102 résultats
1929WRCLIT25592London: Heinemann 1929. Cloth and boards. First edition. One of 775 numbered copies signed by the author. Corners bumped spine a bit dust soiled else very good. Heinemann hardcover books
190018125A Book of Suburban Gardening. London: Harper & Brothers 1900. B/w frontispiece. 275 pp. Hardcover. Small 8vo size. Green decorated cloth. Blind-stamping in b/w with scenes painted on front board. Extremities lightly bumped and rubbed; head joints starting to wear; spine slightly darkened; very light scattered soiling on boards; edges and pages lightly to moderately toned with light to moderate scattered foxing; previous ownerÕs name in ink to ffep; various signatures lightly sprung. Good/No dust jacket. Harper & Brothers hardcover books
196738178Rochester: Wine and Food Society 1967. 1st edition. Black stiff printed paper wrappers. Stapled. A Near Fine copy. Unpaginated. 8-1/2" x 6-1/8" <br/><br/> Wine and Food Society unknown books
18081951280Impensis M. Carey 1808. Full-Leather. Very Good/No Jacket. Ink note from previous owner on front endpaper 'The property of Otis Hutchins. purchased second hand. August 22d 1815. price 1.00 No. 77' edges of endpapers toned top corner of front free endpaper removed. 1808 Full-Leather. iv 256 pp. Original full leather red leather spine label gilt titles & rules. Books 1-4 of Tacitus's histories in the original Latin taken primarily from the Brotier's edition with portions from Barbou and Gronovius. Notes by Barbou taken from his 1793 edition. Publius Cornelius Tacitus was a Roman statesman in the first century A.D. whose histories provide an authoritative account of various events within the Roman Empire with the unique insight of a politician living at the time. Impensis M. Carey hardcover books
1970137567N.p.: N.p. 1970. Collection of five vintage oversized double weight press photographs of actress Sydne Rome circa 1970s. Three of the four photographs with the label of the Paul Kohner agency affixed over the stamp of Italian agency I.M. on the verso. One photograph with a label of William Morris agency and stamp crediting photographer and at the time her husband Emlio Lari on the verso. <br/><br/>American born actress Sydne Rome achieved success in Italian and French films often typed the innocent or naive American abroad in films such as Roman Polanski's "What" 1972. <br/><br/>9.25 x 11.75 inches. Near Fine. N.p. unknown books
1970137569N.p.: N.p. 1970. Vintage oversized double weight press photograph of actress Sydne Rome circa 1970 with the label of the Paul Kohner agency affixed over the stamp of Italian agency I.M on the verso. <br/><br/>American born actress Sydne Rome achieved success in Italian and French films often typed the innocent or naive American abroad in films such as Roman Polanski's "What" 1972. <br/><br/>9.25 x 11.75 inches. Near Fine. N.p. unknown books
1963286082Rome: Rotograph Roma 1963. unbound. very good. Rotograph backed with paper. 26.75" x 38". Shows some small tears and chips to edges of mounted paper image unaffected. Original fold lines are present but faint. In very good condition.<br/><br/> Original movie poster for the Italian release of Columbia Picture's 'Lawrence of Arabia' starring Peter O'Toole Alec Guiness and Anthony Quinn.<br/><br/> Rotograph Roma unknown books
1969104741969. Softcover. VG slight wear to cover slight library writing on lower cover. Color wraps. 102 pp. 6 color 45 bw plates. unknown books
6021This item is currently on reserve; please contact dealer for more details. <p>Etching 285mm x 390mm. Trimmed to neatline with insignificant restoration to the upper right corner. Generally very good.<br /><br /></p><p>Very rare no US copy fascinating illustrated broadside sold in Rome during the pandemic of 1656-57 presenting through a series of "snapshots" of the city at this dramatic moment in time a rich and varied iconography of its response to the plague. Printed by Giacomo Molinari and sold in the Strada Nuova behind the church of the Giesu close to Piazza Navona the print is composed of 15 vignettes of different sizes and perspectives along with 20 short explanatory captions alphabetized from A to X at the base of the print keyed to guide the reader to a fuller grasp of the situation. Taken together these scenes were meant to capture the city through the measures taken to contain the spread of the disease cure the afflicted and dispose of the dead.