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74 x 48 cm. A fine example of Giacomo Gastaldi's map of Southeast Asia, China, and India, perhaps the single most influential map of the region published in the 16th century. - Gastaldi's map has a remarkable history, one that presents a microcosm of Italian mapmaking in the middle of the 16th century. It begins with the publication of a single section in 1559, which was intended as a separate map. Additional sections were added in 1561, creating the portion of the existing map which extends south to the Equator. In 1565, two additional sections were added, in order to show all of Indonesia and the neighbouring islands as far south as Java Minor. - "In its original form the map extended only to the equator, so that most of the Indonesian islands were not included. To remedy this, in about 1565, two narrow sheets were made by the great Italian engraver Paolo Forlani to supplement the main body of Gastaldi's map [...] This lower addition bears an inscription in the lower left corner which reads 'si vende...' [...] indicating the location of the shop of the publisher Bertelli" (Suarez). - Of all of Gastaldi's Asian continental maps, this one more than any other "had a major influence on the work of Ortelius and de Jode [...] In their representation of the coastlines his maps are superior to all previously known maps of Asia, either drawn by hand or printed" (Schilder, in: The Map Collector 17, p. 7). - On the right-hand side of the map, Gastaldi provides a list of about 100 place names on the map, showing both their ancient and modern names. In his excellent study of Gastaldi's maps of Asia and their relationship to the accounts of Marco Polo's travels, Nordinskold notes that while Gastaldi has clearly incorporated information from Marco Polo's travels, Gastaldi relied also upon the accounts of other contemporary travelers to the East. Most notably, the dedication to Marcus Fugger (1529-97) is strong evidence that Gastaldi had access to the Fugger family library, one of the most important libraries compiled in the 15th and 16th centuries. During the 16th century, the Fugger Library was perhaps the best private library in the world, surpassing even the Vatican Library. - Nordinskold goes on to note: "Finally, it must be remembered that Gastaldi, under the guidance of Ramusio, is supposed to have aided in repairing or repainting the famous wall-maps in Sala dello scudo in Venice [...] If such was the case, it may be considered probable that the monumental maps of Africa and Asia by Gastaldi have had some connection to [Gastaldi's map of Asia], that these copper-plate engravings are a reproduction of the originals of the wall maps in that form which was given them in the middle of the 16th century". Quirino notes that Gastaldi's map is the first appearance of the name "Philippines" ("Philippina") on a printed document. - The map is rare on the market. We note no examples of this first edition of the map on at auction or in recorded dealer catalogs in at least 15 years. Tooley, Italian Atlases 63. Karrow 30/92 (note). Woodward, Forlani 36 (note). Suarez, South East Asia, pp. 130-157 Quirino, Philippine Cart., p. XV & 95. Nordinskold, The Influence of the "Travels of Marco Polo" on Jacobo Gastaldi's Maps of Asia, in: The Geographical Journal 13, No. 4.
17147500CBAmsterdam, Valk, 1714-1717. Kl.-4°. 1 Bl., (6) S. 8?30; (2) Bl., 30 S.; (4) S. 5?24. Mit Portrait, 3 Frontisp. (davon 2 kol.) und 150 kol. Kupferfafeln. Lederband der Zeit. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 7500CB|7500CB_2|7500CB_3|7500CB_4 [4 Warenabbildungen]
An archive of 807 loose photographs, 541 in colour (including several duplicates, some printed in a different format), including 65 photos depicting falcons (3 duplicates, 36 in colour) and 14 photographs of camels (1 in colour). A large collection of 807 photographs, providing a unique view into the private life of Sheikh Zayed bin Sultan Al Nahyan (1918-2004), ruler of Abu Dhabi and founding father of the United Arab Emirates. The photographs depict Sheikh Zayed and his family, including Sheikh Khalifa bin Zayed Al Nahyan (b. 1948), relatives and friends partaking in various leisure activities. Also included are some photographs of children, probably including Sheikh Zayed's sons, possibly Sheikh Mohammed bin Zayed Al Nahyan (b. 1961). The pictures date from a significant period in the history of Abu Dhabi, the years leading up to the foundation of the United Arab Emirates in 1971, and from the earliest years of the new federation. - A group of pictures is possibly taken in Pakistan, many depicting a large manor where a party arrives by helicopter. Sheikh Zayed enjoyed visiting the country to go horse riding and hunting with his falcons. Many photographs depict casual dinner parties, gatherings, and meetings in the open air. Other photographs show a large party setting off on horseback, falcons, camel races, cars, etc. - Some photos slightly curled along the edges, some slightly discoloured. Overall in very good condition.
An archive of 183 photographs: 133 loose b/w photos (ca. 30 x 25 cm), 30 smaller photos (ca. 5 x 6 cm) numbered and mounted together on a single sheet of paper, and 20 photos in the album. Original black half morocco, with green cloth sides with title and emblem of Pakistan's United Bank Limited on upper board. Includes numerous rolls of original medium format negatives. A trove of unpublished photographs depicting two official visits to Pakistan by HH Sheikh Zayed bin Sultan Al Nahyan. The earlier one, in 1967, is documented by a separate photo album containing images of the visit to Lahore, the second largest city of Pakistan, between 16 and 28 November 1967. (Almost 20 years later, in 1986, Sheikh Zayed would donate a hospital to the city, now the "Shaikh Zayed Medical Complex", which is one of the premier medical institutions in the country.) The album opens with a picture of HH Sheikh Zayed arriving in his car; later pictures show him being honoured and presented with an album very similar to the present one, and in the company of officials representing Pakistan's UBL bank (United Bank Limited). - The 30 small photographs show an audience with Sheikh Zayed as well as a banquet in his honour, attended by various Pakistani dignitaries including Agha Hasan Abedi (1922-95), the illustrious founder of UBL. These photos, apparently clipped from a set of medium format contact prints, are mounted on a sheet of coated black photographic paper. - The largest set in size and number shows the state visit that took place on 20-22 January 1970 at the invitation of President Yahya Khan (1917-80). It provides extensive documentation of how the large Abu Dhabi delegation is formally received by Yahya Khan, who served as president of Pakistan between March 1969 and December 1971. Many show HH Sheikh Zayed shaking hands with and speaking to President Yahya; others show the airport reception, formal dinners, speeches, but also informal conversations, members of the delegation handling falcons, and numerous high-ranking Abu Dhabi retainers. Among the persons depicted is again Agha Hasan Abedi, but there are also several pictures of Butti Bin Bishr, secretary to Sheikh Zayed, and of Ahmed Bin Khalifa Al Suwaidi, the first Minister of Foreign Affairs of the UAE and the Personal Representative of Sheikh Zayed. - President Yahya Khan had been "one of the very first international leaders to reach out to Sheikh Zayed after the UAE had been founded and had, prior to this, in July 1970, been instrumental in creating an agreement to provide technical assistance to the then Trucial States. With the December 1971 union agreement approaching, Pakistan was quick to forge even closer ties, and Khan had been one of the first foreign leaders to offer his congratulations and reiterate his country's support when the UAE was born. Full diplomatic ties were then quickly established, and Pakistan became one of the first to extend recognition to the new country [...] All his life Sheikh Zayed had held a personal affinity for Pakistan. He had hunted there extensively, came to know the people, its culture and lands, and enjoyed close ties with leaders" (Wilson). - Binding of the album slightly rubbed. Some of the loose photographs slightly scuffed along the edges, occasional nicks or slight tears, but on the whole in excellent state of preservation. The majority of the photographs are entirely unmarked, save for the odd Arabic inscription or stamp on the reverse. A fine, unpublished set, entirely unknown and without counterparts in the UAEhistory, Keystone or Hulton/Getty press photo archives. From the estate of Azhar Abbas Hashmi (1940-2016), Pakistani financial manager and eminent literary patron with close ties to Karachi University. Long with UBL, Hashmi would serve as the bank's vice-president before founding several important cultural organisations and becoming known as a man of letters in his own right. It was because of Hashmi’s close connections to the Gulf states that Abu Dhabi provided funds to build the Karachi University’s faculty of Islamic studies, along with Sheikh Zayed Islamic Centre and Jamiya Masjid Ibrahi. Cf. Graeme H. Wilson: Zayed - Man Who Built a Nation (Dubai 2013), pp. 111f.
