[Council of the Indies / Consejo de Indias]; [Philip IV of Spain] [Pinelo, Antonio de Leon]Biblio.com
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16812474Madrid: Por Julian de Paredes 1681. Second revised and enlarged edition. In contemporary limp vellum. Engraved device on title page. Woodcut initials throughout and a tailpiece at end of each part. Tinted edges. Stains on binding string missing panels with small damage at the outer edge. Tinted title on spine rubbed. 19th-century shelfmark on the inner front panel in ink. Contemporary notes and sings to the margins throughout the first part. Old restoration with paper tape to a few pages in the first part. Otherwise in very good condition. Second revised and enlarged edition. In contemporary limp vellum. 206 14 p. <p><p><br /> Revised and enlarged second edition of these substantial bodies of law relating to the New World and the treatment of Native Americans an important volume on the Administrative History of the Indies.<br /> <p><p><br /> One of the most important volumes of the administrative history of the Indies a fundamental collection of laws and ordinances decreed by the Council of the Indies the supreme governing body of Spain’s colonies in America during the reign of Philip IV. <br /> <p>The first part Ordenanzas del Consejo Real de las Indias contains 245 ordinances of the Council of the Indies pp. 3–112; first published in 1636 the second part Autos acuerdos y decretos de govierno del Conseio Real y supremo de las Indias embodies an additional 190 ordinances concerning for the most part the administration of Spanish America pp. 113–206 plus 14 p. of index; first published in 1658.<br /> <p><p><br /> Any editions of these bodies of law are extremely scarce on the market RHB lists only 2 copies of the present edition within the last 70 years. <br /> Sabin 57477. Por Julian de Paredes unknown
15331027Coloniae Köln: apud Peter Quentel 1533. First edition. In later gilt burgundy maroquin. Gilt floral ornaments and title on spine. Marbled endpapers. Gilt edges. Green silk bookmark. Two leaves misbound: Oov–vi after Qqiiii. Pages trimmed that occasionally effects the printed marginals and page headers. Two wormholes effects the upper part of the last four signatures slightly the text as well partly restored with old paper. Otherwise clean. Engraved bookplate and printed bibliographic reference on inner front panel. Collection vignette on front and rear endpapers. Collection inscription and stamp on additional endpaper. Overall in fine condition. With two large woodcut illustrations the Virgin and Child on verso of title and woodcut of the author at end. Woodcut initials. With two large woodcut illustrations the Virgin and Child on verso of title and woodcut of the author at end. Woodcut initials. First edition. In later gilt burgundy maroquin. Gilt floral ornaments and title on spine. Marbled endpapers. Gilt edges. Green silk bookmark. 16 628 i.e. 626 2 p. Pages 113 and 178 omitted in pagination. Signatures: AA8 A-Z8 Aa-Nn8 Oo10 Pp-Qq8. <p><br /> First edition of Denis the Carthusian’s treatise against Islam with numerous quotations from the Qurʼan. Preceded the earliest complete Latin edition of the Qurʼan by ten years. <br /> <p><p><br /> “Contra Alchoranum†the anti-Islamic work of the Carthusian monk Dionysius 1402–1471 was written around 1454 but only printed some eighty years later in this edition. It was edited by Petrus Blomeuenna whose dedicatory epistle is addressed to Emperor Ferdinand I. The laudatory poem about Dionysius Carthusianus that closes the book was written by Nicolas van Essche 1507–1578.<br /> <p><p><br /> Dionysius cites passages of the Qur’an in the Latin translation of Robert of Ketton and counters them by biblical quotations he places these Qur’anic theses and biblical antitheses in the mouths of a Christian and a Saracen as a fictitious dialogue. He also encourages crusades against the Ottoman Turks who shortly before he wrote this treatise had conquered Constantinople. <br /> <p><p><br /> “Contra Alchoranum†is considered to be the first printed source in Latin of the legend of Bahira or Sergius the Nestorian Monk who according to the story together with three Jews conveyed the text of the Qur'an to Mohammed with massive falsification of the Biblical traditions.<br /> <p><p><br /> The book has been published ten years earlier than the first printed version of the entire text of the Qurʼan in Latin translation Machumetis Saracenorum principis; Basel 1543 and uses the same translation by the English scholar Robert of Ketton Robertus Ketenensis; 1110–1160. In 1540 a paraphrased abridged German translation of “Contra Alchoranum†was published in Strasbourg under the title “Alchoran. Das ist des Mahometischen Gesatzbuchs …†whose translator was probably Heinrich von Eppendorff.<br /> <p><p><br /> Bibl.: Francisco A.: Martin Luther and Islam. A Study in Sixteenth-Century Polemics and Apologetics. Leiden; Boston: Brill 2007. pp. 16–17.<br /> <p><p><br /> VD 16 D 1863.; USTC 626366.; Adams D 539.<br /> <p>. apud Peter Quentel unknown