</p><p>Eight are views of civic religious and private resources- some bird's eye encompassing a panorama others close up of specific recognizable buildings- depicting basilicas churches a convent a prison and private residences to give the viewer the scope of the city's repurposed infrastructure. Medieval and modern structures were converted into lazarettos used as temporary quarantine and purgation centers for the afflicted according to the seriousness of their contamination. Two of the views depict the<i> lazaretto brutto </i>leper colony dedicated to the worst cases: the Isola Tiberina and the Convent and Hospital of Santa Maria della Consolazione run by the brothers Hospitallers of Saint John. The Isola Tiberina one of the poorest areas of Rome and close to the Trastevere district with its Jewish ghetto has gates and fences at its perimeter capturing the isolation of the seriously contaminated within its bounds. A depiction of a special boat to ferry the dead Jews and the domestic animals which were tossed live in the Tiber add dramatic macabre details. Three other views are of the <i>lazaretto netto </i>the churches of San Pancras San Eusebio and the private residence of Pius V dedicated to patients with milder cases. In addition there is a representation of a <i>lazzaretto netto e pulito</i> located at the new jail recently built by Pope Innocent X which was used as a <i>stufa</i> something between a Roman bath and a modern sauna where those who were in quarantine in San Pancrazio and San Eusebio were washed and sterilized. The Villa Sandesio is dedicated to the burning of the contaminated clothing. The Basilica of San Paolo le Mure which in fact was the last stop for the afflicted where the deceased received their last sacraments and buried in the mass graves close by is prominently illustrated in the upper left corner.</p><p>Beneath the views 7 smaller vignettes vividly render social scenes during the pandemic: the images include ecclesiastical dignitaries confessors doctors surgeons all actively moving around the city to alleviate the physical and psychological burden of the sick. Guards omnipresent in the images were responsible for transporting the infected by carriage or by foot to their assigned destinations as well as disposing of the dead and of the contaminated clothing and furniture -- often tossing them in a bonfire in the street as shown by the image in the lower right of the print. Such images recorded and served to emphasize the severe laws of "social distancing" between the sick and the healthy then in place. Additionally along the bottom of the print are 20 short explanatory captions alphabetized from A to X and keyed to the views and vignettes to guide the reader to a better understanding of the situation.</p><p>"The management of the Rome plague of 1656-57 was a great success. Its mastermind was the cleric Girolamo Gastaldi who at the start of the outbreak was serving both as the Commissario Generale dei Lazzaretti the Chief Administrator of the epidemic hospitals and the Commissario generale di Sanità per lo Stato della Chiesa… Only 4500 died in Rome about 8% of the population compared to the 150000 who died in Naples and 50000 in Genoa representing over half of their respective populations."—See Michael Widener's comments on Gastaldi's <i>Tractatus</i>… Bologna 1684: https://library.law.yale.edu/news/epidemics-and-quarantines-17th-century-rome. "The well-thought-out measures devised by Cardinal Gastaldi for the control of the plague of 1656 in the Eternal City represent the most logical development of eradicative anti-contagionist practice before the twentieth century and could still serve as a model for action against any truly contagious disease" Hirst pp. 408-9 .</p><p>The print was engraved by Giovan Battista Gallestruzzi 1615-1669 a painter and engraver member of the Accademia di San Luca in Rome. For more on this artist see https://www.treccani.it/enciclopedia/giovanni-battista-galestruzzi_Dizionario-Biografico/ It is very rare: Both OCLC and ICCU list only one copy at the Biblioteca Nazionale Centrale in Rome under Gallestruzzi. Rose Marie San Juan in her book<i> Rome a city out of print </i>p. 233-34 attributes the print also illustrated in her book to Johann Friedrich Greuter active in Rome at that time. Nevertheless the monogram of Gallestruzzi illustrated in his Benezit entry vol. IV p. 588 is identical to the one on the print and all indications lead us to believe that the designer of the print is Gallestruzzi.</p>L. F. Hirst The conquest of the Plague pp.408-09: Rose Marie San Juan Rome a city out of Print p.233-34: Benezit vol. IV: p.588: Laura Volpe for the DSB vol. 51. Rome, Giacomo Molinari, n. d. books
