nella collezione Fawkener (come indicato nell'opera in basso al centro), ora al British Museum.Magnifica prova, impressa su due grandi fogli di carta vergata coeva, con margini, in perfetto stato di conservazione.L'opera è parte della raccolta di Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors', edita a Londra da John Boydell e altri nel 1778. Le tavole che sono contenute nell'opera riproducono a grandezza naturale e con gli stessi colori, una serie di disegni antichi nella collezione del Rogers. Woodcut printed in brown, 1763, signed at lower right.After a drawing by Luca Cambiaso, at that time in the Fawkener's collection and now at the British Museum.A fine impression, printed on two large sheet of contemporary laid paper, with margins, perfect condition.The work is part of Charles Rogers, 'A Collection of Prints in Imitation of Drawings. To which are annexed lives of their authors'. London: printed by J. Nichols, and sold by John Boydell, Benjamin White, and Peter Molini, 1778.The plates, which use a wide variety of techniques, show some old master drawings in Rogers's own collection. His preface states: 'That these prints may be faithful imitations, they are engraved the same way as, as well as the same size, as the Originals are drawn; and printed, as nearly as possible, in the same colours'
SIGNED BY JOHN STEINBECK with short dedication. RARE SIGNED COPY of the early Steinbeck novel 'Tortilla Flat' with the author's original inscription and autograph on the endpaper. This edition features several b&w illustrations by Ruth Stiles Gannett Kahn. 195x165mm. 316 pages. Orange cloth hardcover with blue lettering on spine. Cover slightly worn. Two small and faint stains on front cover. Cover corners slightly bumped. Small bump mark on spine. Spine edges tattered. Pages yellowing. Page edges rough-cut as published. [SUMMARY]: This precious, beautifully illustrated edition of Steinbeck's novel, signed and dedicated by the author, is in good condition.
FIRST EDITION OF THE ALLITERATIVE MORTE ARTHURE, one of the great monuments of Arthurian literature and of Medieval English literature. This poem, like Gawain and the Green Knight, is part of the late Medieval literary movement now called the "alliterative revival". According to Larry Benson, the most recent editor of this poem, the Alliterative Morte Arthure "lacks the delicacy and balance of Sir Gawain and the Green Knight, but the vigor of its narrative, the epic sweep of its action, and its coolly realistic presentation of fourteenth-century warfare lend the poem an interest of its own." EDITION LIMITED TO JUST 75 COPIES, each numbered and signed by the printer, of which THIS IS ONE OF ONLY 50 COPIES PRINTED ON THIN PAPER. Beautifully printed in large, attractive type on fine wove paper, with large margins. Frontispiece engraving by F. W. Fairholt after a manuscript miniature depicting the Round Table. Large 4to. Bound in original cloth, beautifully decorated in blind. Uncut. Professionally recased, with original endpapers preserved. Frontispiece discolored (as always, because of paper used) and a bit stained. Otherwise FINE AND BRIGHT. A legendary rarity, in its original binding. Extremely rare and important. sxxi
FIRST EDITION of this extremely important Middle English romance. xvii, 1, 46 pp. plus 8 leaves (printed rectos only) of fine facsimiles from Wynkyn de Worde's printed edition of a much later version of the same romance. Beautifully printed on fine laid paper for members of the Abbotsford Club. FEWER THAN 100 COPIES PRINTED. 4to. Bound in the original watered silk boards. Traces of wear to binding, else FINE AND BRIGHT. Rare and important.
5 Vols., 4to (268 x 180 mm), limited to 130, frontis., portrait, a very good ex-library set, later red quarter calf, cloth boards. Huth's collection, which ranked among the finest in England, was rich in incunabula, voyages, Shakespearean and early English literature, and Bibles. He began compiling this catalogue late in life, but finding it too time-consuming, he employed W.C. Hazlitt and F. S. Ellis to do most of the work. "With the assistance of Ellis and Hazlitt, Huth had started printing a magnificent catalogue of his library, with full titles of every item and exact collations, both entirely novel features in a library catalogue. The work was completed in five volumes two years after his death and has remained... a corner-stone of British bibliography." De Ricci, p. 151.
