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189345766México: Oficina Tip. de la Secretaría de Fomento 1893. First edition. Quarter calf over marbled boards five raised bands gilt titles & embellishments marbled endpapers. Spine chipped at head and separated from front board boards rubbed bookseller ticket to front paste down contents browned minor soiling one tear affecting small portion of text. vii 472 pp. 21 plates; 96 pp. Illus. with b/w plates. 4to. "El Estudio. Semanario de Ciencias Medicas. Organo del Instituto Medico Nacional. Tomo IV" containing a total of 11 issues running from Abril 1891 through Diciembre 1893: Num 1: Abril de 1891; Num. 2: Mayo de 1891; Num. 3: Julio de 1891; Num. 4: Agosto de 1891; Num. 5: Setiembre de 1891; Num. 6: Octubre de 1891; Num. 7: Febrero de 1892; Num. 8: Setiembre de 1892; Num. 9: Febrero de 1893; Num. 10: Marzo de 1893; Num. 11: Diciembre 1893. This volume contains 19 out of sequence plates and two additional folding plates unnumbered. <br /> <br /> Bound with "Monografías Mexicanas de Materia Médica: Coleccion de Tésis Inaugurales y de Concurso de la Escuela Nacional de Medicina de México Acopiadas y Reproducidas por 'El Estudio' Tomo II." Two of the plates from "El Studio" numbered IV & V appear out of sequence. Palau 84643 Ker p.35. Oficina Tip. de la Secretaría de Fomento hardcover
1804243551804 Paris . Courcier .AN XIII = 1804 . Cinqieme édition revue et corrigée, reliure in-8 époque pleine basane marbrée,dos lisse trés orné,de XXXII + 358 pages ,signatures autographes editeur et auteur,bon état.
189924690W. & R. Chambers Limited London Edinburgh 1899. HARDBACK NODustJacket ISSUED 18991st editin NF/VG NOJACKET Small dark burgund embossed cloth Titled in Gold gilt on Spine Cvr light wear Rub & Tiny Chips Extremities Interior nice tight clean light FOX with few pencil marks Wear 180 pgs . additional exercises ETC note on changed spelling of Certain German Words Scarce book. First Edition. Hard Cover. W. & R. Chambers, Limited London Edinburgh hardcover
18932082402113508201Dai Nihon tosho 1893. Soft Cover. Fine. Number of books: books Dai Nihon tosho paperback
18852082402113501741Dai Nihon tosho 1885. Soft Cover. Fine. Volume: 1 Dai Nihon tosho paperback
18792092902138300863Gyokuen-do Gyokuen-do 1879. Soft Cover. Fine. The book is in fine condition. Gyokuen-do, Gyokuen-do paperback
18782111902160200798Copyright Shuseikan Uchida Masayoshi 1878. Soft Cover. Fine. Number of books: 2 Copyright Shuseikan Uchida Masayoshi paperback
18822083002116207170Ministry of Education Normal School Edition 1882. Soft Cover. Fine. The book is in fine condition. Ministry of Education Normal School Edition paperback
18732090202120403595Gifuken honkoku 1873. Soft Cover. Fine. Number of books: 1 Gifuken honkoku paperback
18832111902160201166Eitaro Hirose Kizo Kajita 1883. Soft Cover. Fine. Volume: 1 Eitaro Hirose Kizo Kajita paperback
18713027Boston & London: Wright & Potter State Printer 1871. Public Document # 19 report for October 1870; reviews the state of the institution financial reports etc. number of people at the school statistics those who jumped ship; the officers and employees of the school; list of salaried officers on board the "Massachusetts" and their salaries - the ship had been sold that year as a measure of economy; also inventory of the property of the school contributions from the towns towards it's upkeep more; 31 pages original purple paper wraps; some spine ends edge tips wear to binding; a very good copy. First Edition. Soft Cover. Very Good. Wright & Potter, State Printer Paperback books
18242952Genoa 1824. <p>Manuscript on laid paper 4to 236 x 176 mm. 126 leaves foliated 3 1-3 1 4-42 1 43-51 1 52-61 1 62-103 1 104-118 complete. The numbered leaves containing one hundred and eighteen emblematic drawings all full-page explanations written on versos the unnumbered leaves containing the title 3 and 1/2-page introduction and section titles; most of the illustrations in landscape format. Calligraphic title text in brown ink in a neat cursive hand; the drawings in graphite pen-and-ink and gray wash a few with details in brown ink each within rule border with numbering at top gutter edge. Corner repairs to ff. 1-10 tears into ff. 9 and 104 a few other short marginal tears or fraying to edges ff. 100 and 101 with gutters reinforced on versos occasional minor offsetting or soiling. Late 19th-century half parchment and brown glazed paper manuscript title label on spine. <br /><br />An illustrated manuscript course of religious instruction for Deaf children by a pioneer of Deaf education in Italy using an original emblematic visual "language." <br /><br />By the early nineteenth century pre-modern misconceptions concerning the learning abilities of Deaf children had been largely exposed as false by such eighteenth-century pedagogues as the abbé Sicard and Charles-Michel de l'Epée in France each of whom founded schools for the Deaf and contributed to the development of a standardized sign language or Samuel Heinicke in Germany who implemented a different method of communication for the Deaf centered on oral speech. In Italy the most influential figure in the education of Deaf children was Ottavio Assarotti. As a young man Assarotti entered the order of the Piarists the Scuole pie. Founded in 1617 the Piarists' principal mission was and remains the provision of free education to poor and especially disabled children. After several years teaching theology and philosophy Assarotti set those disciplines aside to devote himself full-time to the development of an instructional program for Deaf children. Assarotti's method consisted in teaching the children not only reading writing and sign language but also a full range of humanist disciplines including science the arts and foreign languages. In 1805 he obtained financial support from Napoleon to found a school which after some delays was finally opened in 1811 in the former Bridgettine convent. After Napoleon's defeat the growing school received renewed support from King Vittorio Emmanuele I and its fame spread throughout Europe. <br /><br />"Assarotti made great use of sign language in his teaching . Directors of nearly all Italian institutes for deaf students flocked to learn from him and carried his method back with them. Pope Gregory XVI sent the new directors of the Rome Institute Padri Ralli and Gioazzini to study in Genoa with Assarotti. Upon their return to Rome they too used his techniques. How is it possible that a man so renowned and successful in his own time did not earn so much as one line of recognition in the historical accounts of other countries Perhaps the answer lies in the fact that Assarotti left no traces in written form of his philosophy and method. Had he done so not only would he have gained respect and notoriety outside Italy but perhaps the critical events soon to follow the subsequent dominance of "oralism" over sign language in Italy would have taken a different course ." Radutsky p. 245.<br /><br />In fact Assarotti wrote and may have published several texts for his pupils listed in DBI but not found in OCLC or ICCU. The present unpublished work was probably prepared for the use of instructors in the school. It contains a pictorial religious course of instruction using a complex but precise symbolic system to explain Christian doctrine and liturgy including the most abstract theological concepts. All the elements in the drawings are identified in captions of varying lengths and in various layouts. Names or words are often incorporated as visual elements of the emblems. While somewhat primitive the drawings' unique iconography is evocative and some have a powerful dreamlike quality.<br /><br />In the Middle Ages the Deaf were barred from the sacraments - and hence from marriage and any kind of normal life - because of the belief that they could not understand the word of God. While these strictures were loosened in 1571 thanks to Luther's influence prejudice against Deaf persons' abilities to achieve salvation subsisted partly because it was thought that they could not perform Confession. Hence the importance to early educators of the hearing-disabled of providing their pupils with comprehensive religious instruction as an essential foundation of their integration into society.