16064235<p>Prague: Aegidius Sadeler 1606. </p><p>Price: $25000.00 </p><p>Oblong folio: 34.7 x 203.5 cm. Engraved title page and 50 engraved plates.</p><p>FIRST EDITION.</p><p>A very fine broad-margined copy with very rich and clear impressions of the plates. Occ. marginal soiling a few pin-prick wormholes in the margins of a few leaves. Bound in contemporary morocco richly tooled in gold. With an engraved allegorical title with the main title incised within a wolf's hide hung on a monument; an engraved dedication to Matthaeus Wacker von Wackenfels numbered'1' with the text incised on a stone tablet between flanking obelisks and with two putti supporting the dedicatee's arms; and 49 full-paged engraved plates ca. 170 x 270 mm all numbered and signed 'Marco Sadeler excudit' with descriptive captions in Italian.</p><p>This is the first edition. Thirty-six of these images were copied by Aegidius Sadeler from Etienne Du Pérac's " Vestigi dell'Antichità di Roma" Rome 1575. For the other images Sadeler drew on drawings by Jan Breughel the elder and Pieter Stevens. Marco Sadeler whose name appears on the plates was an engraver and print seller in Prague in the early 1600's and probably the nephew of Aegidius. In the middle of the 17th century a copy of the 1606 edition found its way to Rome where it was copied for Giovanni Giacomo de' Rossi by Girolamo Ferri and published in 1660.<br /><br />In this series the artists have depicted the ancient monuments of Rome Tivoli and Pozzuoli as they appeared in the late sixteenth- and early seventeenth-century: crowned with vegetation half-buried by the rising ground level and encroached upon by a host of post-Roman structures. The scenes are alive with Rome's inhabitants: herdsmen mule-drivers cattle sheep and every manner of citizen. The images in which the ruins are depicted in their un-restored state and within the context of their early modern environments serve as a record of the monuments as they appeared in this period and evoke the atmosphere of daily life in early modern Rome.<br /><br />Sadeler and The Bay of Naples: <br /><br />In addition to the views of Rome the Sadeler series also includes a number of plates of ruins and views of the Bay of Naples and its environs: the Gulf of Baiae Cuma Lago Averno the Campi Flegrei Capo Miseno and the Villa Agrippina at Oplontis and other places within the confines of Pozzuoli.</p><p>Cicognara 3871; Hollstein. Dutch & Flemish XXI 151-201; Fowler 283 2nd ed.; Catalogue of the exhibition "Vestigi delle antichita . Momenti dell'elaborazione di un'immagine" edited by Anna Grelle Rome 1987 pages 123-144 and passim.</p> Aegidius Sadeler, books
17653598Rome:: A spese di Niccola Roisecco 1765. THIRD ROISECCO EDITION. The second 3-volume edition 1st 1750. Octavo: 3 vols. 17 x 12 cm. I. a8 A-Z8 Aa-Ss8 Tt-Xx4 Xx4 blank and present. With an engraved frontis. a1 and 19 added plates. II. π1 A-Z8 Aa-Rr8 Ss-Tt4 Vv6. With 20 added plates. III. π1 A-Z8 Aa-Mm8 Nn4 Oo8 With Oo8 blank and present. Bound in three uniform bindings of contemporary patterned paste-paper over cartoncino boards. wear to extremities and spines. Internally this is as close to an immaculate set as I have seen with some deckled edges preserved. The text is bright and clean throughout. The folding engravings are crisp.The three volumes are illustrated with an engraved frontispiece in Vol. I numerous engraved illustrations in the text a folding table and 39 folding engraved illustrations of architectural monuments and sculpture. This set is complete with all engravings called for by Rossetti. Sets such as this with all three volumes complete and with all plates bound in their original bindings are rare on the market. Excellent. A beautiful three-volume set describing and illustrating the ancient medieval Renaissance and Baroque monuments and buildings of Rome. This publication marks the culmination of a long series of developments in illustrated guides to Rome. Beginning with the guidebooks produced by Girolamo Franzini and his heirs in the late 16th-century pilgrims and tourists to the once-again-thriving Eternal City could purchase increasingly more accurate guidebooks to the ancient