4to (160 x 214 mm). (80), (4 blank), (32), (4 blank), (19), (1 blank), (13), (1 blank), (81), (1 blank) leaves. Contemporary full calf with cover borders ruled in gilt and prettily gilt spine. All edges gilt. Considered lost: a volume of Ali Ufki Bey's famous Bible translation, "the lineal ancestor of today’s Turkish Bible" (Privratsky), the last manuscript in private hands. - A project born of Protestant disappointment with the outcome of the 30 Years' War, the 17th century enterprise to translate the Bible into Turkish was informed by Christian eschatological hopes that Protestantism and Islam might form a political alliance to defeat the common enemy, idolatrous Catholicism, and bring about world peace. To advance this cause, the Czech-born educator John Amos Comenius championed a Turkish translation of the Holy Scripture, whose power alone, it was assumed, would soon convert the Muslim world to Christianity. Enjoying financial backing from the wealthy arms dealer Laurens de Geer and the academic support of Jacob Golius, professor of Turkish at Leiden, Comenius's venture was entrusted to the Dutch ambassador in Constantinople, Levinus Warner. - Though himself proficient in Turkish, Warner chose to contract a translator rather than perform the arduous task himself. After his first recruit, the Jewish dragoman Hâki (Yahya bin Isaak), delivered a manuscript version around 1661 which was found deficient, Warner in 1662 entrusted the work to Ali Ufki Bey, a talented linguist and former servant of the Sultan's. Born Wojciech Bobowski in Lwów around 1610, he had been captured by Tatars as a young man, sold into Ottoman slavery, and given the name Ali. He subsequently served at the Topkapi Palace as a respected musician and translator for about 20 years, eventually gaining his freedom in 1657. - Ali Bey completed his task in December 1664; in 1665 he then proceeded to have a few fair copies produced under his supervision. One of these, in 5 volumes, is very nearly complete; another contains only Isaiah and several books of the Apocrypha. These copies, sent to Golius together with Ali Bey's rough draft in four volumes, today form part of the Warner Collection at Leiden University Library. - Only in 1888 did the Leiden Library accession an additional manuscript copy (Cod. Or. 3100), containing part of the New Testament in the hand of one of Ali's secretaries, with interlinear and marginal corrections by Ali Bey himself. The present volume is the missing part of this New Testament copy, comprising Acts, Romans, Philippians, 1 & 2 Thessalonians, Hebrews, James, 1 & 2 Peter, 1-3 John, Jude, and Revelation. Written under Ali Bey's direction and copied from his personal draft, it, too, contains marginalia and corrections in his own hand (we thank Dr Arnoud Vrolijk, curator of the Warner collection, for his kind confirmation). - Ali Bey's translation, aimed at Muslims as a target audience and full of popular Islamic cultural references, did not find favour with Golius and his colleagues. After Warner, de Geer, and Golius all died in quick succession between 1665 and 1667, the Turkish Bible project ground to a halt, in spite of the fact that Ali Bey was anxious to continue it. Not until 1819 would the New Testament alone be published in a revision of his translation (in Paris), and only eight years later would Ali Bey's entire Turkish Bible see print. A critical edition of his manuscript is still outstanding, and there is ample material for research. It remains unknown from what language Bobowski translated the Bible: "A study of Ali Bey's spellings of proper names, e.g. Petro, Se’mun, Filipo, Pilato, could reveal much about his connections with Christian tradition. Several of these are Italian spellings and suggest a Catholic connection. The fact that Ali Bey refers to St John the Baptist as Yuhanna Ma’madant, a Christian construction of John’s name in Arabic, suggests that he was in contact with the Oriental churches also, perhaps the Syrian Orthodox Church” (Privratsky, p. 19f.). - Provenance: early 18th century autograph ownership of the Hamburg theologian Johann Friedrich Winckler (1679-1738), professor of theology in Hamburg, on the title-page, and successive ownership of the Dutch theologian and orientalist Hendrik Sypkens (1736-1812) below. Subsequently owned by Nicolaus Wilhelm Schroeder (1721-98), professor of oriental languages at Groningen, and sold as no. 24 of his estate auction by van Boekeren in 1835. Purchased in the 1960s from Wrister's bookshop (Utrecht) by a Dutch theologian and acquired from him directly. Pars altera bibliothecae Schroederianae (Groningen 1834), p. 6, no. 24. Cf. Bruce Privratsky, A History of Turkish Bible Translations, v. S (2014), pp. 18-26. Darlow/Moule 9453 (the 1819 printed NT).
Folio (322 x 212 mm). 50 watercolour miniatures on paper, ca. 9 x 14 cm, pasted on coloured cardboard within multiple gilt and pen-ruled frames, bound as a fan-fold book with cloth hinges. Near-contemporary black leather covers, stored in blind-stamped black slipcase with top flap. An exceptional series of 50 meticulously executed miniatures, compiled and painted by an anonymous artist. 41 of the delicate watercolours represent famous calligraphers, 5 (1 in grisaille) presumably represent sufis, and one more (not coloured) shows a seated prince, while 3 miniatures (2 in grisaille) depict flowers. - The main series of calligraphers begins with Yaqut al-Musta'simi, who lived in Baghdad under the Abbasid dynasty in the 13th century, and reaches so far as to include artists from the first half of the 19th century (the most recent date of death being that of Aqa Fath-'Ali Sirazi, 1852/53). Their names are captioned under the image, all in the same hand in nasta'liq script (with a single exception in sikasta). Most calligraphers are shown kneeling, with one knee raised on which they rest their paper - the typical posture of a scribe. One is shown writing at a desk, another seated on a low stool; yet another is busy sharpening his pen. The poet Wisal Sirazi is seen writing on his knee, but has a small table with an inkwell and paper in front of him. Nearly all are depicted holding their reed pen in hand, with various writing implements next to or in front of them, such as inkwells, pen cases, extra pens and paper, pen-knife, and sometimes a hookah (indeed, two scribes are shown smoking). Others have in front of them a candle and teapot, flowers or a bowl of fruit. They are shown wearing different kinds of turbans or a black astrakhan "kulah", the Qajar headdress. All the miniatures bear numbers between 1 and 50 on the reverse of the mounting boards, though they are not bound in order. - Provenance: apparently from the collection of Paul Manteau, a French (or Belgian?) official in Iran, with a press-copied salary receipt loosely inserted: "Je reconnais avoir reçu de Son Altesse Impériale Djellal-e-Daulet la somme de Soixante Tomans représentant le montant de mes appointements du mois de Châval année 1310. Téhéran le 11 avril 1893. Paul Manteau". As Shawwal 1310 began on 18 April 1893 AD, Manteau would have received his salary in advance, proving that the capacity in which he served could not have been altogether minor. Sultan Husayn Mirza Jalal al-Dawlih (b. 1868/69), his employer, was the eldest son of prince Mas'ud Mirza Zill al-Sultan (1850-1918) and grandson of the Qajar ruler Nasir al-Din Shah (r. 1848-96). In the later 19th century, numerous French and particularly Belgian officials worked in Iran: especially from 1898 onwards, Belgium posted to Persia a large number of officials whose task was to organize or reorganize various administrative departments. However, Manteau does not appear in Annette Destrée's standard account of "Les fonctionnaires belges au service de la Perse, 1898-1915" (Téhéran/Liège 1976): he clearly arrived before the great Belgian influx and may have left the country before 1898. - Some of the cloth concertina hinges professionally repaired, but finely preserved altogether.