1538ST14933<p>Paris: Jehan Masse Jean Macé 1538. Fourth Edition. 182 x 91 mm. 6 3/8 x 3 3/4". 8 p.l. ccciii 1 blank leaves.Edited by Clément Marot. <br />ELEGANT SCARLET MOROCCO BY LORTIC stamp-signed on front turn-in covers tooled in gilt and blind in a Grolieresque strapwork design raised bands spine compartments with central gilt rose surrounded by blind tooling gilt titling turn-ins richly gilt marbled endpapers all edges gilt. With title page vignette and 49 impressions of 26 CHARMING WOODCUTS in the text. Front pastedown with engraved bookplate of P. Grandsire. Brunet III 1175; Bourdillon "Early Editions of the Roman de la Rose" the "S" version pp. 62-63. ◆Leaves lightly washed and pressed following the bibliophilic fashion at the time of binding occasional mild browning or small marginal stains but still A LOVELY COPY clean and still crisp IN A SPARKLING BINDING.<br /><br />Beautifully bound this is a most attractive copy of the last early edition of this classic of courtly love perhaps the most influential work in Medieval French literature. An allegorical love poem that unfolds as a dream vision the "Romance of the Rose" is the work of two authors Guillaume de Lorris who composed the first 4000 or so lines around 1230 and Jean de Meun who contributed an additional 18000 lines 40 years later. Our version was edited by the poet Clément Marot 1496-1544 to make the language more accessible to 16th century French readers and his efforts contributed to a renewed popularity for the tale. Marot did four recensions of the text; this is the final one. After our printing no other edition appeared until 1735. According to Bourdillon the woodcuts here are copied from the "very pretty" series in the 1529 edition. The scenes are impressive in the level of detail especially considering their diminutive size. Pierre Marcellin Lortic 1822-92 was one of the great binders of 19th century Paris known for his superb interpretations of traditional styles as in the present binding. According to Flety "at once artisan and artiste intelligent and conscientious an expert and a lover of his metier he knew how to give his work the finish the brilliance that very few practitioners of his time could attain." Our copy comes from the library of French bibliophile Paul Grandsire of Nogenten-Bassigny Haute-Marne whose notable collection of French imprints from the 15th to the 18th centuries was sold in 1930. All early versions of the "Romance of the Rose" are sought after and this is especially true of well-preserved copies of those editions with charming illustrations and in fine bindings favored by discriminating bibliophiles.</p> Jehan Masse [Jean Macé]
1813032473London: T. Egerton 1813. Book. Very Good. Quarter Leather. 2nd Edition. 12mo - over 6¾ - 7¾" tall. Three volumes. 2nd edition thus. Contemporary quarter brown calf with marbled boards gilt rules. Decorative gilt and bands to spine with labels expertly replaced. Brown top stain. Half titles not present. Armorial paper bookplate to endpaper. Sporadic foxing to endpapers and occasional inside leaves; otherwise text blocks are clean and square. Slight edge wear. Housed in fine sturdy brown slipcase. A very good rare set. . T. Egerton Hardcover
2022125005<p>Book shows average shelfwear at the cover edges there is some curling at the corners the pages inside are clean and in great condition.</p> paperback
1953214h6109Appleton Wisconsin: C.C. Nelson Publishing Company. Fair in Good dust jacket. 1953. Second Printing With Revisions. Hardcover. Charles A. Lindbergh's copy signed and inscribed to him by his fellow seeker of peace justice and historical truth Harry Elmer Barnes 1889-1968 whom Murray Rothbard eulogized as "the last of the truly erudite historians." A truly magnificent provenance for this work which "shows how the extension of military operations to civilian populations and property and the increasingly destructive nature of total warfare menace the very future of humanity and Western civilization. This work makes it clear how the Nuremberg war-crimes trials far from curbing the barbarism of present-day warfare will make it absolutely certain that every known form of destructiveness and mass-murder however fiendish and devastating will surely be brought forth in the desperate effort to avoid a defeat which in all future wars will mean the summary liquidation of the political leaders and top military officers of the vanquished countries." - dust jacket. Saddam Hussein and Muammar Gaddafi among others would probably concur. As the most prominent spokesman for the America First Committee which sought to keep America out of WWII Lindbergh most likely endorsed the conclusions of this book first issued in England in 1948 under a nom de plume by Veale "a lawyer and student of history with a lifelong interest in the cause of peace and international justice." - xi. On page vii Veale refers specifically to Barnes by stating "in accordance with what Dr. Harry Elmer Barnes has called 'The Historical Blackout' the bulk of the British press newspaper and periodical alike rigidly ignored the first edition of this book. Not one London newspaper with a nation-wide circulation reviewed it." Eventually this work was issued in 18 editions and three languages. pp. xvii 1 305. Index. Bibliography. Black and white reproductions of photos. Unmarked with average wear to publisher's red cloth lettered in gilt. Narrow openings along each hinge bear narrow remnants of earlier tape repairs. Small erasure patch atop front free endpaper. Tanning to photo endpapers. Moderate wear to dust jacket now preserved in archival-grade Brodart. Housed in new custom acid-free slipcase. An extraordinary memento from the collection of Charles Lindbergh 1902-1974 the legendary American aviator who rose to global prominence in 1927 by being the first to fly nonstop from New York to Paris. Stimely p.61 Select Bibliography of Revisionist Books p.21.; 8vo; Signed by Notable Personage Related . C.C. Nelson Publishing Company hardcover
193456Good. 800 x 810 mm. Mounted on original cloth. Some wear especially at upper-left corner as shown. Very rare only 1 record in OCLC/Worldcat. WITH PICTURES. Leicester : The Midland Educational Co. Ltd.,1934