and modern marvels of Rome. In the late-17th century building on the work of Pompilio Totti Michelangelo and Piervicenzo de Rossi published their "Descrizione di Roma". In subsequent editions the "Descrizione" grew to include the redacted works of various learned authorities. The present three-volume production the third to be published by Gregorio Roisecco is based on the final De Rossi edition of 1727 but has been again expanded to include a third volume. The work comprises two and a half centuries of scholarship. Some of the significant authorities whose works were consulted quoted and extracted for this comprehensive guide include: Bartolomeo Marliani d. 1560 Onofrio Panvinio 1529-1568 Alessandro Donati 1584-1640; Famiano Nardini d. 1661; Cesare Baronio 1538-1607; Alfonso Chacón 1540-1599 Antonio Bosio 1575-1629 and Ottavio Panciroli 16th c. Rossetti 8883; Schudt 208 A spese di Niccola Roisecco, books
17503631Rome:: Gregorio Roisecco mercante di libri in Piazza Navona nella stamperia Puccinelli 1750. THE FIRST EDITION IN THREE VOLUMES. The first Roisecco edition in 2 volumes appeared in 1739. Octavo: 3 volumes:. 16.5 x 11 cm. I. 2 xvi 654 pp. Collation: Ï€2 a8 A-Z8 Aa-Ss8 lacking Ss8 blank and with an added leaf Ii after leaf Ii1. Ï€1 is the engraved t.p. With 19 folding plates of which two are folding maps of ancient and modern Rome. 68 engravings in the text. Vol. II. 2 694 pp. Ï€2 A-Z8 Aa-Rr8 Ss-Tt4 Vv6 Ï€1 is the engraved t.p. With 12 added plates. 82 engravings in the text. Vol. III. 4 523 5 pp. A-Z8 Aa-Kk8 Ï€2 is the engraved t.p. With 1 added plate and a folding letterpress table. 8 engravings in the text. Includes the four-page advertisement for other books sold by Roisecco. I. 2 xvi 654 pp. Collation: Ï€2 a8 A-Z8 Aa-Ss8 lacking Ss8 blank and with an added leaf Ii after leaf Ii1. Ï€1 is the engraved t.p. With 19 folding plates of which two are folding maps of ancient and modern Rome. 68 engravings in the text. Vol. II. 2 694 pp. Ï€2 A-Z8 Aa-Rr8 Ss-Tt4 Vv8 Xx4 Xx4 is blank. Ï€1 is the engraved t.p. With 12 added plates. 82 engravings in the text. Vol. III. 4 523 5 pp. Ï€2 1 A-Z8 Aa-Kk8 Ï€1 is the engraved t.p. 1 is the privilege With 1 added plate and a folding letterpress table. 8 engravings in the text. Includes the four-page advertisement for other books sold by Roisecco. In addition to the 3 engraved title pages the 2 folding engraved maps and the 29 folding engraved plates the three volumes are illustrated with 158 engravings in the text. Vol. I with 82 Vol. II with 68 Vol. III with 8. Bound in matching contemporary vellum bindings silk endbands titles in ink on the spines edges of text block speckled red. Fine copies throughout with some mended tears and minor faults as follows: V. 1: Short wormtrail in gutter of a few signatures at end. V. 2: Short wormtrail in gutter of a few leaves at the beginning and a few signatures at end occasionally touching a letter. V. 3 one leaf browned. A few leaves toned. A beautiful three-volume set describing and illustrating the ancient medieval Renaissance and Baroque monuments and buildings of Rome. This publication marks the culmination of a long series of developments in illustrated guides to Rome. Beginning with the guidebooks produced by Girolamo Franzini and his heirs in the late 16th-century pilgrims and tourists to the once-again-thriving Eternal City could purchase increasingly more accurate guidebooks to the ancient and modern marvels of Rome. In the late-17th century building on the work of Pompilio Totti Michelangelo and Piervicenzo de Rossi published their “Descrizione di Romaâ€. In subsequent editions the “Descrizione†grew to include the redacted works of various learned authorities. The present three-volume production the third to be published by Gregorio Roisecco is based on the final De Rossi edition of 1727 but has been further expanded to include a third volume. The work comprises two and a half centuries of scholarship. Some of the significant authorities whose works were consulted quoted and extracted for this comprehensive guide include: Bartolomeo Marliani d. 1560 Onofrio Panvinio 1529-1568 Alessandro Donati 1584-1640; Famiano Nardini d. 1661; Cesare Baronio 1538-1607; Alfonso Chacón 1540-1599 Antonio Bosio 1575-1629 and Ottavio Panciroli 16th c. Fossati Bellani 704; Olschki Choix 17963; Schudt 207 Gregorio Roisecco mercante di libri in Piazza Navona nella stamperia Puccinelli, unknown books