500 x 420 mm. Oval manuscript map in ink and watercolour (blue, brown, green and red; map image including water 295 x 380 mm, the land alone 220 x 305 mm) on a half sheet of extremely large Dutch laid paper (watermark: D&C Blauw IV), with dozens of features labelled in Persian (written in black ink in the nastaliq script) and with animals (including elephants and a dragon), people and 4 European ships. Framed and matted. An 18th century manuscript copy, in colour, of a lost map in the Islamic tradition, with dozens of inscriptions in Persian and extensive pictorial imagery showing numerous mosques, elephants in southern Africa, eastern India and what may be northern Bengal or part of Southeast Asia, snakes and a dragon (with four feet and two pair of wings) in East Asia, birds north of the Caucasus and people in Europe north of the Alps. The regions with people and animals (excluding the dragon and snakes) are also the only regions shown wooded. The oval land is surrounded by oceans with a European ship at each of the four cardinal compass directions: three 3-masted ships flying flags with St George's cross (used by the crusaders, Knights Templar and English and French troops from the 12th century and by the Genoese and others from the 13th century: while it is not St George come to slay the dragon, these European ships in an Islamic map remain a puzzle), and at the south a 2-masted ship with no rectangular flag, all four ships accompanied by rowboats. Inlets can be identified as the Arabian Gulf, the Gulf of Oman, the Red Sea, the Mediterranean, the Black Sea (?) and another in the Far East. A wide straight band of mountains runs west to east from coast to coast, apparently representing the Alps, the Caucasus and the Himalayas, with a few additional mountains in southern India and elsewhere. One can clearly see the Tigris and Euphrates rivers as well as the rivers of the Indus and Ganges valleys. After one passes beyond Bengal it becomes more difficult to identify the topographic features that ought to represent Southeast and East Asia: there is no island to represent Japan, and the peninsula that faintly resembles Korea seems more likely to be China. While some pictorial elements and lettering are designed to be viewed from various sides as one turns the map, there is a distinct bias in the lettering and some of the pictures for west at the head, which is quite unusual (most Islamic maps have south at the head). - We have found no record of any closely similar map, but the topography certainly owes something to the traditional Islamic world maps, perhaps by the 10th-century Abu al-Hasan al-Harrani or his followers such as the 15th-century Ibn al-Wardi. Like most maps in the Islamic tradition (including those of al-Bakri and al-Istakhri), these follow the Greek tradition of Anaximander (6th century BC) in depicting the world as an almost perfectly geometric circle surrounded by the great river or sea Oceanus, and also representing other features with abstract forms. They show the Nile running into the Mediterranean and (almost as its continuation north of the Mediterranean) a channel leading to the Black Sea, which continues via the river Phasis to the northern coast, forming a boundary between Europe and Asia. The present map is much more naturalistic, with an oval form and irregular coastlines. The inlets and rivers also have more naturalistic forms, and the map shows much more detail than do the traditional Greek and Islamic maps (one can recognize Qatar and Ceylon/Sri Lanka, and one of the two islands in the Mediterranean probably represents Crete (is the other Ceylon, Sicily, an oversized Malta, or something else?). Yet in spite of its greater detail and naturalism, its geography is in some ways less accurate than that of its more abstract ancestors. Like the al-Harrani and al-Wardi maps, the Nile has an L shape (though not rigidly geometric like theirs), but the southern end connects to the Red Sea and the northern end passes east of the Mediterranean, continuing directly into the channel leading to the northern coast (with no graphic distinction between the Black Sea and the channel to Oceanus). The Nile also appears to contain an enormous island, but the tower at its northern end might possibly represent the 13th-century minaret at Luxor. The Mediterranean appears as a triangular inlet without even a bulge to suggest Greece or Italy, which many Islamic and Greek maps show clearly. Africa and India extend no farther south than the Arabian Peninsula, with only the Red Sea and the Gulfs separating them. Some Mughal maps, such as that of Sadiq Isfahani (ca. 1647), share the more naturalistic depiction, and Isfahani also depicts Ceylon similarly, but his map shows few geographic or topographic similarities. - Perhaps the most remarkable feature of the present map is the depiction of mosques and minarets, which are so detailed that many can be identified even without recourse to the Persian inscriptions. The rectangular wall of the Great Mosque at Mecca appears clearly with the Ka'bah in the centre and four minarets, one at each corner. This also suggests a latest possible date for the lost original, for three more minarets were added in quick succession, apparently between 1603 and 1629. A recent study suggests that the Ka'bah began to appear in Islamic maps only ca. 1450 (Karen Pinto, "Medieval Islamic maps", 2016, not seen, but cf. Arnoud Vrolijk in Mols & Buitelaar, eds., "Hajj: global interactions through pilgrimage", 2015, p. 216), suggesting that the lost model for the present map with many mosques, some shown in detail, was at least several decades later. This evidence for a date, combined with the naturalistic depiction, suggests the lost model for the present map might have originated in the Islamic realms of 16th-century India. The Great Mosque at Medina is also clearly depicted. Pending more information about the Persian inscriptions (which apparently name regions, cities, mosques, topographic features and curiosities), we can only guess at the other mosques or minarets. We noted one perhaps at Luxor. Two on the eastern side of the Euphrates might be at Basra and Aleppo (with some pyramids in between), while one in North Africa looks like the Great Mosque at Taza and the other might be at Fez. There may some buildings in East Asia, by the mountains near the dragon, but they may merely be smoke or flames from what appear to be burning rocks. A couple of other sites show fortress-like walls (in red in the northern parts of the Arabian Peninsula and India) without a mosque or minaret. - The map is stunning as a work of art, a fusion of age-old tradition with modern techniques of illustration and figural representation, executed in pastel colours with the mountains and ships in several shades of brown, Oceanus and the inlets light blue, the rivers grey, the forests and dragon green and occasional small details in red or pink. In spite of its large size, the map is drawn on a half sheet, so that the whole sheet would measure at least 84 x 50 cm, considerably larger than Imperial and one of the largest sheet sizes produced in the 18th century. The chainlines are about 28.5 mm apart. The watermark or countermark would fall in the middle of the map image, so that it is not identifiable in the framed map. One can make out only some diagonal lines that might belong to a letter W. The map is numbered "No 95" in an 18th-century hand at the upper left, so it may have once been part of a manuscript atlas. - Formerly folded once horizontally and vertically. In very good condition. An 18th century copy of a lost 16th century (?) Islamic map of the world, showing seven mosques or minarets, unlike any other map known to us.
LCS-2797L’un des 25 exemplaires tiré en contre-épreuves et imprimé sur grand-papier, de ce magnifique ouvrage d’ornithologie illustré de 362 planches à pleine page coloriées à l’époque. London, Will. Gardiner, Robinsons, Paternoster-Row, 1802-1806. 2 ouvrages reliés en 4 volumes in-folio. 362 planches imprimées à l’envers et coloriées à la main. Quelques rousseurs et piqûres. Relié en plein maroquin rouge à grain long, fleurons feuillagés dorés aux angles des plats, dos à nerfs richement ornés, roulette intérieure dorée à la grecque, tranches dorées. Quelques épidermures et restaurations à la reliure. Reliures uniformes de l’époque. 450 x 280 mm.
Folio (235 x 170 mm). Italian manuscript in two parts with 29 original pen and ink drawings (15 and 14), written in black ink in a neat, legible hand, 28 lines to a page. (1), 95, (1) pp. (including illustrations numbered in pencil, upper right, but recto only). Collation, including illustrations: [1 f., 1 p.], [21 ff., 35 pp.], [6 pp.], [17 ff., 26 pp.], [5 pp.] (several sheets cut so that a tab only remains of the second page, and all illustrations tipped in). Contemporary half vellum over marbled paper boards. Generally written on both recto and verso, except for the two title-pages and the illustrations (recto only); all but first and last page enclosed with a single line border, in pencil for text pages and in ink for illustrations. Unpublished manuscript giving a vivid and event-filled first person account of a journey from Urbino to Constantinople, well legible and beautifully presented with 29 equally unique pen-and-ink illustrations. - A unique account of a journey from Urbino to Constantinople and back, in 1769-70, hand-written and accompanied by 29 original drawings, which offer views of islands rarely if ever depicted in contemporary travel accounts or series. No counterpart has been found for the illustrations, which appear to have been prepared from eye-witness records. That the artist may have been the author himself is suggested by the fact that he makes no mention of a separate artist, and by the manner in which he introduces the first illustration: 'Il Paise è piccolo come vedrassi della figura, che di curiosita, ed intelligenza di lettori porro a piedi di questo capitolo' (p. 5v). The story of his adventure is equally idiosyncratic, incorporating both a record of foreign places, people and customs common to other such literature, and also an account of a personal tragedy and a dangerous sea-voyage. The manuscript falls within a tradition of cultural exchange and travel writing between Europeans and the Orient; but unlike Luigi Mayer, for example, employed to make drawings of the historical buildings of Constantinople by the English ambassador Sir Robert Ainslie shortly afterwards, or J. B. Hilair, whose paintings made on a trip throughout the Empire with the French ambassador Count Choiseul-Gouffier in 1776, and engraved and published in Gouffier's "Voyage pittoresque de la Grèce" (1778-82), Gianni appears to be an entirely independent figure. Though the manuscript is set out like a printed book and was presumably destined for wider distribution in that form as a money-making enterprise, Gianni does not seem to have been commissioned, nor to have hoped for patronage. His stated aim is simply to give a true account to his readers, in case they might wish to undertake a similar journey. His route takes him through great cities such as Venice, Athens, Smyrna and Gallipoli, ancient sites such as Troy and Heraklia, through the Peloponnesus and islands such as Mykonos, Corfu, Maitos and Skios, all of which he describes and depicts in detail. Meanwhile, although he says that he is not writing in order to leave "una viva ricordanza di me, come di soggetto qualificato", that is precisely what he does: the second part of the book recounts his search for his son from whom he had heard nothing but that he had married a Greek girl. Reunited with him through a doctor who has been helping the boy through an illness, he tries to persuade the young couple to return with him to Urbino, but this plan is thwarted by the machinations of the doctor. His journey home, alone, is enlivened by an encounter with corsairs, a near shipwreck, a boy falling overboard and a violent storm. The value of this book lies not only in the unique, unpublished text and illustrations, and legible and attractive presentation, but also in the combination of commonly-found themes such as dress and customs, with an entirely personal and richly-told narrative of one man's search for his son. - One illustration (Smirne) has been trimmed along the right edge after having been bound in. Etched armorial bookplate of an unidentified noble bishop on front pastedown.
