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pp. 149, (4)[Publisher's catalogue] + Plus wood engraved frontis and a full page plate. Decorated title page. Age stained. 8vo. Original full green cloth binding, embossed in blind. Gilt decorated and lettered spine. Nice original publisher's binding. Fine books from earlier Christmas seasons make great gifts today. **PRICE JUST REDUCED! CHRISTMAS/W70.
Acquaforte su ferro, 1579 circa. Primo stato di due, avanti la numerazione. Pubblicata nel Catalogus gloriae mundi, di Barthélemy de Chasseneuz (ca. 1480-1541) – noto anche con la forma latinizzata del nome Bartholomaeus Cassaneus, edito Francoforte nel 1579 da Sigmund Feyerabend. La tavola raffigura un re seduto su un trono che tiene uno scettro sullo sfondo centrale, a sinistra uno scriba, ai lati della stanza i consiglieri del re, soldati in piedi in primo piano. Inserita in una cornice ovale, gli angoli riempiti con motivi ornamentali. Il Catalogus gloriae mundi, tipico prodotto dell’enciclopedismo rinascimentale, opera umanistica e giuridica, si incentrava sull’onore, problema per definizione interdisciplinare e di vastissimo successo nella pubblicistica cinquecentesca. Ma nel saggio di Chasseneuz il concetto di onore divenne addirittura la griglia di una vera e propria enciclopedia di tutto il creato. In dodici libri l’intera esperienza secolare e celeste si condensava compatta, ritrovando intorno all’onore il proprio archetipico motivo d’ordine: I. considerazioni generali sull’onore II. onori e ordini dell’uomo e della donna in generale III. onori e ordini degli spiriti celesti e infernali IV. onori e ordini degli ecclesiastici V. onori e ordini dei Principi VI. onori e ordini degli ufficiali del sacro palazzo VII. onori e ordini dei magistrati e di tutti gli ufficiali di giustizia VIII. onori e ordini dei nobili IX. onori e ordini dei militari X. onori e ordini delle scienze e dei letterati XI. onori e ordini dei plebei e degli artigiani XII. onori e ordini di pietre, vegetali, animali e di tutti i rimanenti esseri, celesti e terrestri. Di famiglia borghese, Bathélemy de Chasseneuz studiò diritto alle Università di Dole, Poitiers, Bologna, Torino e Pavia. Dopo l’occupazione del Ducato di Milano da parte di Carlo VIII vi svolse incarichi giudiziari, conseguì nel 1502 il dottorato in utroque ed accompagnò Charles d’Amboise nella sua spedizione contro Bologna. Esercitò poi l’avvocatura ad Autun, divenendo avvocato del Re e baglivo dell’abbazia di Saint Martin d’Autun. Consigliere nel parlamento di Digione dal 1525, nel parlamento di Parigi dal 1531, fu presidente in quello di Aix dal 1532. Morì nel 1541. Di lui rimangono a stampa una raccolta di pareri legali, i commentari sulle consuetudini del Ducato di Borgogna e, appunto, il Catalogo della gloria del mondo. La prima edizione dell’opera fu pubblicata nel 1529. Nel 1579 Sigmund Feyerabend, tipografo di Francoforte, decise di pubblicare una nuova edizione dell’opera, arricchita dalle illustrazioni realizzate ad hoc da Jost Amman allo scopo di rendere più facilmente comprensibili le teorie del giurista e valorizzare maggiormente l’opera. Magnifica prova, ricca di toni, impressa su carta vergata coeva, rifilata al rame, tracce di colla al verso, per il resto in ottimo stato di conservazione. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87. Etching on iron, 1579, unlettered. First state, of two, before the numbering 6 added lower right in the plate. The plate depicts a king sitting on a throne holding a sceptre in centre background, on the left a scribe, on either side of the room the king's advisors, soldiers standing in the foreground. Set in an oval frame, the corners filled with strapwork ornaments. A fine impression, printed on contemporary laid paper, trimmed to the paltemark, very good condition. Printed in Catalogus Gloriae Mundi by Barthélemy de Chasseneuz, printed in 1579, Frankfurt - Sigmund Feyerabend. Barthélemy de Chasseneuz (1480–1541) was a lawyer, and he was neither a narrow-minded one nor a bad one – quite the opposite. He had attended French and Italian universities and had been the student of some of the most famous teachers of his time. The talented legal scholar had acquired experience at the court of the duke of Milan and even at the court of the Pope himself. And yet, he returned to his home country in 1506 where he took up high offices. As his contemporaries, Barthélemy de Chasseneuz was convinced that everything on earth had a precise order. He believed that any kind of dispute arose solely from the fact that humankind was unaware of the exact structure of this order. It was obvious that the King of France was of higher status than a juggler. But what about the King of France and the King of Aragon? Who of them was of higher status? Being a good lawyer, Chasseneuz sat down and studied the sources. He wrote more than 1,000 pages setting out which office held which rank based on all theological, philosophical and legal sources available to him – from the hierarchy of the Heavens to the social ranks of humankind and to animate and inanimate nature. In 1529, this book was published for the first time. Chasseneuz’ book was of huge importance to all those who had to deal with issues of ceremonial protocol. All princes and city councillors had enough money to afford an expensive book. That’s why, at some point during the 70s of the 16th century, Sigmund Feyerabend from Frankfurt decided to publish a new edition of Chasseneuz’ work. He did not simply reprint the first edition, instead, he hired the famous book illustrator Jost Amman to transform Barthélemy de Chasseneuz’ theoretical considerations into impressive – and easily understandable – copper engravings. Bibliografia The New Hollstein, Part VI.87.144.23.i, p. 87.