14914196<p>Venice: Theodorus de Ragazonibus 23 August 1491</p><p>Quarto: 20.5 x 14.9 cm. 52 leaves. Collation: a-f8 g4<br /></p><p>SIXTH EDITION OF THE SOLINUS 1st ed. 1473. THIS IS THE FIRST AND ONLY EDITION WITH THE "MIRABILIA ROMAE".</p><p>Bound in early vellum with later endpapers. A fine fresh copy with nice margins printed on high-quality paper. First leaf slightly soiled and with mild wear to the edges a few trivial light stains verso of final leaf lightly soiled faded early inscription to title.</p><p>The "Mirabilia Romae" Marvels of Rome has achieved iconic status. It is the oldest extant guidebook to the city of Rome and the forerunner to all later guides to the Eternal City. Composed around 1143 possibly by a certain Benedict a canon of St. Peter's it serves as a guide to the ruins of the ancient city with explanations of the origins and functions of the buildings and places described see below for a discussion of the contents.</p><p>The book was a bestseller for over 300 years from the Middle Ages to the Roman Renaissance appearing in numerous cheaply-printed editions in the 15th and early 16th c. the majority of them small slim octavos of just a few leaves. As a result of heavy use by tourists and pilgrims copies of all editions are extremely rare. Of the 111! editions recorded in ISTC dating from ca. 1472 to ca. 1511 many survive in only single copies and almost all in fewer than five. The work is very rare in North America with the text represented in only twelve North American institutions see the references at the foot of this description.</p><p>The 1491 "Mirabilia" which appeared in a more substantial volume along with the ancient 3rd c. "Marvels of the World" by Solinus has fared better. In North America this 1491 edition is held by 9 institutions: Walters Art Museum Harvard LC BYU Huntington Smithsonian Newberry UT Austin and Yale.</p><p>The mix of lore and fact found in the "Mirabilia" made the text a natural companion to the "Mirabilia" Solinus who "routinely eschews the mundane in favor of the bizarre to use geography as a structure through which wonders might be revealed."</p><p>The text is divided into chapters that describe in this order: the walls of Rome the city gates the hills of Rome the bridges the "palaces" of the emperors-with mention of the columns of Trajan and Antoninus Pius and the apocryphal "Palace of Nero"; triumphal and memorial arches baths theatres the Vatican obeliskthought to house the ashes of Julius Caesar in its bronze finial cemeteries and catacombs both pagan and Christian the places where the saints suffered martyrdom the giant bronze pine cone the "pigna" temples the Capitol the "marble horses" the Quirinal Dioscuri the equestrian statue of "Constantine" i.e. Marcus Aurelius the Colosseum the Pantheon and the church of Santa Maria in Ara Coeli with an account of Octavian's vision of the Madonna and Child.</p><p>The often fantastic tales recounted in the Mirabilia were sure to inspire a sense of wonder in the pilgrims and tourists who came to marvel at the ruins which helps to explain why the guidebook remained so popular even after the 15th c. humanists and antiquarians had begun to tease out the reality of Rome's antiquities through a more scientific examination of ruins and texts.</p><p>The "Mirabilia" describes the vanished Capitolium as a palace composed almost entirely of gold said to be worth "a third of the word's wealth". Within this temple were as many statues as there were provinces all facing a statue that represented Rome. They were adorned "by mathematical art" with bells around their necks as a sort of ancient early warning system. Whenever one of the provinces anywhere in the empire would start a revolt its corresponding statue would turn away from the statue of Rome and its bell would begin to ring. The Senate would then mobilize and send troops to crush the uprising.</p><p>In the description of the Colosseum the seed of historical truth the colossus of Nero depicted as the sun god Sol gives rise to a marvelous conception of the amphitheater as a temple of the Sun the great opening above once covered with a gilded bronze dome that mimicked the sky complete with thunder and lightning and rain that was pumped through lead "fistula". The artificial sky was adorned with golden images of the planets and Luna riding her four-horse chariot. A monumental statue of the Sun whose head reached to the sky stood within bearing an orb in his hand a symbol of the Earth. Pope Sylvester we are told destroyed the temple but the arm and head of the statue were still to be seen in the Lateran where the general public misidentified them as belonging to Sampson. The colossal arm and head -moved to the Capitoline in 1471- are now recognized as those of the emperor Constantine.