1470ST17764Delft ca. 1470. Leaf: 175 x 122 mm. 6 7/8 x 4 3/4"; Frame: 250 x 195 mm. 9 3/4 x 7 3/4". No text on recto or verso. <br/> In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE HARROWING OF HELL within an arch-topped compartment the mouth of hell depicted on the left with a fiery red interior and five people emerging from it the figure of Christ on the left holding a cross on a long staff and half-clothed in a pink and blue robe the background with a castle in the distance ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds blues greens yellows and brushed gold along with very many small burnished gold ivy leaves and buds on hairline stems a small stork in the bottom border and a large delicately shaded angel in the left border. ◆Left margin trimmed very close to decoration just escaping loss and the other three margins ample mild darkening right at fore and tail edge but not reaching into borders otherwise IN FINE CONDITION the colors rich and true and the burnished gold still shimmering.<br/> <br/> This extraordinary miniature notable for its uncommon subject matter memorable imagery and fine workmanship was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The subject here is infrequently depicted in Books of Hours: the Harrowing of Hell appears as a full-page miniature in only three of the 119 prayer books described by Roger Wieck in his "Time Sanctified" and three others contain a Harrowing depiction inside an initial. Christian theological tradition tells us that after his crucifixion Christ went to liberate souls from Limbo--a location inhabited by those barred from entry into Heaven because they died before the Redemption. In our scene Christ wrapped in a regal cloak and carrying a long staff his hands and feet still bleeding from the wounds he received on the Cross reaches into an absolutely wonderful Hellmouth to extricate Adam and Eve and other naked souls while the recently deceased and original saint John the Baptist still clad in an animal skin garment waits patiently for his turn to emerge. The great maw of Hell as depicted here has bulging eyes a distended snout thickly matted hair and a bad complexion; his gaping mouth punctuated by sharp gray teeth glows red hot and one can tell from the creature's expression that he is loath to comply with this rescue of souls. In addition to its compelling subject matter there is a high level of artistic achievement here including delicately molded figures impressively detailed architectural elements and a lovely color palette. The elegance and quiet sophistication observed in this miniature distinguishes the artist responsible for this work as a particularly talented member of his circle. Active from about 1450-80 the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border it shares other stylistic similarities such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77 an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because the subject of the present miniature goes beyond the standard image program seen in routine productions and because of the high level of artistic accomplishment seen here this leaf was almost certainly part of an elaborate Book of Hours produced in response to an important commission. unknown
1415ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. <br/> Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved.<br/> <br/> Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown
1470ST17765Delft ca. 1470. Leaf: 172 x 115 mm. 6 3/4 x 4 1/2". Frame: 242 x 190 mm. 9 1/2 x 7 1/2". <br/> In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE NATIVITY within an arch-topped compartment the parents of the Christ Child kneeling before him as he lies on the ground outside the stable Joseph uncharacteristically supporting himself with a cane in his left hand and holding a long burning candle in his right two diminutive angels in attendance the head of an ass sticking out of the stable window in the background to the left AND IN THE RIGHT BACKGROUND A CHARMING DEPICTION OF THE ANNUNCIATION TO THE SHEPHERDS ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds blues greens yellows and brushed gold along with very many small burnished gold ivy leaves and buds on hairline stems a small stag in the bottom border and a large delicately shaded angel who mirrors the Virgin's pose in the left border verso blank. ◆A hint of soiling to edges of vellum but IN VERY FINE CONDITION without any paint erosion with the colors rich and true and with the burnished gold still shimmering.<br/> <br/> Notable for its attractive color scheme fine craftsmanship and unusual composition this vibrant leaf was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The lack of text and blank back of this leaf clearly suggest that it was produced as a singleton intended for insertion in a Book of Hours and its subject matter indicates that it would have faced the opening for the third hour of the day Prime. The present depiction of the Nativity is out of the ordinary in that it is combined with another scene the Annunciation to the Shepherds a subject that usually begins Terce in the Hours of the Virgin. It is a testament to the artist's ingenuity and compositional skills that he has managed to incorporate these two scenes so seamlessly; in fact rather than pulling focus from the main subject celebrating the birth of Christ this secondary scene adds additional interest to the picture and amplifies the storyline. Though the Annunciation to the Shepherds takes place at a distance from the Nativity we immediately grasp their connection and can see how arrival of humanity's savior was felt far beyond the manger. It is also interesting to note how much the artist has emphasized the figure of Joseph. Not only does he take up as much space as the Virgin but the candle and cane he holds frame the Christ child and communicate a strong suggestion of a protective parent the Virgin is doing her part by praying hard but she is more passive. In addition to its engaging subject matter there is a high level of artistic achievement here including delicately molded figures impressively detailed architectural elements and a lovely color palette. The elegant hand seen in this miniature manifests a quiet sophistication that distinguishes this artist as a particularly talented member of his circle. Active from about 1450-80 the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border it shares other stylistic similarities such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77 an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because of the complexity of the subject matter and the high level of artistic accomplishment seen here this leaf was probably part of an elaborate Book of Hours produced in response to an important commission. unknown