Folding map of Arabia (180 x 135 cm), coloured in outline, dissected and mounted on cloth (24 sections). The exceptionally rare first independently issued edition of this famous, meticulously prepared map of Arabia and the Gulf. The "Hunter map" is an enormous, wall-size chart showing an astounding degree of detail. The "Gulf portion being largely based on actual surveys can be considered fairly accurate. [...] Kuwait (except that portion based upon actual surveys) Hasa, Jabal Shammar, Qasim, 'Aridh, Oman, Hadhramaut are the result of exhaustive use of detail supplied by travellers supplemented by months and months of enquiry by local Political Officers. The map of these portions can certainly claim superiority over any previous work of the kind" (Notes on the Map of Arabia and the Persian Gulf [...] compiled by Capt. F. Fraser-Hunter 1905-1908 [Calcutta, 1910], p. 1). - The Canadian-born Hunter later became a major figure in British India's Intelligence Service. As the author recalled in his 1919 "Reminiscences", "a great deal of the information on the map was from sources considered secret at the time" (p. 357). Special surveys of the country's interior areas were carried out to achieve a hitherto unprecedented degree of accuracy: "The map was a distinct advance on anything which existed, as in 1908 no general map of Arabia on such a large scale existed" (p. 360). - Hunter's map was first issued in a very limited press-run to accompany John G. Lorimer's "Gazetteer of the Gulf" (1908); at that time it still bore the title, "Map of the Persian Gulf, 'Oman, and Central Arabia". It was subsequently used (and praised) by St John Philby during his journey across Arabia. Indeed, reliable topographical information was an invaluable asset not least to the local Sheikhdoms in their territorial disputes during this politically volatile age: Hunter recounts that on one occasion, the Sheikh of Umm-al-Qaiwan went so far as to torture his relative, the Sheikh of Abu Dhabi, into signing away his right to strategically important islands in the Arabian Gulf, a stratagem foiled only by the happy intervention of the British Political Resident. - Stamp of the University Library of Nijmegen on the cloth backing. A very few minute traces of worming, otherwise in fine, spotless condition. Never seen in the trade: the only two copies of this map in auction records were both of the 1914 issue (Christie's, 2012, and Sotheby's, 2013). Not in Al Ankary or Al-Qasimi.
Oblong 8vo. 1 page. To the sister of leading Social Democrat Hugo Haase (1863-1919), sending wishes regarding the wedding ceremony of a member of her family: "[…] We are very pleased by the surprising news and congratulate you all, especially the bride and groom, with all our heart […]". - Sophia Borissowna Ryss, called Sonja (1884-1964), was from 1912 onwards the second wife of Karl Liebknecht. - Small traces of mounting on reverse; very rare.
Folio (29 x 22 cm). 63, (10) ff. Manuscript in Dutch, written in ink on paper, with two loosely inserted supplements (2 bifolia), with a calligraphic title-page (in script lettering with an interior white line giving an incised effect) and 39 pages of (mostly) ink and grey ink wash drawings of inscriptions, musical instruments, buildings, etc., including 3 pages of Kufic inscriptions in black ink with vowel points in red and decorations in red, yellow and green, and a few other written inscriptions showing the styles of script, plus a small drawing of an inscription and a few written examples in the text. Contemporary half canvas, sides covered with printed pattern paper (a matrix of 4-petalled rosettes on a background of horizontal and vertical lines, and dots, in red, blue and yellow, sewn on 3 vellum tapes and tacketted to the canvas spine through a vellum liner. A Dutch illustrated manuscript devoted to the Arabian Peninsula and neighbouring regions, compiled in 1785 by (and the illustrations drawn by) Johan Louis Gerlagh (1735-98), a director of the Dutch West India Company and East India Company (WIC and VOC). He takes a special interest in the various and styles of script, including Egyptian hieroglyphs and at least six styles of Arabic script (kufic, naskh, ta'liq, thuluth, ruq'ah and maghribi), but he also discusses and illustrates bas-reliefs, buildings (including the Great Mosques at Mecca and Medina), musical instruments, footware, a scarab, etc., and provides tables of data concerning tides, compass corrections and temperatures, and accounts of the Islamic calendar, precious stones, weights and measures and coins. The title describes the manuscript as notes from Carsten Niebuhr's "Reize naar Arabië en andere omliggende landen", a Dutch translation (Amsterdam & Utrecht 1776-78) of the German "Reisebeschreibung nach Arabien" (Copenhagen 1774-78), but Gerlagh apparently treats Niebuhr's complementary "Beschryving van Arabie" (1774, first published in German in 1772) as an additional volume of the Reize. All the illustrations and most of the text are copied from these two publications. Gerlagh does make use of other sources, however, quoting from Bernhard von Breidenbach's "Peregrinatio in Terra Sanctum" (1486); Heinrich Buenting's "Itinerarium scripturae" (1581); Fredrik Hasselquist's "Travels in the Levant" (1766); J. F. Martinet's "Historie der waereld" (1780-87), and Joseph de la Porte's "Nieuwe reisiger, beschryving van de oude en nieuwe weereldt" (1766-91). - Gerlagh came from a patrician family that had ties with the WIC by at least 1720 (including a director by 1730) and the VOC by at least 1735. He himself was a director of both by 1764. Although he is recorded moving from Tholen to Oosterhout (northeast of Breda) in 1779, this may have been a second residence, for he had already set up in Hoeven (west of Breda) where he served as "schout" (head of the municipality) from 1771 to 1794, his wife died there in 1786 and he died there in 1798, so he probably produced the present manuscript there. His amateur drawings and sketchbooks, most of them in Museum Gouda, have been exhibited. - The manuscript collates: [A]14 (- A9) [B]10 (B1 + [chi]2; - B7, 9, 10) [C]2 [D]4 [E]2 [F]4 [G]6 (± G1, 2, 3, 6) [H]4 [I]2 [K]-[N]4 2[chi]1 [O]-[P]4 [Q]2 = 73 ff., with E2 and H4 blank except for the leaf numbers (ff. 30 & 34). The main paper stock (including the endpapers at the front and probably also at the back) is watermarked: crowned GR in laurel branches, in a circle = Dutch garden (with "Pro Patria" above toward the centre of the sheet) above "H K P" (the main mark can appear in the left or right half sheet). We have not found or identified the initials HKP. After the last numbered leaf (2[chi]) a new part of the text begins with a different paper stock to the end of the manuscript (quires O-Q), similar but with no initials below the Dutch garden, in the general style of Heawood 3700 (1747) and Voorn, Noord-Holland 140 (1790). The cancel leaf G6± may come from the same stock, while the cancel leaves G1±, G2± and G3± show a different stock or stocks: G3± with a lion with 7 arrows, lance and freedom hat (pedestal with "VRYHEYT") in a crowned ring (double lines inside and out) containing (in mirror image) "Pro patria eiusque libertate"), in the general style of Heawood 3148 (1745) and Voorn, Noord-Holland 104-111 (1713-49); and G1± and G2± with the countermark "J[an] H[onig] & zoon", that form shown with a different main mark in Voorn, Noord-Holland 133 (1741). The firm name in the present form, with the present "zoon" (son), is recorded from 1735 to at least 1764 (probably at least 1768), changing to "zonen" (sons) probably by 1774 and certainly by 1793. So the paper used for these three cancel leaves may be several years older than the manuscript itself. - The manuscript is internally in good condition, with most deckles preserved. Binding worn but professionally restored. A good example of the fascination of leading figures in the VOC and WIC with the Arabian Peninsula and vicinity and with Islamic culture. For Niebuhr and his accounts of Arabia: Hamilton, Europe and the Arab world 48; Howgego, to 1800, N24; for Gerlagh: Katalogus ... tekenwerk-schilderwerk van Johann Louis Gerlagh (1987); A. Romeijn, De stadsregering van Tholen (1577-1795) (2001), pp. 229f.
4to. (73), (1 blank) ff. With woodcut allegorical and architectural title-page with putti and mythological women holding drapes hanging from an arch and the Royal Portuguese coat of arms at the foot, 40 woodcut (geometrical and optical) figures in text, Rodericus's large full-page emblematic woodcut printer's device (a dragon with the motto "Salus vitae" on a banderole) and many woodcut initials. Bound in a period-style Italian calf binding, gold-tooled spine, blind-tooled frames on front and back boards and gold-tooled centerpieces on the front and back board with "Petri Nonii" on the front board and "MDXLII" on the back board. First edition of two of the most important and rarest scientific works on twilight and optics. The first is written by the greatest Portuguese mathematician Pedro Nunez (1492-1577), who served as cosmographer royal to the court of João III. His "De crepusculis" discusses new solutions for problems concerning twilight (such as the shortest twilight period) and the refraction of light, and announces his new instrument for measuring exceedingly small angles, now called a “nonius”. - The second work, also entitled "De crepusculis", was written (according to the title-page) by the greatest Islamic physicist Ibn Al-Haytham (965-1039), from living in the Arabian Peninsula, whose seminal work on optics broke with ancient Greek theories. In fact, the work is now attributed to the great Andalusian father of spherical trigonometry, the 11th-century mathematician and astronomer Abu ‘Abd Allah Muhammad ibn Mu’adh, who was described by Averroës as "advanced and high-ranking" (Sabra, p. 85), but about whom very little is known. His work discusses the density of the atmosphere and establishes a relationship between atmospheric pressure and altitude. It also notes that twilight only ceases or begins when the sun reaches 19 degrees below the horizon. It was translated from Arabic into Latin by Gerard de Cremona (1114-87), who brought Arabic science to the West. This work is one of the artifacts through which Islamic civilisation made significant and crucial contributions to scientific knowledge in the pre-modern age during their golden age of Arabic science, although the Latin translations in this field only provide "a dim reflection of the true splendour of achievements" (Gerli, p. 804). - With an owner's inscription at the head of the title-page and a handwritten impressum on the title-page in the same hand, three faint library stamps (two of a library in Douai) and with marks of an erased bookplate on the front pastedown. Binding very slightly worn around the spine, some small stains on the endpapers, but otherwise a beautiful copy in very good condition. Adams N 375. DSB X, 160f. Honeyman 2353. Houzeau/Lancaster 1188 & 2473. King Manuel 48. Palau 196.748. Poggendorff II, 305. Sabra, "The authorship of the Liber de crepusculis", in: Isis 58.1 (1967), pp. 77-85. Stilwell 781 & 863. Cf. Carmody, Arabic Astronomical and Astrological Sciences in Latin Translation; Gerli, Medieval Iberia (2003), p. 804. Not in Vagnetti.