6 volumes, 8vo, large paper?, illustrated with 2 of 3 frontispieces and an engraved letter, handsomely bound in a full period straight grained green morocco, floral gilt decoration in compartments, Greek key inner dentelles and gilt edges. Anna Seward 1742-1809 was an English poet, often called the Swan of Lichfield. She benefited from her father's progressive views on female education. Provenance: Small armorial on the boards Impiger et Fidus - family of David Constable and signed by the publisher Archibald Constable, Edinburgh on the endpaper.
FIRST EDITION OF THIS EXCERPT OF THE CHRONICON SYRIACUM DEALING WITH RICHARD THE LION-HEART'S DEEDS IN THE HOLY LAND (often involving Saladin), WRITTEN BY GREGORY BAR HEBRAEUS, widely regarded as a highly reliable source. 20, XI pp. Syriac text and Latin translation. BEAUTIFULLY PRINTED AT THE CLARENDON PRESS WITH ELEGANT SYRIAC AND ROMAN TYPES ON EXTREMELY FINE, THICK LAID PAPER, WITH HUGE MARGINS. Bruns published this text, in part, as a specimen of his full edition of the Chronicon, published in 1789 (see Gentleman's Magazine, 1781, pp. 131-132. Also 1789, second part, pp. 1109-10.) 4to. Sewn into plain wraps, as issued. A bit of wear and tear to wraps, else A PRISTINE COPY, ENTIRELY UNCUT, BRIGHT, AND FINE. EXTREMELY RARE, IF NOT UNIQUE, IN THIS STATE.
First edition, 4to, [8], some light dust soiling to title and margins slightly chipped. "An "Answer" to an Advice to a Painter in which the loyal members of the Artillery Company of Bristol had been attacked. The author, an ardent Anglican Tory, satirized the non-conformists (Presbyterians, Anabaptists, Antinomians, Brownists, Adamites, Chiliasts, Quakers, Muggletonians, and Independents) and accused them of plotting rebellion against the King." (Osborne). Wing A639 & ESTC (EN, CH; WF only); Osborne, Advice-to-a-Painter Poems 1633-1856. p. 48.
8vo (140 x 90 mm), newly corrected & imprinted, with new additions, 176, [9]pp., title within a decorative border, black letter throughout, 3 contemporary ink notes in the blank margins, small pieces missing from lower blank margins of P1, Z3 & Z4 (just touching the text), with the 4 final contents leaves, faint pink stain (ink?) on tip of lower corner of 25 leaves, later vellum, new endpapers and ties, a nice copy. The first dialogue is a modified translation of his "Dialogus de fundamentis legum Anglie et de conscientia." STC, 21577.
London, printed by J. Worral and Co. A. Shuckburgh, T. Waller, P. Uriel, W. Owen, B. White, H. Woodfall, W. Strahan, J. Rivington, R. Baldwin, L. Hawes and Co. T. Longman, Z. Stuart, W. Johnston, B. Law, T. Caslon, T. Payne, and T. Cadell, 1768-1770, volumi 5, in-folio, legatura novecentesca in piena pelle con punte, i piatti in pelle antica, alcuni con motivi fitomorfi a secco, labbri dei piatti (antichi) decorati, dorso a 6 nervi con singoli ferri e filetti in oro, titolo e autore in oro su tassello in pelle rossa, pp. [20], 692 - [20], 687 - [22], 823 - [16], 698 - [14], 544, [10]. Una traccia di tarlo al vol. V ma ben lontana dal testo; qualche traccia di umidità, marginale, al vol. II; consunzioni alla pelle antica dei piatti. Nel complesso un bell'esemplare di questa terza edizione del celebre “Bacon's Abridgment”. Raro.