16011169London: Adam Islip 1601. First Edition. Good. Folio. 2 vols. in 1. 60 614 42 12 632 86. First edition in English of Pliny’s important encyclopedic work which was for centuries considered the highest authority on subjects relating to the natural and physical world including botany zoology geography pharmacology and more. Lowndes referred to this translation as a "work of immense labour and what few men of his time could have executed in a superior manner to Dr. Holland." Near contemporary half brown calf over marbled boards black gilt morocco lettering labels spine lettered and ruled in gilt wear to binding and joints ink notations throughout especially to front blank and title-page ownership signatures on title page 9 of vol. I and page 4 of vol. II as well as some ink markings to the woodcut devices on the first few leaves of vol. I and the final leaf in vol. II. This is a huge book for 1601 and copies with missing or duplicated or misbound leaves are seen with more frequency than slimmer books or later ones. This one has the complete text and prelims and it has the often missing errata after the Preface in vol. I and at the end of vol. II though it is not without its faults. B iii and B iv in vol. II are chipped at the margins just touching the marginal citations these two leaves may be supplied imissing Ppp index vol/ 2 there is creasing to the first few and last few leaves and minor insect damage near the end of volume II but withal it is a good textually complete copy. Pliny's encyclopedic work functioned for centuries as the highest authority on subjects relating to the natural and physical world including botany zoology geography pharmacology and numerous other disciplines. Completed around 77-79 CE the “Natural Historyâ€Â synthesized Greek and Roman knowledge within a single comprehensive framework drawing from nearly 500 sources to create what became arguably the most influential scientific text of the pre-modern period.<br /> <br /> Philemon Holland's 1601 translation brought Pliny's comprehensive compilation to English readers for the first time. Lowndes characterized this as a "work of immense labour and what few men of his time could have executed in a superior manner." Holland's scholarly approach preserved the technical vocabulary while rendering complex concepts accessible to readers lacking classical training.<br /> <br /> Pliny himself embodied the Roman aristocratic ideal of combining administrative service with intellectual pursuit. Gaius Plinius Secundus served as Vespasian's admiral while compiling his vast encyclopedia demonstrating the integration of practical governance and scholarly endeavor characteristic of the Roman elite. His death during the Vesuvius eruption of 79 CE killed by ash inhalation while investigating the catastrophe exemplifies the empirical curiosity that drove his encyclopedic project. Adam Islip unknown
19922110502151005583Hara shobo 1992. Soft Cover. Fine. Number of books: 142 Hara shobo paperback
1634I44FL3PUPRNNLondon: Adam Islip 1634. Contemporary calf spine in six compartments tooled and lettered in gilt. Folio 23.5 x 32 cm. Elaborate woodcut device on title-page; woodcut initials head- and tailpieces. 2 parts in one volume. Pliny's renowned Natural History in its second publication in English repeating with corrections the 1601 first publication translated by Philemon Holland the greatest translator of the Elizabethan age. The "Naturalis Historia" is one of the largest single works to have survived from the Roman empire to the modern day and purports to cover the entire field of ancient knowledge based on the best authorities available to the author. Pliny claims to be the only Roman ever to have undertaken such a work. It comprised 37 books in 10 volumes and covered over 20000 facts on topics including the fields of botany zoology astronomy geology and mineralogy as well as the exploitation of those resources. It remains a standard work for the Roman period and the advances in technology and understanding of natural phenomena at the time. Some technical advances he discusses are the only sources for those inventions such as hushing in mining technology or the use of water mills for crushing or grinding corn. Much of what he wrote about has been confirmed by archaeology. ''We know from Pliny that there were important pearl fisheries in the Gulf . Pliny identifies Tylos Bahrain as a place famous for its pearls . He attests that pearls were the most highly rated valuable in Roman society and that those from the Gulf were specially praised . The pearl related finds at the site of El-Dur indicate the site was integrated into the maritime trade routes linking the Roman Empire the Persian Empire India and South Arabia'' Carter. Book 6 holds a chapter that gives the first detailed account of the regions around the Gulf including what are now Qatar the Emirates and Oman. Binding rubbed; front hinge splitting. Includes the final printed leaf in vol. 2 containing the publisher's advertisement to the reader that all errors have been corrected in the present edition and the errata leaf included in the same position in 1601 has become unnecessary rather than having been mistakenly omitted. Some slight browning and brownstaining but an excellent copy removed in 1973 from the Royal Meteorological Society Symons Bequest 1900 with their bookplate on the front pastedown.l STC 20030. Cf. Pforzheimer 496 1601 ed. Adam Islip, unknown
1910000180Each 16.5 x 14 11 x 8 cm. Contains 2 of which published in the book listed in our inventory; health reform and organizations in Hejaz during the Hajj season 1330 AH. By Dr. Kasim Izzeddin. The other 3 photos are not published in this book.