<br /><br />The unnamed author of the introduction writing in the third person describes Assarotti's school and praises his religious zeal humanity and his understanding that Deaf people who had been previously "abandoned by society" are fully competent and indeed capable of the highest intellectual and spiritual attainment. The emblems the author explains will present to the Deaf student an easy transition from familiar material objects to those objects which are less material and from there to the most immaterial concepts of all. In doing so he or she will eventually absorb the entire Christian doctrine. The figures are described as Assarotti's own egli . ha inventato le figure che formano questo Libro . but whether the actual drawings are in his hand is uncertain. The introduction concludes with an explanation of the most frequently recurring emblematic figures. God is represented by a circle containing three rectangles which touch the circle and each other representing the Divine Trinity: flames emanate from the God the Father and Jesus rectangles toward the one representing the Holy Spirit a concept which is explained in the text as the reciprocal love between the two other Divine Persons. Jesus the man as opposed to his divine nature is shown by another circle helpfully inscribed "Uomo / Jesu' Cristo" and humans or human souls are represented by hearts although the meaning of the heart emblem varies throughout the manuscript. Further symbols introduced later are explained on the versos of the drawings.<br /><br />Contrasting with the approbation granted his pedagogical achievements Assarotti's religious views linked to the most mystical wing of the Ligurian Jansenists met with resistance from the church hierarchy and some of his theological writings were not approved for publication. The drawings of this manuscript provide a glimpse of an abstract mysticism which would certainly have been at odds with Catholic orthodoxy.<br /><br />The work is in five parts titled: Faith Fede ff. 4-42; Laws Legge 43-51; Prayer Preghiera 52-61; Sanctification Sanctificazione 62-103 and Virtue Vertù 104-118. The first part is a visual exposition of the Credo starting with God's attributes: his ubiquity is represented by the God and Jesus circles overlapping above a symbol of the world earth and heavens with the word DIO written repeatedly across the page; his omniscience by the God symbol at top sending down rays of light at center a man sitting under a tree and below that a well captioned "Abyss." Creation is a delightful drawing of fish in the seas flanking a mound representing the earth on top of which cavort animals under trees and within which are three large hearts linked to a central pole at the top and illustrating the three reasons that God created man: so that they might know love and enjoy him. The Church of Jesus Christ is an architectural drawing of a fortress. Heaven is a light emanating rays while Hell is a large vat whose opening is locked and barred. Virtuous souls are flaming hearts each with an open eye since they see God; sinful souls are spotted hearts with wilted stems instead of flames. These blemished hearts recur throughout the book for example behind bars in the vat of Hell; enchained by a similarly spotted Devil; in a genealogical tree descended from Adam and Eve; or clustered above Hell on Judgment Day opposite a crowd of pure haloed hearts trumpets sounding above and lightning striking the damned while divine light bathes the saved.<br /><br />The section on Laws contains various allegorical representations of the Ten Commandments. While some drawings amount to schematic tables demonstrating the relationships between theological concepts others are more pictorial. Reflecting no doubt Assarotti's personal mysticism all aspects of the divinity are abstract: there are no angels Madonnas or images of Christ. Crosses are shown but there are no Crucifixions and Christ's Passion appears as a circle containing the Arma Christi. The church hierarchy is represented by a papal tiara mitres and stoles. Human figures appear predominantly in the drawings of the sacraments and in representations of sin. In contrast with the invisibility of the divine Satin is personified as a grimacing devil and the seven deadly sins appear as animals and monsters poised above poisonous emissions from Hell's chimneys. <br /><br />That Assarotti's school used such manuscripts for teaching is supported by the existence of another manuscript very similar in content but lacking the title and two leaves offered by the Austrian antiquarian book firm Inlibris. Cf. Dizionario Biografico degli Italiani art. Antonella Dolci 4:433-4; E. Radutsky "The Education of Deaf People in Italy and the Use of Italian Sign Language" in Van Cleve ed. Deaf History Unveiled 1993 237-5; Rauthgundis Kurrer Gehörlose im Wandel der Zeit doctoral dissertation University of Munich 2013 available as a pdf online pp. 30-33.</p> unknown books
186314936Paris, Didier (Typographie de Bourdier), 1863 ; in-12 ; demi-percaline verte décorée à froid, titre doré (reliure de l'époque) ; (4), XVI, 436 pp.