8vo. 8 vols. (6 volumes & 2 supplements): v. 1. Tribes north of the Kabul River. 1907. (4), IV, XIX, (1), 591, (1) pp. With 8 plans and 2 separate maps in both cover pockets. - v. 1, suppl. A. Operations against the Mohmands (including operations in the Khaiber, 1st-7th May) 1908. 1910. (4), II, (2), 60, LVIII pp. With 2 maps in lower cover pocket. - v. 2. North-west frontier tribes between the Kabul and Gumal Rivers. 1908. (4), III, (1), 461, (1) pp. With 6 folding plans and 1 separate map in lower cover pocket. - v. 2, suppl. A. Operations against the Zakka Khel Afridis 1908. 1908. (8), 49, (1) pp. With 3 maps in lower cover pocket. - v. 3. Baluchistan and the First Afghan War. (6), VII, (3), 466 pp. With 2 folding tables, 2 plans (1 folding), and 4 separate folding maps in lower cover pocket. - v. 4. North and north-eastern frontier tribes. 1907. (4), IV, 249, (1) pp. With 7 maps and plans and 1 separate folding map in lower cover pocket. - v. 5. Burma. 1907. X, (6), 468 pp. With a folding map in lower cover pocket. - v. 6. Expeditions overseas. 1911. (4), X, (2), 515, (1) pp. With 14 maps (many folding) and 5 separate folding maps in lower cover pocket. Uniformly bound in contemporary quarter calf over green cloth covers with giltstamped spine labels. An excessively rare counterpart to Lorimer's simultaneously published Gazetteer of the Gulf: like it, classified at the time of its issuing as a confidential British government document and still well-nigh unobtainable in the original printing, this third and last issue of Paget's and Mason's "Frontier and Overseas Expeditions" remains the most important single source on Raj-based military frontier operations carried out up to the First World War. The work was first compiled in 1873 by Colonel W. H. Paget as "A Record of Expeditions against the North-West Frontier Tribes", with the intention of providing a "valuable guide" to such British commanders and policymakers as "might have future dealings with these turbulent neighbours". It was revised in 1884 by A. H. Mason of the Royal Engineers. Three decades later, the frontiers of British influence had vastly expanded: they now reached to the borders of Afghanistan and Persia, and a newly compiled record of expeditions was urgently required. Under the editorship of Lieutenant C. F. Aspinall and Major R. G. Burton, the work known as "Paget & Mason" was thoroughly overhauled and expanded to six volumes, replete with maps and each dealing with a distinct geographical division, with two supplements. Only a few hundred copies would have been printed for circulation to British government departments, regimental libraries, and agencies. The present set, issued to the 7th Division Military Society in 1908 (later the Bareilly Brigade Military Library), bears the giltstamped copy numbers 217, 220, 221, 222, 258, 262, and 1134 (supplement). - The sixth volume deals in depth with "The Arabian Peninsula and the Islands of Perim and Socotra". It includes a sketch of the geographical situation before discussing in more detail the First Expedition to Ras-al-Khaimah in 1809 ("political causes - composition of the force - arrival at Masqat - arrival at Ras-al-Khaimah - description of Ras-al-Khaimah - landing of main body - capture of Ras-al-Khaimah - bravery of enemy - burning of pirate vessels - losses - Lingeh - repulse of the troops - re-embarkation - daring action by Lt. Hall, IN - attack on Shanas - desperate resistance"). It is noteworthy that the British officers here felt compelled to record the military gallantry of the al-Qasimi in their resistance to the British forces. Similarly, the Second Expedition to Ras-al-Khaimah in 1819 is treated, as is the Bani-Bu-Ali Expedition of 1810 (mentioning the results of "bad diplomacy" and "bad tactics", and citing the bravery of an Imam who displayed "great personal courage" while endeavouring to save an artilleryman). Further sections are given over to the islands of Perim (occupied in 1799 and again in 1856) and Sokotra, of which British infantry took possession in 1834 after "the Sultan would not come to terms". Additional chapters treat the Persian side of the Gulf and military expeditions to the same. - Corners somewhat bumped, but altogether a tightly bound, handsome and well-preserved set. 1910 and 1911 stamps of the Bareilly Brigade Military Library to most volumes (but stamp of W. B. Salmon to the supplement to vol. 2). Warning "For Official Use Only" stamped in gilt to spine labels throughout, with most title-pages being correspondingly imprinted (in red ink up to vol. 2). As the publisher's original inserted slip advises, the General Map of Afghanistan called for in the list of maps to volume 3 was not, in fact, completed and therefore was never issued with the set. Of the utmost rarity: not reproduced within the Cambridge Archive Editions series, although incomplete reprints appeared in Quetta in 1979 and in Delhi in 1983. - Provenance: 1) 7th Division Military Society, 1908; 2) Bareilly Brigade Military Library, 1910/11; 3) U.S. private collection. OCLC 821799.
Oblong 1º (475 × 630 mm). 6 lithographed plates of horses, plus 1 additional lithographed view of the stud, all coloured by Pirscher himself with highlights in gum arabic. The first plate of the series with Pirscher's autograph signature and dated "1828". Unique set of Pirscher's famous series picturing the Duke's horses, coloured by Pirscher himself and obviously prepared for the owner of stud. The first horse depicted is Mirza, a "Silver grey national Arabian with red spots on his left shoulder, presented to the King of England by the Shah of Persia in 1819. As the Persian envoy assured the King, this was the noblest and most excellent Arabian ever to have stood in his master's stables". The other illustrations show mainly descendants of Mirza, who was transferred to the Ducal stables in 1821. The series was later expanded by another instalment to a total of 16 plates, with three of the seven plates redrawn and showing different backgrounds. Thieme/Becker lists the series as complete with 6 plates as present, as does Steinacker (cf. below). Apart from the present copy, neither the first series (as thus) nor the second, expanded edition is known in a coloured version. The use of body colours in this set underlines the fact that Pirscher's lithographs, issued in black and white only, were never intended for colouring, and that this set was eleborately redone and modified (with numerous details - such as the trees and bushes in Mirza's portrait - added by hand) by the artist himself to form a unique dedication copy for his sponsor. Karl Dietrich Pirscher (1791-1857) is one of the pioneers of lithography in Braunschweig. His horse plates are considered his best work and were praised as "probably the most splendid specimens of their kind created in the entire 19th century" (Steinacker). Provenance: 1. The Duke of Braunschweig's collection. 2. I. H. Anderhub library, dispersed by auction in 1963 (in which it constituted the second most expensive item, with an estimate of DM 2600). Slightly browned; some minor fraying to the extremities of the leaves and a few specks, otherwise in very good condition. Bibliotheca Hippologica I. H. Anderhub 238 (this set). Steinacker, Die graphischen Künste in Braunschweig, 114. Thieme/Becker XXVII, 90. Not in Bibl. hippologica Johan Dejager; Huth; Mennessier de la Lance; Podeschi.
LCS-18561USTC ne localise qu’un seul exemplaire aux U.S.A. (New York Public Library). Francfort, Christian Egenolff, 1537. Petit in-4 de (39) ff. et un dernier blanc, A-K4 (dernier blanc) ; maroquin noisette, plats ornés de filets à froid et dorés, dos à nerfs orné, tranches dorées (F.Bedford). 135 x 144 mm.