1909000140<p><strong>80 × 75 cm. Produced by KolaÄŸası Osman Nuri secretary of the Military School of Geography in 1323 AH 1907 AD.</strong></p><p>The map rarely includes a small inset map of the city of DirÊ¿iyyah in the Najd region together with additional inset maps of Medina ṬÄʾif Mecca and the harbor of Jeddah.</p> The Ottoman geographical military school, war press
19892111902160200913Araragi Production Office 1989. Soft Cover. Fine. Volume: 118 768 Araragi Production Office paperback
1970123601New York: Cinnamon Press 1970. Rare Bag One lithograph signed by Beatles icon John Lennon. One page the title page from Lennon's Bag One Portfolio. Signed by him beneath the image. One of 300 numbered copies this is number 172. In near fine condition. Matted and framed. Rare and desirable. In 1969 as a wedding gift for Yoko John drew the 'Bag One Portfolio'—a chronicle of their wedding ceremony honeymoon and their plea for world peace in the Bed-In. The following year the artwork was produced in a series of three hundred portfolios of fifteen signed prints each. The majority depict John and Yoko's most intimate private moments—upon their first exhibition in London more than half were deemed 'indecent' and confiscated by Scotland Yard. The rare title page features perhaps the most famous and recognizable print of the suite. Cinnamon Press unknown
11382A complete collection of 90 intricate architectural models of tea house designs with dimensions and components printed lithographically each design housed in a large folding envelope manuscript titles on outside of each envelope. The two sets of 45 models are each stored in the two original publisher's boxes with a printed list pasted to the inside of the lid of both boxes as issued. A total of 90 envelopes folded: 255 x 172 mm. Japan: ca. 1920s-30s.<br /> <BR> <BR> A remarkable creation a complete set of 90 elaborate architectural pop-ups of tea ceremony houses and related structures as well as interior features like benches shelves boxes shutters ceilings etc. In Japan paper pop-up models have been used since at least the 16th century as a primary means of communication between carpenters and their patrons particularly in the construction of tea houses. Precise notes for carpenters and builders have been lithographed on to the numerous flaps. A symbol of sophistication and wealth tea houses were in great demand in early 20th-century Japan. It is possible that these pop-ups functioned as a trade catalogue from which clients could pick their preferred size and specifications. Printed labels affixed to the inside of the wooden box lids list all 90 models.<br /> <BR> <BR> The pop-up flaps are attached to floor plans of different sizes and designs. There are notes regarding tea houses designed or favored by famous figures and schools in tea ceremony history. The primary folding flaps consist of exterior and interior walls ceilings alcoves and passageways. The flaps contain detailed drawings on both sides depicting the interior decor windows and their decorations passageways bathrooms etc. Attached to the wall flaps are more flaps which show smaller interior objects including boxes shelves display alcoves tokonoma benches etc.<br /> <BR> <BR> The purpose of these pop-up plans was to allow an experienced builder to visualize and construct an entire building from the plans themselves. "The okoshi-ezu has no real counterpart in Western drawing.Okoshi-ezu are extraordinary in that they are both easy to understand and extremely comprehensive - a combination that is usually mutually exclusive in architectural drawing where legibility tends to decline as the density of information increases. This quality makes okoshi-ezu drawings extremely helpful in studying the buildings they represent. Indeed okoshi-ezu provided such a complete description of the design that they were often used as the basis for the common practice of copying teahouses; the dimensional and specification information they included meant they could be used as construction drawings. These drawings could communicate so much with so little because their representational qualities were so similar to the actual architecture they represented - thin walls wrapped around cubic spaces to create highly refined and specific compositions of material space and light."-Andrew Barrie "Okoshi-ezu: Speculations on Thinness" in Interstices 11 online resource.<br /> <BR> <BR> The name of Sakata SakujirÅ å‚田作治郎 appears on both printed labels on the lids; he was a tea ceremony utensil merchant in Osaka. <br /> <BR> <BR> Our set is in fine condition. A small number of the envelopes have minor foxing; the models are intact and pristine.<br /> <BR> <BR> ⧠See Japanese Architecture and Art Net Users System JAANUS for a helpful explanation of the uses of okoshi-ezu and tate-ezu 建絵図. unknown
16154007Ãvila and La Horcajada 1615. <p>Manuscript on parchment 380 x 270 mm. 18. Complete. Contents: ff. 1r-4v: Regla in Spanish in 30 numbered sections inconsistent numbering on ff. 3v-4v in a rounded script in brown ink the first page slightly larger up to 27 lines. F. 1r: incipit first four lines in large lettering with very large calligraphic initial: En el nombre de dios todo poderoso padre y hijo y espiritu sancto tres personas y una esencia. Section 30 f. 4v added in a slightly later hand. The word Cruz symbolized by a red Maltese cross. Text on ff. 2r-2v underlined in red. Calligraphic initials some with marginal extensions in brown purple or red. Marginal drawings of prickly foliage some in the shapes of fantastic animals. Later marginal notes opposite many sections. Ff. 5r-5v: Heading: Este es traslado de un testimonio followed by two notarial subscriptions on f. 5v one partially in cursive signed and dated Ãvila 11 May 1527 the other in italic partly faded including the date 