8vo., First Edition, with frontispiece and plates (one folding), some faint offsetting from fold-ins to free endpapers; maroon cloth, gilt back, maroon top, a very good, bright, clean copy in unclipped dustwrapper. VERY SCARCE IN THIS CONDITION.
Previous owner's inscription and name label inside. Interior pages clean and unmarked; tight binding. Black and white photos. 246 pages. A History of the Smith College Graduate School of Architecture and Landscape Architecture in Cambridge.
408 pages including index. Stress has been placed on the principles underlying a permanent system of agriculture, and it is hoped that the student will find many suggestions of practical value to him/her. The student who is familiar, even to a slight degree, with the problems and difficulties confronting the farmer will be better equipped to take his place in whativer sphere of activity he/she may in the future find him/herself, particularly in Western Canada, an essentially agricultural community. Printed on glossy paper. Copiously illustrated in black and white. Average wear. Binding intact. Small numbered ink stamps upon each endpaper else unmarked. Nice solid copy. Book
Ex-library copy with the usual stamps and markings. Text in Polish, English, and Russian. Very large format: 11 1/2" x 16". Beautiful colored maps of divisions of the sea, currents, areas, and many for fishing stats.
An early standard monograph on Jules Pascin. Limited to 2000 numbered copies, of which this is ONE OF THE FIRST 100 COPIES, WITH THREE LOOSE ETCHINGS (numbered 71/100 in pencil, like the book itself), PRINTED ON EXTREMELY FINE ARCHES WOVE PAPER, IN A SEPARATE FOLDER. The etchings are "La plage" (or "Les jeux"), 1917 (HÈmin 91); "Homage aux dames fortes", 1927 (HÈmin 138); "L'enfant prodigue buvant 1927 (HÈmin 146). Folio. In stiff wraps, as issued. In the original board chemise and slipcase. FINE AND BRIGHT.
Fair (no dj, green pictorial cloth, illustration on spine of girl taking book from shelf, front board illustration in blue/white/black/green of three girls with hockey sticks, spine lightly darkened and some wear to colour on illustration, back board a bit grubby, front hinge heavily cracked and front free endpaper missing, flyleaf and frontispiece detached but present, contents shaken, child's pencil drawings on endpapers and erased pencil annotations front fly leaf, light foxing two central pages and occasional light spotting in margins) 12mo 296pp. B/w frontis and 4 b/w plates remaining of the original five.
278 pages plus index. Includes multiple iterations of the British North America Act and other important law. "Explains existing Canadian institutions and their workings. These institutions are complicated and our triple citizenship in Province, Dominion, and Empire is not easy to understand." - from Preface. The twenty chapters include such topics as: Nation, Government and Law; Our Civil Law - Common Law and Statute Law; Trading Corporations; Courts of Law; Criminal Law; Nationality, External Affairs, Defence; The Aims of Government; etc. Light wear. Clean and unmarked. Contents yellowed with age. Read this book and weep for what has become of our society. As witnessed by this text, schools used to be places of learning. Read it and discover how much you never knew about the workings and history of your own society. An exquisite and cherished reminder of more civilized times. Book
Catalogue of Sale at Phillips, London on Tuesday 23rd March 1999. 58 pages. 144 lots. Light rubbing to cover surfaces.
Catalogue for sale held at Christie's Thursday 30 July 1998. (OMP-8028) 295 lots, many illustrated in colour. Includes Index. Includes Prices Realised for Sale No. 8011 on 4th June 1998
'The collection of Old Master Drawings of the late Bernard Houthakker, sold by order of the executors on Monday 17th and Tuesday 18th November 1975' This book is extra heavy and may involve extra postage to non-UK destinations.
Auction catalogue for sale held at Bonhams, Knightsbridge Thursday 6th July 1995. Illustrated, some in colour. 97 pages
A practical manual with illustrations for the guidance of teachers. 100 pages. Red mark and date in red ink and two school stamps, on front cover, covers generally soiled.
Wellington College, Berkshire, Speech Day program 1930. Light creasing and marks to covers.
A pupil's school magazine from Eton. Includes several engravings and advertisements at the back.
Includes plan of Eton College. 154 pages. Slight rust stains on front cover next to staples.
154 pages. Wear to tail of spine, and less so at the top.
154 pages. Wear and to top/tail of spine.
Wear and a tear to top of spine, rust on staples.
