6 495 résultats
1900réf. List518Most Cuba or Jacksonville 1900. Silver gelatin or albumen photographs various sizes ranging from 3 x 3 to 6 x 8 most captioned to verso. With handwritten manuscript four leaves discussing various diseases. The Spanish-American War was the first war in which nurses formed their own dedicated units as well as the first war in which they were accepted within military hospitals. While no nurses died in battle 153 died during the war from disease. Nurses were responsible for both treating soldiers as well as maintaining sanitary conditions within the camps. Conditions were often poor leading some to work until they were too sick to continue. The current collection of photographs documents the experiences of a Mrs. Waters who was originally from Groton Massachusetts. The collection begins with a couple early photographs including a portrait as a young woman and a cyanotype of one of Waters' leprosy patients at Johns Hopkins Hospital in Baltimore. The next section shows Waters' training in Jacksonville Florida with either the Fourth or Seventh Army Corps at what was called Camp Cuba Libre both Corps trained there in 1898. The photographs of Jacksonville show life around the military camp and environs with some notable photographs of African-American inhabitants of the region. Three photographs quite notably show the Congregation of American Sisters a small group of American Indian nuns led by Reverend Francis Craft. The photographs taken in Cuba are notable for their portrayal of local life. Several photographs of military installations are taken around the "trocha" or line established by General Valeriana Weyler from Mariel to Majana. Another notable photograph is a cabinet card of a large group of nurses taken by the Havana photographer R. Testar. The group overall shows very early photographic records of military nurses in training as well as a scarce photographic record from a woman in a combat situation. The photographs are generally well preserved in very good to excellent condition with some light fading. Accompanying the photographs is a four page manuscript essay presumably by Waters discussing leprosy as well as the booklet Spanish Phrase Book for American Soldiers and Sailors published by the National Relief Commission of Philadelphia. Offered in partnership with Daniel / Oliver Gallery. books
1880réf. 15998Madrid: Published by the Spanish Admiralty 1880. Engraving. Printed on wove paper. In excellent condition. Image size: 24 x 37 1/4 inches. A wonderful sea chart of the Mississippi Delta produced by the Spanish Admiralty at the close of the nineteenth century. This is an impressive sea chart of the Mississippi Delta produced by the Spanish Admiralty in 1880. The coast line is clearly mapped out with little detailing except for the soundings around the Delta. There are two compasses and a number of lighthouses identified along the shoreline. The chart uses the surveys conducted by the U. S. Coast Survey which were carried out between 1853 and 1877. It is a wonderful chart of this important area and superb collector's piece for anyone interested in early maps of the Americas. Published by the Spanish Admiralty unknown books
1701réf. ABC_48243Amsterdam 1701. Small 4to ca. 20 x 15 cm. Nicolas Chevalier Contemporary limp vellum with the manuscript title on the spine and a paper shelf mark label at the foot. With a general title and 2 divisional titles for ad 6 and ad 11 all with a woodcut vignette further with 2 hand-coloured engraved maps 1 folding engraved plate and several woodcut initials. 12 parts in 1 volume. 134 pp. Collection of very rare pamphlets and printed letters published under a collective title on the actual political circumstances of Northern Europe in the years 1699-1701 especially in connection with the death of the Spanish King Charles II born in 1661 in 1700 leading to the War of the Spanish Succession 1701-1714. The work includes 2 maps of Flanders and a folding plate of the Battle of Narva which took place on 30 November 1700. Although the pamphlets and letters were printed separately the present collection appears to be very rare as we have not been able to find any other copies with the same contents.Charles died childless. His possessions would go to one of his brothers-in-law: the French King Louis XIV 1638-1715 or the German Emperor Leopold I 1640-1705. Both had agreed already beforehand that they would divide Charles heritage to avoid disturbance of the European balance of power. In his last will however Charles had appointed the grandson of Louis XIV as his successor named from now on Philip V of Spain 1683-1746. The Treaty of The Hague affirmed this in 1701. With the deaccession stamp of the "Bibliothèque municipale de Nîmes" on the title page and its shelf mark label at the foot of the spine. The vellum at the foot of the spine with a tear the boards are somewhat stained. The leaves are occasionally browned and foxed. Otherwise in good condition.l Cf. Knuttel no. 14.510 ad 1 14.543 ad 6 14.588-14.589 ad 9 14.538 ad 10 and 14.538 a comparable collective title page with the imprint "Amsterdam Daniel de la Feuille 1701" with various texts ca. 78 pp.; STCN 317179241 1 copy the same general title page but with only 3 letters all different from ours. EUROPE HISTORY MILITARY HISTORY Broadsides Ephemera & Pamphlets France History / 17th Century History / 18th Century Military History 17th Century Military History 18th Century Spain hardcover
1696In -4°, pp. (16), 557, (9) - errore di numerazione alle pp. 120-23; antiporta incisa in rame; legatura in pelle con fregi in oro alle armi di Benedetto XIV. Tagli dorati. Calf binding with golden ornaments, gilt edges.