1615. F. 6r: A cerca de la procession de la Resurrection. After an introductory portion in a small round early 16th-century hand in brown ink the text continues from f. 4v with sections 32-37 of the Regla of which sections 33-37 are in a later sixteenth-century hand; these sections ruled through with light diagonal lines. Signatures or notes in lower margin. F. 6v: blank except for five lines heavily cancelled in red. Ff. 7r-7v: five paragraphs in a fine upright italic hand the first and third with headings in red La orden que han de tener en la procession de la Resurxection sic en la faded and illegible…; La orden que sea de tener en la procession de la Resurretion sic en el domingo de pascua es la siguente. Followed on f. 7v by a note in a different hand dated from La Horcajada 21 May 1550. Ff. 7v-8v and back inner cover: later additions some quite faded. A few later marginal annotations throughout.<br /> Rubrication and decoration: headings and line fillers in red a few ornamented line fillers or borders some passages underlined in red or light purple else ruled in dry point numerous calligraphic initials in red or brown ink opening initial with purple filigree extension filling left margin numerous foliate vegetable and zoomorphic ornamental designs in the margins in red purple and brown ink.<br /> Binding: stitched into the original parchment cover with title “Regla de la Pasion†in large letters the R with decorative extensions above a large cross in green ink entwined with the snake and in the margins apparently the instruments of the Passion.<br /> Condition: rubbing and staining vertical crease from folding causing occasional erasure of text outer edge of first page somewhat rubbed affecting legibility of text some words at line ends helpfully written over in a later hand the inks used in the last two leaves quite faded; wrapper worn and darkened with tears at top and 3 small holes in lower cover.<br /> Provenance: Confraternity of the Holy Cross of Horcajada; purchased in France with export license.  <br /> <br /> An early Spanish confraternity manuscript containing the rules and statutes that governed the Confraternity of the Holy Cross referred to as the CofradÃa or Hermandad de la Cruz the word Cruz being supplied by a Maltese cross in red of La Horcajada a town located in Castile y León in the province of Ãvila. As in other Roman Catholic countries confraternities or lay brotherhoods played a vital role in community life in Spain functioning as mutual aid societies and venues for laypeople to express their piety and perform charitable acts. Vernacular manuscript confraternity statutes from the Iberian peninsula surface much more rarely than for example their Italian counterparts although it appears that Spain had a larger number of confraternities proportional to the population especially in Castile y Leon than the other Catholic lands. Virtually every community including small villages had at least one confraternity. While exact numbers of confraternities in sixteenth-century Spain are unknown “studies carried out for a number of cities suggest that the number of confraternities and brotherhoods in the Hispanic kingdoms was larger than elsewhere in Catholic Europe. The reasons behind the extraordinary popularity of confraternities and brotherhoods in the Hispanic kingdoms cannot yet be established however in view of the current state of research on the topic. There has been a tendency for scholars to emphasize the confraternity as a primarily urban phenomenon a reflection perhaps of their early development in Italy where they formed an essential part of civic and urban life. In the Hispanic kingdoms however these institutions were equally important in the religious and social life of the small village. Pastoral visitations carried out by the bishops of Cuenca during the sixteenth century found that `nearly every community had at least one brotherhood’ even small villages of 500 inhabitants. A similar pattern prevailed in villages around Toledo during the late sixteenth century†Callahan pp. 18-19.<br /> <br /> In his article on Spanish confraternities William Callahan further points out their popular nature which “arose from the initiative of the laity rather than the clergy prime examples of the lay piety that began to flourish in late medieval Europe. This piety developed largely on its own uncontrolled by either local bishops or the pope both of whom regarded its manifestations with some suspicion. The resiliency of traditional confraternities and brotherhoods developed from their connection to local religious cultures. It also reflected a fact noted by scholars who have studied specific cities and regions the strongly popular character of membership. There were of course some associations that limited membership to the nobility or clergy but in most cases members were recruited from the popular classes. This was obviously true in the case of peasant villages where only one or two confraternities existed.†pp. 22-23. In spite of the centrality of confraternities to early modern religious life in Spain there is comparatively little modern scholarly literature especially on the rural confraternities. Note the absence for example of any articles on Spain or Portugal in Brill’s recently published Companion to Medieval and Early Modern Confraternities edited by Konrad Eisenbichler.