</p><p>However the "Mirabilia" also contains much that is factual or nearly so and we can sense a desire to make accurate statements the heights of the columns of Antoninus Pius and Trajan for instance and to solve what were certainly difficult puzzles the workings of the ancient baths. The "Mirabilia" also preserves for us the names and details of monuments known to the author but later destroyed such as the elusive "Arcus Pietatis" near the Pantheon and the 4th century arch of Gratian Valentinian and Theodosius See Richardson New Topographical Dictionary pp. 26 28. But what is perhaps most valuable to us is the window that the "Mirabilia" provides into the medieval perception of Rome a city of pagan ruins and Christian monuments in which emperors saints prophetic youths and Virgil the Magician inhabit the same landscape.</p><p>Solinus:</p><p>"Gaius Julius Solinus who probably lived between the middle and the end of the third century was concerned with geography though not in the modern sense of the term. His work is entitled Collectanea Rerum Memorabilium but in the Middle Ages when it was widely read it was also known as Polyhistor to emphasize the great number of curiosities that were collected there. The work is a careful compilation from many literary sources chiefly Pliny the Elder but also Pomponius Mela and Suetonius along with various other geographical treatises that are no longer extant. Solinus noted down all the unusual things he came across when reading these works about peoples and their customs animals and plants…</p><p>"The work opens with a full treatment of Rome and Roman history from the kings to the principate of Augustus. The area examined is then extended to Italy and then to Greece and the Black Sea Germany Gaul Britain and Spain; this counterclockwise tour ends with Africa Arabia Asia Minor India and the kingdom of the Parthians in accordance with a systematic geographical plan that is one of the most characteristic features of the work. It enjoyed considerable success in the Middle Ages when it was also read and studied as a summary of the excessively vast Naturalis Historia of Pliny the Elder. It did not however altogether replace it with the result that it enjoyed so to speak a success parallel to that of its more illustrious predecessor."Conte</p><p>"Referring to the reading of Pliny and Solinus in the Middle Ages and Renaissance Anthony Grafton writes: 'Generations of readers thrilled like Desdemona listening to Othello at these tales of strange creatures foods and burial customs – and were no doubt stimulated by them to see the inhabitants of strange lands as literally outlandish less than civilized or even less than human.' Charles Raymond Beazley has made note of this remarkable appeal: 'The compilation of Solinus… became so fashionable in the Middle Ages and exercised so powerful an influence on the geographical imagination that it cannot be passed over. It is simply a collection of marvels chiefly of natural history brought together apparently on the principle 'Credo' or at least 'Lego quia impossibile.'… no one ever influenced Christian geography more profoundly or mischievously."</p><p>"References to and borrowings from Solinus can be found in a wide variety of medieval texts stretching though the whole of the medieval period. Readers of Solinus ranged from Augustine to Bede to Dante and Solinus' influence can be seen in examples as varied as the Hereford Mappa mundi ca. 1300 and Fazio degli Uberti's verse epic 'Dittamondo' 14th c. in which Solinus in the place of Dante's Virgil guides a pilgrim on a tour of the known world. The interest in Solinus had not waned by the fifteenth century… While geography was not a primary area of interest for the humanists Solinus Pliny and authors like them were widely read and commented upon by Renaissance scholars… The strong interest in antiquity that characterized the Renaissance continued the medieval curiosity for the Roman compilers who seemed to have succeeded in encapsulating the entire world and all the knowledge in it."Dover and McDonough</p><p>Hain-Copinger 14880; BMC V 478; Schudt le guide di Roma 565; Goff S 620; GW M42830. North American holdings of the Mirabilia editions ca. 1470-1511: Canadian Center for Architecture Claremont Colleges Getty Harvard Huntington LC Metropolitan Museum of Art Morgan Library NYPL Walters Museum Library Williams Yale</p> Theodorus de Ragazonibus, 23 August books