1940In-4°, prima edizione, copertina morbida, pp. 191, con due disegni a colori e due in b/n, esemplare perfetto. Poesie scritte tra il 1929-1930, inedite fino a quel momento, pubblicate durante l’esilio forzato in Messico, accompagnate dal poema ‘El crimen fue en Granada’ di Antonio Machado e dello scritto in prosa ‘Federico Garcia Lorca. La muerte vencida’ di José Bergamin. Presenti quattro disegni del poeta. First edition, 191pages, with four drawings (2bw and 2 colours), fine edition, soft cover.Poetries written between 1929 and 1930, published during Garcia Lorca’s exile in Mexico; additional poems ‘El crimen fue en Granada’ by Antonio Machado and ‘Federico Garcia Lorca. La muerte vencida’ by José Bergamin
1695In -4°, pp. (28), 156, (26), all’antiporta ritratto inciso da Blondeau; pergamena coeva con titolo manoscritto al dorso. Prima e unica edizione di questa singolare biografia: Sebastian de Aparicio, nato in Spagna nel 1502 e morto in Messico nel 1600, fu beatificato nel 1789 da Pio VI: al di là dell’interesse di retaggio religioso Aparicio, che partì per il nuovo mondo nel 1530, è considerato il primo allevatore di bestiame e il primo “charro” (per estensione il primo “cowboy”) nella storia d’America. Diventato ricco (grazie all’attività di colono, agricoltore, e all’estrazione di metalli, soprattutto argento), e due volte vedovo, si dedicò alla vita ascetica fino a essere ammesso all’ordine francescano, col patto che i suoi beni venissero donati al primo monastero delle Clarisse in Messico (dove sarebbe stato ospitato prima di venir ordinato frate e unirsi alla comunità francescana di Puebla). First and only edition of this unique biography: Sebastian de Aparicio, born in Spain in 1502 and dead in Mexico in 1600, was canonized in 1789 by Pius VI. Beyond the religious interest, Aparicio is considered the first “cowboy” of America (or “charro”, in spanish): he became rich thanks to his agricultural activity (and also for his activity in mines, especially silver ones) he was the first to raise livestock on ground, in America: between his dowries the one to tame savage animals. He left his large fortune to a claires monastry in order to be received in the franciscan order.
1977réf. 20185Barcelone, Editorial Gustavo Gili, 1977. Grand in-8 oblong, en feuilles sous couverture rempliée, couverture en fourrure blanche, sous emboîtage en Plexiglas.