<br /> <br /> This working manuscript bears witness to this central but understudied aspect of Spanish popular religious culture before the restrictions placed on confraternities by the Council of Trent and succeeding Popes. Consulted frequently and contributed to by members of the confraternity the manuscript includes abundant interlinear and marginal additions and corrections and half- or full-page later additions. The town of La Horcajada is identified in the opening page. Ff. 1r to 5v contain the introduction the first 30 statutes and a notarized testimony with heading “Este es traslado de un testimonio†which relates to the apparently recent establishment of the confraternity. The statutes cover admission of new members general rules of comportment requirements of prayer and confession for feast days and for the canonical hours charity for poorer members of the confraternity chants etc. Several paragraphs relate to processions including required habits and admission of non-members into the processions. On f. 6r a paragraph on the procession de la Resurrection is followed by six entries numbered 32 to 37 of which paragraphs 33 to 37 are in a later 16th-century hand. Several light diagonal lines through these five paragraphs may indicate that they were cancelled. The verso f.6v contains only five lines heavily cancelled in red ink and f. 7r continues discussion of the procession of the Resurrection on a feast day the name of the saint is smudged and on Easter Sunday in a different 16th-century upright cursive. This second section of which portions are difficult to read because of fading ends on f. 7v and is followed by a note in a larger hand dated from La Horcajada 21 May 1550. The final leaf and inner back cover contain later additions some quite faded. One late addition in the lower margin of f. 5v is dated 1615.<br /> <br /> The manuscript is decorated in a popular style. Some of the leafy plant designs have a thorny look that may reflect local vegetation. Animals and grotesques include a scorpion-like creature birds and possibly imaginary mammals. A witness to the central role played by religious confraternities in early modern Spain bearing the marks of its use and in original condition it is a rare survival and would repay further study.<br /> <br /> Cf. William Callahan “Confraternities and Brotherhoods in Spain 1500-1800†Confraternitas: The Newsletter of the Society for Confraternity Studies 12:1 2001 17-25. See also William A. Christian Local Religion in Sixteenth Century Spain Princeton 1981; Maureen Flynn Sacred Charity: Confraternities and Social Welfare in Spain 1400-1800 Basingstoke 1989.</p> unknown
1931162756London: The Golden Cockerel Press 1931. With decorations by Eric Gill. Pp. ii270last blank2colophon verso blank 645 wood-engraved illustrations and decorative initials 4 full page large cockerel device on title page; f'cap. folio; half white pigskin spine lettered and ruled in gilt with five raised bands maize buckram boards lightly foxed as often bottom fore-corner of upper board faintly bruised very slight signs of professional cleaning to spine; t.e.g. others uncut; within the original card slipcase which is lightly soiled and worn the edges splitting with signs of early repairs; binder's stamp at foot of upper pastedown and bookseller's sticker on lower pastedown a couple of tiny spots to endpapers; The Golden Cockerel Press London 1945. One of 488 numbered copies thus bound printed on Batchelor hand-made paper total edition 500. Chanticleer 78; Gill 285. The first book printed from the 18-point size of the Golden Cockerel type designed by Eric Gill; regarded as one of the greatest 20th century English private press books and the masterpiece of the Golden Cockerel Press. 'The book among all books in which Roman type has been best mated with any kind of illustration' Chanticleer page 36. Chanticleer states 65 woodcuts but Evan Gill page 119 notes the decorative initial N on page 8 although from 2 separate blocks forms one illustration. The Golden Cockerel Press unknown
1789AQVBF8<p>8vo. 51 volumes. Preserved in the original states; the vast majority stitched as issued many uncut and in the original plain paper wrappers.</p><p>A remarkably fresh collection of pamphlets relating to Ireland and - largely - the proposed and later completed political union between Ireland and Great Britain dating from the final decade of the eighteenth- and first decade of the nineteenth- centuries. Included are historical and literary works references to the 1798 Irish Rebellion and numerous speeches made by Irish and British politicians during the long debates in both Houses of Parliament.</p><p>Highlights include:</p><p>- AN INDEPENDENT OBSERVER REDFOORD Archibald. Union necessary to security. Addressed to the loyal inhabitants of ireland. Dublin. Printed for J. Archer 1800.</p><p>8vo. 2 106pp. Uncut and partially unopened in original publisher's powder blue wrappers. Occasional inked corrections to text some dampstaining to margins.</p><p>Presentation copy inked inscription to head of title: 'For William Smith Esq. / from his sincere friend / The Author'.</p><p>ESTC T194733.</p><p>- AN OFFICER. TAYLOR Sir Herbert. Impartial relation of the military operations which took place in Ireland in consequence of the landing of a body of French troops under general Humbert in august 1798. Dublin. Printed for J. Milliken 1799.</p><p>8vo. 2 69pp 1. With two engraved folding plates and a folding table. Uncut and partially unopened in original publisher's marbled wrappers. ESTC T114958.</p><p>- A REAL FRIEND. A letter to the people of Ireland which they all can understand and ought to read. Dublin. Printed for J. Milliken 1799.</p><p>8vo. 3 6-33pp 1. In this edition the text ends on p.34 with 'I am your real friend. Finis'. Uncut and unopened in original publisher's powder blue wrappers. Foxed.</p><p>ESTC records a single copy of this edition in North America Missouri and none elsewhere.</p><p>From the collection - recently dispersed - of the Marquesses of Lothian who also held the Earldom of Ancram at Newbattle Abbey; many were presumably acquired by William Kerr 5th Marquess of Lothian 1737-1815 British soldier and peer.</p><p>A full list of the contents of this collection is available on request.</p> [vs.].