With photograph of the Upper and Middle VI, 1945 on inside front cover, with names of pupils and masters. . Heavily doodled in pencil on front cover, with various names and pictures on covers: footballer in ink on inside front cover, aeroplane on inside back and tanks and other ink and pencil drawings on back cover, but not in the text.
Text in French. Programmes of courses for the school with information on the careers that the school prepared for. 328 pages. Browning to page margins. Tear at base to joint of spine and front cover. Creases on spine.
Copia, nello stesso verso, da un niello appartenuto alla collezione Durazzo oggi conservato a Parigi, Louvre, collection Rothschild. Nel nastro svolazzante l’iscrizione “SOL IN DEO SPERO”.L’iscrizione consente di identificare il soggetto come un’allegoria della Speranza. La rappresentazione della figura femminile e lo stile molto delicato possono confrontarsi con altri nielli comunemente attribuiti a a Francesco Francia (Hind, Nielli, n. 242 e n. 247). I nielli della collezione Durazzo vennero fatti riprodurre in incisioni proprio dal proprietario, tra fine XVIII e inizio XIX secolo, costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy, on the same verso, from a niello that belonged to the Durazzo collection, now in Paris, Louvre, Rothschild collection. Inscribed in the flattering banner “SOL IN DEO SPERO”.The inscription (Only in God I Hope) identifies the woman as an allegory of Hope. The feautures of the woman and the very delicate, but regular technique compare well with nielli usually attribued to Francesco Francia as: Hind, Nielli, n. 242 and n. 247. The nielli of the Durazzo collection were reproduced in prints by owner’s will, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by the amateurs. Bartsch describes these niello prints in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution.
Copia di un niello già conservato nella collezione Durazzo (n. 2869), di cui sopravvivono due impronte originali (Gabinetto Rothschild al Louvre; British Museum, Londra). L'opera può essere datata alla fine del XV secolo e attribuita con una certa sicurezza alla scuola bolognese. Il giovane uomo e la donna sono probabilmente ritratti di persone reali, una coppia di fidanzati o sposati da poco. La loro disposizione, uno di fronte all'altro di profilo, è conforme alla pratica convenzionale del Quattrocento per i ritratti in pendant di mariti e mogli. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print formerly kept in the Durazzo collection (n. 2869), of which two original impression survives (Cabinet Rothschild at the Louvre; British Museum, London). The work may be dated to the end of the fifteenth century and attributed with some confidence to the Bolognese school. The young man and woman are probably portraits of actual people, a betrothed or recently married couple. Their arrangement, facing each another in profile, conforms to conventional quattrocento practise for pendant portraits of husbands and wives. The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.019; Duchesne, p. 271 n. 337; Zanetti pp. 99-100 n. 128
Copia di un niello della ex collezione Durazzo, (n. 3860) L'immagine esiste anche in almeno altre tre varianti: un disegno lombardo ( ?) agli Uffizi ( inv . no . 209F), falsamente inscritto come un ritratto di Beatrice d'Este di Leonardo; un dipinto nel Metro politan Museum of Art con un monogramma di Dürer falsificato (il dipinto potrebbe essere esso stesso un falso) e la data 1506; e un'incisione precedentemente attribuita a Zoan Andrea ( vedi TIB 2509.026 ), apparentemente un artista fittizio ora identificato con Giovanni Antonio da Brescia ( TIB 2511 ) . Sebbene Dutuit e Blum abbiano chiamato l'opera veneziana, la composizione è chiaramente lombarda, e la stampa fu probabilmente prodotta a Milano alla fine del XV o all'inizio del XVI secolo. I nielli della collezione Durazzo vennero fatti riprodurre in incisioni dal proprietario, tra fine XVIII e inizio XIX secolo, a Venezia - come specificato anche dal Malaspina nel suo catalogo del 1824 - costituendo una serie che venne diffusa e collezionata dagli amatori. Bartsch descrive queste copie nel suo volume edito nel 1811, data che quindi costituisce il terminus ante quem per l'esecuzione. Copy of a niello print from the Durazzo Collection (n. 2860) The image also exists in at least three other variants : a Lombard ( ? ) drawing in the Uffizi ( inv . no . 209F ) , falsely inscribed as a portrait of Beatrice d'Este by Leonardo ; a painting in the Metro politan Museum of Art with a forged Dürer monogram ( the painting may itself be a forgery ) and the date 1506 ; and an engraving formerly attributed to Zoan Andrea ( see TIB 2509.026 ) , apparently a fictitious artist now identified with Giovanni Antonio da Brescia ( TIB 2511 ) . Although Dutuit and Blum called the work Venetian , the composition is clearly Lombard , and the print was probably produced in Milan at the end of the fifteenth or the beginning of the sixteenth century . The nielli of the Durazzo collection were reproduced in engravings by the owner himself, between the end of the 18th and the beginning of the 19th century, in Venice - as also specified by Malaspina in his catalog of 1824 - constituting a series that was circulated and collected by amateurs. Bartsch describes these copies in his volume published in 1811, a date that therefore constitutes the terminus ante quem for the execution. TIB 2401.017; Duchesne, pp. 275-76, n. 347; Zanetti, p. 102, n. 136.