1911réf. 030666Madrid: Imprenta Espanola / Fernando Fe / Victoriano Suarez 1911. 1st Edition 1st Printing. Soft cover. Near Fine. 291 Pp 1 Pp Advertisement For The Author's Works. Original Beige Wrappers Printed In Black Priced 3 Pesetas On Spine. Inscribed By Unamuno To The Cervantes Scholar Rudolph Rodolfo Schevill And Dated In Salamanca Vi/11 June 1911 The Year Of Publication. Covers With Slight Browning More Browning To Spine Water-Staining At Upper Right Corner Edges Of Rear Cover To 1/4" Deep But No Traces Elsewhere On Covers Or Pages. Contents Fine Pages Unopened Still Attached At Top. A Book Of Poetry Noted By Some As Containing The Finest Sonnets In The Spanish Language. Imprenta Espanola / Fernando Fe / Victoriano Suarez paperback
1681réf. 40803Madrid. 1681. Including Laws Regulating Indigenous Peoples and Banning the Encomienda The first comprehensive compilation of the laws of the Spanish Indies. Antonio Rodríguez de León Pinello compiled it by 1635 but it circulated only in manuscript until Fernando Jiménez de Paniagua brought it up to date and saw the work through the press in 1681. Prior to the publication of this massive work it was common practice for lawyers and courts in the various legal districts of the New World i.e. audiencias to compile in manuscript the laws in force in order that they might be used as precedents. Upon publication of this code the number of precedents did not decrease but increased: the courts continued to accept the cases and laws in the old local manuscript compilations as well as those on point and laws contained in the Recopilación. In sum this is a major work for all collections of international and Hispanic specific law. Folio. Later sheepskin leather labels. Binding rubbed at extremities. Light soiling to titlepages titlepage of first volume backed with paper. Minor soiling to text; some heavier dampstaining to first volume. Overall very good. SABIN 68386. PALAU 252516. EUROPEAN AMERICANA 681/135. hardcover
1785réf. 57874Mexico. November 22 1785. Announcing the Compañia Real de Filipinas Regulating Trade with the Philippines A very rare Mexico City printing of the announcement of the creation of the Royal Company of the Philippines by Spanish royal decree in 1785 which regulated and effectively monopolized trade with the Philippines. This copy bears the manuscript rubric of Don Bernardo de Gálvez and signature of his secretary Joseph de Gorraes. Gálvez then Viceroy of New Spain ordered this broadside printed for the reason that "An Establishment so important and of such general interest should be understood and known by all" our translation. The creation of the Royal Company would be particularly relevant to residents of Mexico as most if not all of the trade with the Philippines would come through New Spain. Accompanying the announcement this broadside also prints Articles 1 2 14 21 and 100 of the royal decree which were considered to effectively summarize the purpose and mechanics of the new Company. The articles printed here proclaim that the Company is to enjoy the protection of the Crown for at least twenty-five years establish a fund to back its shares describe how shares and subscriptions could be purchased and organize a general meeting of shareholders. Notably absent from this broadside is the important article of the decree which closed Manila's ports to foreign vessels giving the Company an effective monopoly on all trade between Asia and the Americas. The Royal Company of the Philippines quickly gained vast wealth from this lucrative deal transporting commodities such as indigo coffee sugar spices and cotton across the Pacific. Regardless of its initial success the Company did not endure - the wave of rebellions against Spanish rule in Central and South America in the early 19th century quickly rendered it obsolete and the company was officially dissolved in 1834. A rare broadside announcing this important Royal Decree to the people of the Western Hemisphere; OCLC records only one copy at the Bancroft Library. Broadside printed on two joined sheets of sealed paper 23½ x 17 inches in total. Old folds and light creases a few small worm holes. Very good. OCLC 21747301. unknown
1820réf. 3330Mexico City: July 11 1820. About very good. Large double-sheet broadside approximately 23.5 x 17 inches. Two sheets joined at central horizontal fold. Five chips at left edge not affecting text and some additional minor edge wear; otherwise light toning and dust soiling. Two contemporary manuscript signatures at foot; contemporary duty stamps on blank verso. Fascinating and otherwise unrecorded broadside that dictates the organization and process for the 1820 election of Mexican deputies to the Spanish Cortes during the second and last period of constitutional monarchy in Mexico. Colonial Mexico first achieved some representation in the Spanish government under the liberal Constitution of 1812 which lasted for two years before being revoked by Ferdinand VII upon his return to power in 1814. The