Folio (556 x 735 mm). (6), VI, 90 pp. Tinted lithographed title with a pictorial border comprising 11 scenes of hawking by J. B. Sonderland, 2 hand-coloured lithographed plates of falconry equipment by Portman and von Wouw, and 10 (of 12) hand-coloured lithographed plates of hawks by Wendel after Joseph Wolf (8 of which mounted on board). Stored loosely in original cloth-backed printed boards. First edition of "the finest work on falconry that has ever been produced; not only on account of the beauty of the plates, wherein the hawks are depicted life-size and of the natural colours, but also for the general accuracy of the letterpress" (Harting). Schwerdt concurs that "the life size illustrations of birds are by far the finest ever produced in any book on falconry. It is impossible to describe the mellowness and beauty of the colourings." The "Traité de fauconnerie" is the rarest, most beautiful and most desirable book on falconry ever published. According to the exhibition catalogue documenting the falconry books in the Dutch Royal Library (The Hague, 1993), probably no more than 100 copies were printed, of which no more than 50 can be located today. - Covers of portfolio somewhat rubbed and stained; spine cloth and extremeties professionally restored. Some foxing and browning to plates; several marginal tears and chips professionally repaired and rebacked. Lacking 2 lithographed hawking scenes by J. Dillmann after Sonderland. Still an attractive set, uncommonly encountered in the original portfolio as issued. Harting 194. Schwerdt II, 150. Thiebaud 833. Nissen IVB 832. Fine Bird Books, p. 105. Zimmer p. 554.
185554160London, 1855. 8vo. Entire volume 16, second series of ""The Annals..."" present, bound in a very nice red half morocco with richly gilt spine. A nice, clean, fresh, and sturdy copy. A vague stamp to title-page (London Institution) and a blindstamped marking to top of first leaf of contents (Cranbrook Institute of Science). Pp. 184-196. [Entire volume: VII, 472 pp. + 11 plates].
London, 1855. 8vo. Entire volume 16, second series of ""The Annals..."" present, bound in a very nice red half morocco with richly gilt spine. A nice, clean, fresh, and sturdy copy. A vague stamp to title-page (London Institution) and a blindstamped marking to top of first leaf of contents (Cranbrook Institute of Science). Pp. 184-196. [Entire volume: VII, 472 pp. + 11 plates].
10 text volumes bound in 11 (8vo) and 2 atlas vols. (oblong folio), altogether 13 vols. With a total of 300 engr. plates (13 folding, 2 in original hand colour, some with touches of colour) and 160 engr. portraits as well as 6 (1 folding) facsimiles, almost all on China paper. Green grained half morocco, spines gilt. First edition, almost never encountered complete as thus. Important source for the history and activities of the 1798 French expedition to Egypt, published in ten text volumes by Louis Reybaud and two atlas volumes. The portraits of the members of the expedition (usually forming part of the text volumes) have here been bound separately; also contains two additional portraits (not counted). "The 160 profile portraits by Dutertre [...] are of particular interest" (Blackmer). Many of the plates showing views, antiquities, maps etc. were engraved after drawings by Vivant Denon, whose work opened up the Middle East for western eyes as no other had done before (cf. Henze II, 50). - Plates numbered 1-309 (each of the 13 folding plates counting as a double), followed by "dernière planche" and 3 maps. Five of the facsimiles have been bound at the end of the second atlas volume, another in vol. 3. The text volumes contain the "Histoire ancienne" (vols. 1-2) and the "Histoire moderne de l'Égypte" (vols. 9-10) as well as the expedition report proper (vols. 3-8). All text volumes have four title pages (slightly departing from those in Blackmer's copy). Vol. 1 also contains a "Rapport" of the work for the Académie by G. Saint-Hilaire, dated Nov. 1836, which names Louis Reybaud as "principal rédacteur". - A magnificent set in period bindings, interior clean and spotless throughout. No complete copy recorded at auction within the last decades. Blackmer 1476. Gay 2209. Cf. Hage Chahine 4277 and Ibrahim-Hilmy I, 80 (both citing individual text volumes only).
Oblong folio (335 x 245 mm). 188 silver gelatin photographs, one hand-tinted, mostly 105 x 80 mm, mounted in photo corners with handwritten captions. Original green cloth binding with hand-drawn map of Africa, Europe, and Asia on the front pastedown labelled "England to Aden 4643 miles" and four small maps of Kuwait, Ceylon, Iraq, and India mounted on rear pastedown with hand-coloured borders in blue and orange. A previously unknown collection of unique photographs by an anonymous British serviceman, documenting an interwar deployment to Aden and featuring one of earliest known photographs of Sheikh Juma bin Maktoum bin Hasher Al Maktoum (b. 1891) and Sheikh Saeed bin Maktoum bin Hasher Al Maktoum (1878-1958) of Dubai. Early photographs of Dubai or its rulers are quite uncommon, making this an exceptionally important piece. Here, the brothers are shown touring a British Royal Navy cruiser. Sheikh Juma (on the left) was the founder of the Al Maktoum branch of the Dubai royal family; his brother, Sheikh Saeed (on the right), was the longest-tenured ruler of Dubai, and presided over many of the huge economic changes of the first half of the 20th century. Both were deeply important to the formation of Dubai as it is today, but relics of their lives are extremely scarce. - Another rare photograph captures the Sultan of Oman Said bin Taimur (1910-72) as a young man touring a British light cruiser no more than a few months after the start of his reign in 1932. At only twenty-one, Said inherited both the sultanate and the difficulties faced by his predecessor. Though his reign was not easy, he was famously successful in uniting the warring factions within the sultanate. - The photographer behind this collection was likely a serviceman based on the H.M.S. Emerald, an Emerald-class light cruiser of the Royal Navy which would go on to provide support service during the D-Day landings at Gold Beach in WWII, but spent much of her career in the Indian Ocean and the Gulf. The serviceman has snapped a shot of a Fairey Flycatcher pontoon plane with the registration number N9670 - the Flycatcher known to have been assigned to the Emerald - photographed from the deck, and the Emerald appears repeatedly throughout the collection. Though the Emerald had a long tenure in the Gulf, photographs of the crash of the same ill-fated Fairey Flycatcher N9670 date the collection to circa December 1931, and the appearance of the young Sultan of Oman can only have been taken after the start of his reign on the 10th of February, 1932, covering a reasonable span of six months or more. Additionally, the Hawkins-class heavy cruiser H.M.S. Effingham appears in tow at the East Indies Station Trincomalee, Sri Lanka, which could only have occurred in early 1932, as later that same year she was sent back to Britain as part of the Reserve Fleet. - The photographs of ship life are full of action: men bathing over the side in the warm waters off Gibraltar, views of the Suez Canal, the use of a "smoke box" on the ship to generate a smokescreen, and torpedo drills, one capturing a launched torpedo in motion. However, no small part of the collection is dedicated to rare early views of Bahrein, Oman, and Iran. Bahrain is introduced by the Flycatcher plane crash; the British desired to impress their allies among the local dignitaries in Bahrain with a demonstration of military power, and sent Flight Lt. Peter Dabney Heinemann out in the Flycatcher to machine-gun targets which had been floated in the sea just off Bahrain. Heinemann reportedly lost control and spun out, and was killed when the plane crashed into the sea. Seven photographs show the British retrieving the wreckage, and the following photographs show a funeral procession in Manama, the bed of a military truck laid out in carpets acts as a hearse, and the burial in the Old Christian Cemetery. Two more photographs show a cityscape view of Manama and the clock tower of the Church of Christ in Bahrein. - Photographs of Old Muscat show the al-Jalali and al-Mirani forts, the former then still in use as a prison, and a view of the city "from hill top". Rounding out the tour of the Gulf, two photographs show the Abadan oil refinery in Iran. - The photographer spent some time in the Indian Ocean, and made port at Columbo, Trincomalee, Anuradhapura, Kandy, and Diyatalawa in Sri Lanka, as well as Karachi, Negapatam, Visakhapatnam, Kolkata (Calcutta), Sittwe (Akyab), and Port Blair. In Karachi, several photographs show the city's newly constructed airship mast and the cavernous airship shed, built as one of the main "terminals" of Britain's Imperial Airship Communications Scheme. The mast and shed were never used: a decade before the more famous Hindenburg disaster, the inaugural flight of the Scheme saw the R101 Airship leave London bound for Karachi, only to crash over France, killing all but six of the fifty-four crew and passengers and effectively ending the Scheme. Also of interest are several photographs of the large prison at Fort Blair, and include a photograph of an inmate strapped onto a "flogging board". - A touch of light wear; a few photographs are apparently missing as shown by their empty mounts; however, in excellent condition. Altogether a tour de force, featuring incredibly rare portraits of dignitaries and numerous photographs of cities of the Arabian Gulf.