154932 vols. 200 294 pp. detailed crit. catalogue by Paola della Pergola of paintings in the collection annotated digest of 260 documents and inventories including some transcriptions chronological bibliographies concordance tables indices 3 text illus. 557 illus. on plates. Small 4to. Orig. printed bds. Rome Istituto Poligrafico dello Stato 1955-1959. Cataloghi dei Musei e Gallerie d'Italia. The collection now state-owned was started by the Borghese Popes and their family in the 16th and 17th centuries and boasts such treasures as Titian's "Sacred and Profane Love" and Correggio's "Danae." unknown books
46461730 pp. report on prisons and prison labor in early 20th century Italy organized by type of intuition youth reformatory house of corrections agricultural penal colony and region illustrated throughout with reproductions of photographs showing prison buildings inmates working conditions and the produce of prison labor. Light foxing and page browning throughout. 4to. Recent-cloth backed boards. Rome Tipografia delle Mantellate 1923. A work that provides much rich documentation of prison conditions and inmate labor in early 20th century Italy. Extremely scarce in institutional collections. As of June 2015 WorldCat locates only one copy in North America. hardcover books
17018486Trajecti ad Rhenum: Apud Guilielmum vande Water Academiæ 1701. Editio postrema ab innumerabilibus erroribus repurgata. Contemporary vellum professionally repaired front joint with embossed amorial design castle on front & rear board. VG bit of splay to boards/lacking ties/contemporary presentation inscription on blank front fly/early po annotations on Ll1 - Ll3 Tt4 - Vv1. 16 1 - 792 2 815 - 956 32 pp. Index last 16 leaves. Engraved title. Illustrated with 7 inserted copperplate engravings after M1 R2 Bb4 Ff4 Kk1 Xx3 folding Zz2 folding. Tailpieces on Gg1b Yyy4b Nnnn4b Vvvv3a Ppppp4b Vvvvv1b Aaaaaa1a & Ccccc4b. 4to: - A - 5F Ggggg & Hhhhh Iiiii - Gggggg Gggggg4 a blank. <br/><br/> Apud Guilielmum vande Water, Academiæ hardcover books
13888Vintage albumen silver photograph 9-3/8" x7-3/4". Inscription on lower border reads: "ROMA - Mole Adriana e Ponte S. Angelo". In very good condition with expected age wear and toning. Slight bend imperceptible when framed. unknown books
1723214670London: Printed for Abel Roper 1723. First edition. 6 352 31 pp. 1 vols. 8vo. Original full calf. Spine label intact upper hinge and joint roughly repaired rear hinge and joint cracked. Internally Fine. First edition. 6 352 31 pp. 1 vols. 8vo. Printed for Abel Roper unknown books
1968182942Roma: De Luca 1968. Softcover. VG slight wear to covers. Yellow wraps. 63 pages 70 unnumbered leaves of plates : chiefly illustrations. Text in Italian. Exhibition organized by the Municipal Department for Antiquities Fine Arts and Cultural Problems held in Palazzo delle Esposizioni. Includes Exhibition of projects for the new headquarters of parliament offices. De Luca unknown books
165728752Lugd. Batav: Apud I. Elzevirium 1657. 2nd Elzevir edition Willems 803. Period full vellum with faint hand-inked titling to top of spine. Yapp edges. Spine a bit darkened with some discoloration along top edge. Smudge at base of t.p. Withal a VG copy. 8 336 16 pp. Index at rear. Engraved t.p. Head- tailpieces. Decorative initial capital letters. 24mo: 4 A - O12 P8. 5-1/2" x 3" <br/><br/> Apud I. Elzevirium hardcover books
192541057Rome NY: Rome Gas Electric Light & Power Company ca. 1925. 16mo 15.1 cm 6". 16 pp.; illus. <br><br>Uncommon electric promotional booklet: "Electric service in the home has become an essential comfort of our modern life" p. 14 and this pamphlet encourages homeowners to get their houses wired for it arguing that installations are clean and quick and subsequent electric bills cheap. The text is illustrated with a cutaway diagram showing the process of wiring a three-story house with attic photographs of electricians on the job inside various homes exterior shots of older and newer buildings and an interior image of an "American workingman's home where . . . every possible economy is practiced." The colophon labels this "Electrical Progress Booklet No. 1" part of an advertising campaign noted at the time for its success. Publisher's printed paper wrappers stapled; small scuffs back wrapper with streak of staining pressure point from a front-wrapper scuff or prick unobtrusively carried throughout. => This ephemeral eye-opening item is now scarce. Rome Gas, Electric Light & Power Company unknown books