AQ17706Dublin Edinburgh and London: vs. 1789-1801 51 volumes. Preserved in the original states; the vast majority stitched as issued many uncut and in the original plain paper wrappers. A remarkably fresh collection of pamphlets relating to Ireland and - largely - the proposed and later completed political union between Ireland and Great Britain dating from the final decade of the eighteenth- and first decade of the nineteenth- centuries. Included are historical and literary works references to the 1798 Irish Rebellion and numerous speeches made by Irish and British politicians during the long debates in both Houses of Parliament. Highlights include: - AN INDEPENDENT OBSERVER REDFOORD Archibald. Union necessary to security. Addressed to the loyal inhabitants of ireland. Dublin. Printed for J. Archer 1800. 8vo. 2 106pp. Uncut and partially unopened in original publisher's powder blue wrappers. Occasional inked corrections to text some dampstaining to margins. Presentation copy inked inscription to head of title: 'For William Smith Esq. / from his sincere friend / The Author'. ESTC T194733. - AN OFFICER. TAYLOR Sir Herbert. Impartial relation of the military operations which took place in Ireland in consequence of the landing of a body of French troops under general Humbert in august 1798. Dublin. Printed for J. Milliken 1799. 8vo. 2 69pp 1. With two engraved folding plates and a folding table. Uncut and partially unopened in original publisher's marbled wrappers. ESTC T114958. - A REAL FRIEND. A letter to the people of Ireland which they all can understand and ought to read. Dublin. Printed for J. Milliken 1799. 8vo. 3 6-33pp 1. In this edition the text ends on p.34 with 'I am your real friend. Finis'. Uncut and unopened in original publisher's powder blue wrappers. Foxed. ESTC records a single copy of this edition in North America Missouri and none elsewhere. From the collection - recently dispersed - of the Marquesses of Lothian who also held the Earldom of Ancram at Newbattle Abbey; many were presumably acquired by William Kerr 5th Marquess of Lothian 1737-1815 British soldier and peer. A full list of the contents of this collection is available on request. . [vs., 1789-1801] unknown
1931001546London: The Golden Cockerel Press 1931. 270pp 2. Original half pigskin and buckram over boards raised bands spine in six panels title in gilt to second panel cockerel device to fifth t.e.g. remainder untrimmed. Spine slightly rubbed usual light foxing to cloth covers internally bright and clean. Bookplate of Victor Alberts to front pastedown. Number three hundred and thirty-three of five hundred copies on paper with another twelve on vellum. Binding is by Sangorski and Sutcliffe. In the original slipcase which has Japanese paper repairs to edges and corners. The Four Gospels is widely regarded as one of the best private press books. Cave and Manson 78; Chanticleer 78 "a flower among the best products of English romantic genius"; A Century for the Century 26; Gill 285. First Thus. Half Pigskin and Buckram. Very Good. Illus. by Gill Eric. Folio. Private Press. The Golden Cockerel Press Hardcover
6222Many finely drawn illustrations in brush ink & colors. Scroll 285 x 9310 mm. 23 joined sheets some inoffensive worming carefully repaired. Japan: copied before 1857.<br/> <br/> A finely illustrated scroll created in the witty and refined realistic style of Yamato-e and Ukiyo-e brush work depicting the route taken — a distance of about 4 km. — by pleasure-seekers from Ryogoku Bridge to Shin Yoshiwara the center of prostitution in the city of Edo. By the 18th century it was the home to some 1750 women. This was an extremely busy section with a strong commercial tradition in what is today’s central Tokyo. <br/> <br/> Our scroll is an early copy of the original scroll; we do not know if that earlier scroll still exists. It was created by Bunyo Tozaka 1783-1852 a prominent Nanga-style artist who studied with Buncho Tani and specialized in kachoga pictures of flowers and butterflies. The author of the notes was Hirokata Yashiro 1758-1841 the influential historian of Japan and great book collector he had more than 50000 Chinese and Japanese books housed in a series of three buildings in Ueno known at the Shinobazu Bunko.<br /> The beginning of our copied scroll depicts several boats holding men including samurai and women making their way along the Sumida River from Ryogoku Bridge to Shin Yoshiwara. They disembark at Kumagatado adjacent to Asakusa Bridge. From there the men — clearly samurai — mount rented horses Daiden Horse Co. with very inadequate saddles and continue their journey. There are images of high-ranking men with their faces hidden by large hats in order to conceal themselves. Their family crests on their kimono are also hidden. They pass through Raijin Gate today’s Kaminarimon which belongs to Tokyo’s oldest temple Senso-ji. There is a merchant depicted along the side of the road selling dumplings the famous Yone manju. Finally the samurai dismount and board small boats at an embankment to cross some wetlands at the Nihon zutsumi. They arrive at a commercial area called Doromachi “Mud Town†where the travellers wash their feet and tidy themselves before entering Shin Yoshiwara and all its pleasures.<br/> <br/> Then we see several samurai “interviewing†prostitutes. Heading north there is a gate through which the samurai enter Shin Yoshiwara. Women are standing waiting to meet their customers. Some women are serving tea there is a man carrying a portable lending library on his back and we see men with hidden faces entering buildings with women waiting inside. There is another building with women sitting being “showcased†to passing potential clients. Next we have a scene of women entertaining with musical instruments; men are standing outside making their selections. The following scene shows men upstairs being entertained by dancers and musicians with food and drinks being served. A garden is shown. Women are seen on the street aggressively soliciting men. There are always suggestions of rooms behind rooms ready for the clients and their women.<br/> <br/> The next scene is the kitchen with men preparing octopus lobsters and shrimp. Another man is cutting up fish. Women carry the prepared food to another room where men are being served and entertained. At the end we see a man taking a nap. At the end there are notes — collector’s thoughts — regarding the manuscript: he tells who the original artist and author were and that this is a detailed description of a past time painted in a style similar to Morunobu Hishikawa and Iccho Hanabusa. The collector considered our scroll to be “finely done†and he has signed his name “Choton Kishi†with his seal which might be painted not stamped.<br/> <br/> Throughout the artist’s sense of perspective and design is extremely fluid and imaginative. Many of the figures and landscapes have been heightened with lacquer gold silver and mica. As we move through the scroll there is also a sense of the day passing to evening.<br/> <br/> With the seal of the founder of the Kishi Library Choton Kishi d. 1857 the distinguished book collector and natural historian. This fine scroll was offered for sale by the great bookseller Shigeo Sorimachi in 1977 in his 50th anniversary catalogue. The scroll has been carefully backed in the past century. Preserved in a box with Mr. Sorimachi’s handwriting on the upper cover. unknown