4to (168 x 212 mm). 8 watercolour drawings, some heightened with white or gold, captioned in German in a late 16th-c. hand, on 8 leaves and a further 24 blank leaves (for the watermark cf. Briquet 917: Nuremberg 1554 or 1565-82). Contemporary limp vellum without ties. An album of eight splendid costume paintings, by a talented, unidentified artist who may have been a member of the entourage of a German ambassador to the Porte. The subjects in this collection are captioned: "Der Kriechen Patriarch" (the Greek Patriarch); "Der Türckisch Keiser" (the Turkish Sultan); "Der Türckisch Babst" (the Grand Mufti); "Türckische weiber wie sie pflegen auf der gaßen zu gehen" (Turkish women, as it is their wont to dress in the street); "Also sizen die Türckischen weiber" (Thus sit the Turkish women); "Ein Epirotische frau wie sie in Iren Heusern zu Galata pflegen zu gehen" (a woman of Epirus, as they walk about in their houses in Galata); "Ein Kriegische fraw" (a Greek woman); and "Ein Armenerin" (an Armenian woman). - Great attention to both accuracy and details is shown: indeed, the suite may be related to another set of similar drawings in the Gennadius Library (A896 B), dated to about 1573 (cf. Blackmer Cat.). There is also some resemblance in style and presentation to certain of the costume illustrations in Nicolas de Nicolay's Navigations (1568, and later editions). Although Nicolay travelled in the Levant in the 1550s and was long thought to have drawn his costume subjects from life, doubt has been cast on this view, and it is now generally considered that he drew his subjects from the work of other artists and illustrators. - A little light dust-soiling, binding with minor wear, soiling and wormholes. Provenance: from the collection of Ferdinand Sigismund Kress von Kressenstein (1641-1704), councilman of Nuremberg whose father signed the Peace of Westphalia treaty (his armorial bookplate on the front pastedown). Later in the library of Franz Joseph II, Prince of Liechtenstein (1906-89), with his armorial bookplate on the flyleaf. Latterly in the collection of Henry Myron Blackmer II (1923-88), with his bookplate to the pastedown, sold at Sotheby's in 1989 (Blackmer sale, lot 80) and purchased by Herry W. Schaefer (1934-2016). Blackmer 1887 (with two illustrations: p. 42 and frontispiece facing p. 1). Cf. Haydn Williams, "Additional printed sources for Ligozzi's series of figures of the Ottoman Empire", in: Master Drawings, vol. 51, no. 2 [Summer 2013], pp. 195-220; Metin And, Istanbul in the 16th century: the city, the palace, daily life (Istanbul, 1994).
4to (259 x 182 mm). 4 vols. Altogether 369 ff. with 145 entries. With 13 full-page gouaches and ornamental frames on each leaf, all heightend in gold. Contemporary red velvet with gilt-stamped spines and moiré silk endpapers. All edges gilt. Stored in custom-made slipcase. Exceedingly prestigious and luxurious friendship album with the signatures of Alexander II and Alexander III of Russia, the German Emperor Wilhelm I, Queen Victoria, seven kings including Frederick William IV of Prussia, Ludwig I, Maximilian II, and Ludwig II of Bavaria, five empresses including Alexandra Feodorovna, Maria Alexandrovna, and Elizabeth of Austria, seven queens consort, and several ruling princes. - The album is beautifully illuminated by the eminent Russian architect and designer Ippolit Monighetti, who was also responsible for the sumptuous book decorations of the famous imperial coronation album of Alexander II and Maria Alexandrovna published in 1856. It is organized as a calendar, each volume comprising three months and each month being represented by a title gouache with biblical quotes and illustrations and one decorated page for each day. An additional title gouache in the first volume shows the calendar year 1855 and the arms of the Grand Duchy of Hesse, as Elisabeth of Prussia (1815-85) was by marriage a Princess of Hesse and by Rhine. The Hessian Lion reappears in the illustration for November, whereas the illustration for June includes a beautiful veduta of St Petersburg. Monighetti signed the title gouache as well as those for January and February; the latter is additionally dated to 1853, which indicates the time and effort invested in this exceptional work of art. - The 145 entries - mostly from members of the aristocracy, of which 131 could be identified - are unrelated to the calendar. They include, in volume I (January-March): Maria Alexandrovna, née Princess Marie of Hesse and by Rhine, Empress of Russia (1824-80), her son Grand Duke Alexei Alexandrovich of Russia (1850-1908), Duke Elimar of Oldenburg (1844-95), Helene of Mecklenburg-Schwerin, Princess of Orléans (1814-58), Princess Sophie of Bavaria, Archduchess of Austria (1805-72), Maria Anna of Bavaria, Queen of Saxony (1805-77), Alexandrine of Prussia, Grand Duchess of Mecklenburg-Schwerin (1803-92) and her son, Grand Duke Frederick Francis II (1823-83), Caroline Augusta of Bavaria, Empress of Austria (1792-1873), Louise Frederica of Anhalt-Dessau, Landgravine of Hesse-Homburg (1798-1858), Prince Alexander of Hesse and by Rhine (1823-88), Emperor Alexander III of Russia (1845-94), Luitpold, Prince regent of Bavaria (1821-1912), Caroline of Hesse-Homburg (1819-72), Adelgunde of Bavaria, Duchess of Modena (1823-1914), and German Emperor Wilhelm I (1797-1888). - Among the signatories of volume II (April-June) are Alexander of Battenberg, Prince of Bulgaria (1857-93), Grand Duke Vladimir Alexandrovich of Russia (1847-1909), Princess Alice of the United Kingdom, Grand Duchess of Hesse and by Rhine (1843-78), Ferdinand, Landgrave of Hesse-Homburg (1783-1866), Otto of Bavaria (1848-1916), later king but who never actively ruled because of his mental state, Emperor Alexander II of Russia (1818-81), Prince Arthur, Duke of Connaught and Strathearn (1850-1942), Grand Duke Sergei Alexandrovich of Russia (1857-1905), Archduke Ludwig Viktor of Austria (1842-1919), Princess Sophie of Sweden, Grand Duchess of Baden (1801-65), Queen Victoria (1819-1901), Anna of Hesse and by Rhine, Grand Duchess of Mecklenburg-Schwerin (1843-65), Princess Helena of the United Kingdom (1846-1923), King Otto of Greece (1815-67), Louis III, Grand Duke of Hesse (1806-77), and Prince Charles of Prussia (1801-83). - Volume III (July-September) comprises the signatures of Prince Karl Theodor of Bavaria (1795-1875), Princess Irene of Hesse and by Rhine (1866-1953), Alexandra Feodorovna, née Princess Charlotte of Prussia, Empress of Russia (1798-1860), Prince Alexander of Hesse and by Rhine (1823-88) and his daughter Princess Marie of Battenberg (1852-1923), Prince Adalbert of Bavaria (1828-75), Princess Augusta of Hesse-Kassel, Duchess of Cambridge (1797-1889), Carola of Vasa, Queen of Saxony (1833-1907), Alfred, Duke of Saxe-Coburg and Gotha (1844-1900), King Ludwig I of Bavaria (1786-1868) and the later King Ludwig II of Bavaria (1845-86) on one leaf, Stéphanie de Beauharnais, Grand Duchess of Baden (1789-1860), Princess Ludovika of Bavaria (1808-92), the mother of Empress Elisabeth of Austria, Frederick I, Grand Duke of Baden (1826-1907), Grand Duchess Olga Nikolaevna of Russia, Queen of Württemberg (1822-92), Louis IV, Grand Duke of Hesse (1837-92), and the German Empress Augusta of Saxe-Weimar-Eisenach (1811-90). - The fourth and final volume (October-December) includes signatures by Grand Duke Paul Alexandrovich of Russia (1860-1919), King Frederick William IV of Prussia (1795-1861), Marie of Prussia, Queen of Bavaria (1825-89), Frederick William, Elector of Hesse (1802-75), again Maria Alexandrovna and her daughter, the Grand Duchess Maria Alexandrovna of Russia, Duchess of Saxe-Coburg and Gotha (1853-1920), Prince Gustav Vasa (1799-1877), Elisabeth Ludovika of Bavaria, Queen of Prussia (1801-73) and her sister Amalie Auguste of Bavaria, Queen of Saxony (1801-77) on a single leaf, Princess Mary Adelaide of Cambridge (1833-97), King Maximilian II of Bavaria (1811-64), King John of Saxony (1801-73), Amalia of Oldenburg, Queen of Greece (1818-75), and Empress Elisabeth of Austria (1837-98). The final entry was written by Empress Maria Alexandrovna of Russia. - Ippolit Monighetti studied design at the Stroganov Art School in Moscow and later architecture at the Imperial Academy of Arts in St Petersburg. He started his career as an architect with several villas for the Russian nobility in Tsarkoye Selo (Pushkin). These early successes led to his discovery by Emperor Nicholas I, who commissioned Monighetti with the design of the Turkish Bath in Catherine Park in 1850. Many prestigious commissions followed, both for architecture and design, by members of the Romanov family including Emperor Alexander II. The commission of the friendship album for Elizabeth of Prussia was certainly facilitated by Elizabeth's close family ties to the Russian imperial family: Empress Alexandra Feodorovna was Elizabeth's cousin, whereas Alexandra's daughter-in-law Empress Maria Alexandrovna, who left three entries in the album, was a sister of Elizabeth's husband Prince Charles of Hesse and by Rhine. Although it is the only book known to have been illuminated by Monighetti, the intricate ornaments closely resemble his book decorations for the lithographed coronation album of Alexander II and Maria Alexandrovna. Thus, the friendship album of Princess Elizabeth of Prussia is not only unique in the scope of its signatories but also closely connected to one of the most famous illustrated books of the 19th century. - Insignificant chafing to the title illustration for October. Overall very well preserved. Provenance: removed from the library of the Barons de Bassus at Schloss Sandersdorf.