182561801Edinburgh: Bell & Bradfute 1825. New Edition Revised and Corrected. 4 folding maps. 5 vols. 8vo. Early half calf and boards edges a bit rubbed foot of vol. I chipped. Very good copy. New Edition Revised and Corrected. 4 folding maps. 5 vols. 8vo. Feguson's History of the Reublic was so well received in his own lifetime as to become regarded as the standard account in English. Bell & Bradfute unknown books
4877Engraved allegorical frontis. by Augustin Saint-Aubin. xxxii 299 5 pp. 8vo orig. wrappers uncut. Paris: Didot & Knapen 1773. First edition and a lovely copy in original state of an uncommon book; this is one of Romé's first publications. It is a description "of the metallic ores of his own mineral cabinet in which he discussed the origin metamorphosis and paragenesis of each."-D.S.B. XI p. 521. Earlier he had catalogued the mineralogical curiosities in the cabinet of Pedro Francisco Davila and for several years found steady employment by preparing at least fourteen other mineralogical catalogues. In all the descriptions in the present work Romé stresses the importance of crystalline form and that this form is the chief characteristic by which minerals may be classified. Romé 1736-90 by formulating the law of constancy of interfacial angles established crystallography as the basis of mineralogy. The attractive frontispiece drawn by Saint-Aubin depicts two putti one examining ores under a microscope and the other stoking a furnace. Preserved in a box. ❧ Yves Laissus "Les Cabinets d'Histoire Naturelle" in René Taton ed. Enseignement et diffusion des sciences en France au dix-huitième siècle p. 669-"un véritable manuel de minéralogie." Schuh Mineralogy & Crystallography: A Biobibliography 1469 to 1920 4154-"Very scarce. In this collection catalog the famous French crystallographer fully describes about 750 metallic minerals from his own cabinet. Included are specimens consisting of pure metals as well as natural alloys and combinations with sulfur. Basic division is based upon the principle metals and semi-metals contained in the described specimens and include gold silver copper iron tin lead mercury antimony zinc bismuth cobalt arsenic and sulfur. Under each of these headings the specimens are divided based upon their form and chemical composition. For each item described notes on the origin associated minerals locality size and the estimated weight of contained precious metals is presented. The catalog is well referenced and if a particular specimen was given to Romé the supplier's name is included in the description.". unknown books
1766565Paris: Lacombe 1766. Soft cover. Good. 8vo - over 7¾ - 9¾" tall. 8vo. 19 x 10 cm 58 pp. including title-page first leaf blank. Bound in red marbled wrappers. Title toned and a bit soiled with two small ink-spots not affecting text toning in the margins of some leaves; nevertheless generally good with some leaves uncut and with original deckle edges. Very rare first and sole edition of the first treatise published by the pioneering French mineralogist Jean-Baptiste Romé de L'Isle 1736-1780 and his sole work on marine biology concerning the "movement generation and nature" of the freshwater polyp. In the present work Romé hypothesizes drawing on observations by the naturalist "M. Bazin" that polyps are a kind of living hive built of thousands of tiny separate units 'petits grains' that nonetheless work harmoniously to feed move and regenerate the entire body. Though Romé's hypothesis is not entirely off the mark-polyps may reproduce asexually by budding for instance-it was eventually disproven by the observations of the naturalist Justin Girod-Chantrans 1750-1841.OCLC: No American copies. Lacombe paperback books
1980184271Detroit: Tony Rome Enterprises 1980. Magazine. Six issues various pagination 5.5x8.5 inches pictures ads very good first edition digest-size magazine in stapled pictorial wraps. Issue numbers 6:6 35 47 7:19 23 & 8:15. Entertainment magazine for gay Detroit. Tony Rome Enterprises unknown books