1859BL4573New York:: Sunday School Union 1859. 1859. 16mo. 52 4 pp. Frontispiece 6 woodcuts with initial letters; light foxing. Original full mauve cloth gilt stamped spine title. Ownership signature of Amelia Domshele. Very food. Sunday School Union, [1859]. hardcover books
19004952Paris, Schleicher Frères, sans date (circa début XXe siècle) ; in-8, broché ; (4), IV, 460 pp.
18732090202120414360what is not 1873. Soft Cover. Fine. Number of books: 1 what is not paperback
18932091502135700857Nani funari-sha 1893. Soft Cover. Fine. The book is in fine condition. Nani funari-sha paperback
188434816Montevideo: Tipografía de la Escuela de Artes y Oficios 1884. First edition. Blind stamped maroon cloth. Spine and boards worn scuffed some recoloring owner's name on title contents clean a good copy. 60 pp. 16mo. Thirteen essays by various writers at the School of Arts and Crafts for the birthday of Máximo Benito Santos Barbosa 1847-1889 President of Uruguay from 1882 until 1886 in an administration marked by many problems notably corruption lawlessness and heavy debts all of which forced into exile. Not located in NUC OCLC Copac or any European or South American Library catalogues. Provenance: signature of Eloisa Vaeza. Not in Palau. Tipografía de la Escuela de Artes y Oficios hardcover
188434816Montevideo: TipografÃa de la Escuela de Artes y Oficios 1884. First edition. Blind stamped maroon cloth. Spine and boards worn scuffed some recoloring owner's name on title contents clean a good copy. 60 pp. 16mo. Thirteen essays by various writers at the School of Arts and Crafts for the birthday of Máximo Benito Santos Barbosa 1847-1889 President of Uruguay from 1882 until 1886 in an administration marked by many problems notably corruption lawlessness and heavy debts all of which forced into exile. Not located in NUC OCLC Copac or any European or South American Library catalogues. Provenance: signature of Eloisa Vaeza. Not in Palau. TipografÃa de la Escuela de Artes y Oficios hardcover books
18902090202122801530Matsunosuke Inokuchi 1890. Soft Cover. Fine. Number of books: 4 Matsunosuke Inokuchi paperback
180621439Lyon, Garnier, Reymann (Imprimerie de Ballanche père et fils), 1806 ; in-8, demi-veau et petits coins de parchemin, dos à nerfs décoré de filets dorés, pièce de titre rouge, tranches jaspées (reliure de l’époque) ; XVI, 341, [3] pp.
18792111902160201405Oseido Noriaki Ushiki Awajicho Kanda District 1879. Soft Cover. Fine. Number of books: 8 books Oseido Noriaki Ushiki (Awajicho, Kanda District) paperback
1824109915Durand Dvrand 1824 A Lion, par Dvrand (Durand) et Perrin, 1824, (1) f., lxx-326 p.-(1) f. (liste), demi-basane, environ 220x145mm, tranche de tête dorée. Mors en partie fendus, des frottements sur la reliure, un mors interne fendu, une déchirures restaurée sans manque p.152, bon état pour le reste.
18607332Paris, Librairie Agricole de la Maison Rustique, 1860 ; in-8, broché ; 72 pp., couverture vert clair imprimée, 2 tableaux dépliants.
1831J75817Eton: E.Williams a new edition revised 1831. Hardcover. Good-. Eaton coat of arms to titlepage . 12mo leather covers lacks top 3.5cm and 1cm at foot of spine/lower inner corner lacks leather hinge leather split but covers held securely by cords/leather scuffed/some ink marks/corners worn 191pp printers books for sale. Endpapers doodles some ink blots and upper margin with some worming to margin only and ink not affecting readablity of text. E.Williams a new edition revised, hardcover