Vorerschlossen in 12 Faszikeln: - 1) 10 Schreiben von Friedrich dem Großen an bzw. für Valory (zumeist mit eh. U., davon 2 gänzlich eh.) sowie eine teils chiffrierte Beilage. - 2) 8 Schreiben von Louis XV. an Valory bzw. Friedrich den Großen, alle mit eh. U. - 3) 25 Schriftstücke (Korrespondenz, Memoires, Verträge) zur europäischen Politik in zeitgenöss. Abschrift. - 4) 8 Schreiben des frz. Premierministers Kardinal André-Hercule de Fleury an Valory mit eh. U. - 5) 5 Schreiben frz. Diplomaten an Valory. - 6) 6 Schreiben verschiedener Diplomaten an Valory sowie 1 Teilabschrift eines Geheimvertrags. - 7) 6 Schreiben des preußischen Kabinettsministers Heinrich Graf Podewils an Valory, davon 3 gänzlich eh. - 8) Schreiben von Karl Albrecht von Bayern, als erwählter Kaiser Karl VII., und Schreiben von Karl Eugen Herzog von Württemberg, beide an Valory, mit eh. U. - 9) 3 eh. Schreiben mit U. von Johanna Elisabeth von Schleswig-Holstein-Gottorf an Valory. - 10) 4 Schreiben von Friedrich Wilhelm II. von Preußen an den Marquis de Boyer d'Eguilles. - 11) 9 diverse Schriftstücke, zumeist Korrespondenz der 1740er/50er Jahre in Abschrift. - 12) 33 diverse Schriftstücke des späten 16. und frühen 17. Jhs., zumeist von deutschen Fürsten an den König von Frankreich. - Zus. 353 SS. Versch. Formate, zumeist Folio und 4to. Hochinteressante Dokumentsammlung aus dem Nachlass des französischen Diplomaten Louis Guy Henri de Valory (Valori), der 1739 als französischer Gesandter an den preußischen Hof kam und dort bis 1750 wirkte, dann 1756 kurzfristig als Botschafter nach Berlin zurückkehrte. Der greise Kardinal und de-facto-Premierminister André Hercule de Fleury hatte den Offizier Valory, der sich im Spanischen Erbfolgekrieg ausgezeichnet hatte, nach Preußen geschickt, um am Hofe Friedrich Wilhelms I. die Interessen von Louis XV. zu vertreten; insbesondere sollte er das französisch-preußische Bündnis gegen das Habsburgerreich festigen. Valory entledigte sich seiner Mission erfolgreich: Er wirkte mehrfach auf die preußische Bündnispolitik ein, arrangierte die Ehe zwischen dem Dauphin und Maria Josepha von Sachsen (1747) und zählt zu den Architekten des Friedens von Aachen (1748). Obwohl der Kronprinz Friedrich zunächst wenig von Valory hielt, fand er bald Gefallen an dem so gebildeten wie originellen Kopf, und nach seiner Thronbesteigung als Friedrich II. bezeugte er ihm mehrmals seine Freundschaft. - Zu den vorliegend überlieferten zehn Schreiben Friedrichs des Großen zählen zwei eigenhändige Billetts (davon eines im Umfang von 3 Seiten); ein weiteres weist eine sechszeilige eigenhändige Nachschrift auf (während Friedrichs Bevollmächtigung für Heinrich Graf Podewils zu einem preußisch-französischen Defensivbündnis neben der Unterschrift das wohlerhaltene königliche Lacksiegel trägt). Die meisten dieser Schriftstücke stammen aus dem ersten Jahr des Ersten Schlesischen Kriegs, mehrere sind in Feldlagern verfasst. Bei Valorys Abschied aus Berlin 1750 spricht ihm Friedrich mit warmen Ausdrücken seine Zufriedenheit aus, und bei seiner abrupten Abberufung 1756 widmet er ihm mit eigener Hand die persönlichen Worte: "Après la façon outrageante dont votre cour se comporte envers moi, vous ne trouverez point étrange que je ne réponds point au ministre de France, mais à mon vieil ami. Je suis fâché de votre départ, et vous pouvez être persuadé que je ferai non seulement des vœux pour votre santé, mais encore pour votre fortune. Faites mes compliments à mes amis dans le pays où vous allez, si j'en ai encore. Pour moi, je vois toutes les extravagances qui arrivent, de sang froid, et vous pouvez être persuadé que, bien loin d'en être découragé, ce m'est un nouvel aiguillon qui m'animera à faire l'impossible possible l'année qui vient. Adieu, mon cher Valory, je vous souhaite un heureux voyage. Federic". - Von Minister Podewils liegen sechs teils eigenhändige Schreiben an Valory vor, die von September 1741 bis kurz vor Ausbruch des Zweiten Schlesischen Kriegs reichen. Von französischer Seite enthält der Bestand acht vom König von Frankreich unterschriebene Instruktionen an seinen Gesandten, ferner acht Schreiben Fleurys und eine Fülle weiterer diplomatischer Korrespondenz. Viele Dokumente zur Großmachtpolitik der 1740er bis 1750er Jahre finden sich in zeitgenössischer Abschrift, darunter Verträge und Abkommen, Urkunden Maria Theresias (November 1740), Schreiben des englischen Botschafters Hyndford sowie der berühmte Brief Friedrichs des Großen an den Marquis d'Argens aus Hermannsdorf vom 27. August 1760, aber auch zwei Schreiben der preußischen Königinmutter Sophie Dorothea von Hannover zur Heirat der Prinzessin Luise Ulrike mit dem schwedischen Kronprinzen (1744). Eine Vielzahl älterer Schreiben von Kurfürsten und deutschen regierenden Häusern an das französische Königshaus, verfasst zwischen 1570 und 1632, dürfte Valory nach seiner Rückkehr nach Frankreich in sein Arbeitsarchiv übernommen haben. Angereichert ist die Sammlung um einige spätere Stücke aus dem Besitz der Familie Boyer d'Eguilles (Billetts von Friedrich Wilhelm II., 1795/96). Valory hatte in Preußen Kontakt zur Familie; 1746/47 hatte er sich für die Freilassung von Alexandre-Jean-Baptiste d'Eguilles, Bruder des Marquis d'Argens, aus englischer Kriegsgefangenschaft eingesetzt. Der vorliegende Bestand bildet über weite Strecken die Quellengrundlage für die 1820 erschienenen Memoiren Valorys (Mémoires des négociations du marquis de Valori), in der auch wesentliche Teile publiziert sind. - Residuum der Sammlung Sir Thomas Phillipps (1792-1872). Schöne und umfangreiche diplomatische Dokumentensammlung, die das preußisch-französische Verhältnis in den letzten Jahren vor dem "Renversement des alliances" abbildet.
A pair of original watercolours with traces of pencil, measuring 333 x 485 mm each. Framed and matted, captioned on the mat in Indian ink. Exceptionally rare: a pair of near-contemporary watercolours reflecting the English popular imagination of a crucial event in UAE history, the disastrous first sack of Ras Al-Khaimah in late 1809. - The punitive expedition was carried out by a 16-ship fleet of the British navy headed by HMS Chiffone under the command of Captain Wainwright, allegedly in retaliation for repeated acts of piracy against British ships perpetrated by the Qawasim, but certainly a convenient means for the British to expand their power in the Gulf on behalf of the East India Company. The battle, a massacre that is still locally remembered in story and song, was the beginning of a new era: that of British control in the Gulf. - The fleet sailed from Bombay on 14 September 1809, reaching Muscat on 11 November and descending on Ras Al-Khaimah in the dawn of the 12th. All day long the British ships bombarded the town’s defences and homes. In the early morning of 13 November, 600 of the more than 1,300 British soldiers landed on the beach and, after bitter fighting, soon breached Ras Al-Khaimah’s defences. Having demolished the town, the Chiffonne and the rest of the fleet sailed along the coast, wrecking additional fortresses. - The atmospheric watercolours depict the landing operation, with the Chiffonne firing its cannons and the British soldiers reaching the beach, in one picture setting fire to a pirate ship. The set of drawings at hand, apparently the work of a talented enthusiast, may even pre-date the publication of the aquatints by Richard Temple in his famous “Sixteen Views of Places in the Persian Gulph Taken in the Years 1809-10”, published in 1813 from his own drawings made on location as a private in the 65th Regiment. - Provenance: once sold through the London rare book and autograph dealer Frank T. Sabin (1846-1915), with his labels on the back. Latterly in a private UK collection. Cf. Sultan Muhammad Al-Qasimi, The Myth of Arab Piracy in the Gulf (London, 1985). Charles E. Davies, The Blood-Red Arab Flag (Exeter, 1997).