reinstatement of the liberal constitution and the Cortes of Cadiz in 1820 however was not enough to prevent Mexico from obtaining full independence one year later. This broadside promulgated in Mexico on July 11 1820 by the colonial Viceroy Juan Ruiz de Apodaca y Eliza announces the renewed representation via regional elections to select Provincial Deputies for the Cortes and contains eight articles delineating the process by which these elections are to be held. In brief these articles order representation be apportioned according to the population as approximated from the 1792 census; divides Mexico into provinces for the purposes of the election; and places parameters on representation for each province. In all a very interesting window onto the formation of the brief final period of Spanish colonial rule in Mexico. July 11 unknown
1681réf. WRCAM40803Madrid 1681. Three volumes of four. 5299; 3298; 3302 leaves. Lacks the fourth volume and one preliminary leaf in first volume. Folio. Later sheepskin leather labels. Binding rubbed at extremities. Light soiling to titlepages titlepage of first volume backed with paper. Minor soiling to text; some heavier dampstaining to first volume. Overall very good. The first comprehensive compilation of the laws of the Spanish Indies. Antonio Rodríguez de León Pinello compiled it by 1635 but it circulated only in manuscript until Fernando Jiménez de Paniagua brought it up to date and saw the work through the press in 1681. Prior to the publication of this massive work it was common practice for lawyers and courts in the various legal districts of the New World i.e. audiencias to compile in manuscript the laws in force in order that they might be used as precedents. Upon publication of this code the number of precedents did not decrease but increased: the courts continued to accept the cases and laws in the old local manuscript compilations as well as those on point and laws contained in the Recopilación. In sum this is a major work for all collections of international and Hispanic specific law. SABIN 68386. PALAU 252516. EUROPEAN AMERICANA 681/135. hardcover books
1799Acquaforte, acquatinta brunita e bulino, 1799. Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 15. Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, piccoli strappi di carta alle estremità dei margini, per il resto in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa - First edition -Etching, burnished aquatint and engraving, 1799. From the rare first edition (of twelve) of Los Caprichos, plate 15. A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, small tears at left white margin, otherwise in perfect condition. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. The title can be translated into: Pretty teachings. Harris 50, Delteil 52.
1799Acquaforte, acquatinta brunita e bulino, 1799.Dalla rara prima edizione di dodici della serie detta Los Caprichos, tavola 54.Magnifica prova, particolarmente nitida, impressa su carta vergata coeva, con usuali ampli margini, in perfetto stato di conservazione.La serie chiamata Los Caprichos, è composta da ottanta incisioni. Questa prima edizione del 1799, l’unica a non essere pubblicata postuma, è impressa su soffice carta vergata di gran qualità ed è stampata usando un delicato inchiostro seppia. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. Per questo ne sono stimati solo circa 300 esemplari. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa In questo soggetto Goya affronta il tema del mondo alla rovescia. Nella scena ci sono tre personaggi, il centro dell'attenzione è l'uomo che sta mangiando, e che cerca di evitare tutti gli sguardi, vergognandosi dei tratti osceni del suo viso. L'artista ha chiaramente indicato il suo pensiero disegnando la cintura di un paio di pantaloni sopra la testa del personaggio. I nasi sono una presenza notevole sul viso, e nel linguaggio popolare "nasi" è un chiaro eufemismo sessuale. Il modo in cui il viso è costruito, in modo che sopracciglia, occhi e naso evochino l'apparato genitale maschile, rafforzerebbe lo stesso senso. Altri commenti insinuano che la figura, nel piano superiore, con i suoi grandi pugni serrati, stia commettendo sodomia con la figura che tiene il vaso da cui mangia l'uomo vergognoso. L'anno 1799 è uno dei momenti chiave nella vita e nel lavoro di Francisco de Goya. Oltre ad essere nominato primo pittore da camera di Goya, a godere di un crescente prestigio come ritrattista e ad inaugurare la cappella di San Antonio de la Florida, che aveva decorato, il 6 febbraio il Diario de Madrid pubblicò un annuncio in cui venivano messe in vendita le ottanta stampe che compongono la serie dei Caprichos. Bellissimo esemplare. Al verso timbro di collezione HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980), editore, libraio e mercante di stampe a Parigi (Lugt 5031). - The rare first edition -Etching, burnished aquatint and engraving, 1799.From the rare first edition (of twelve) of Los Caprichos, plate 54.A very fine impression, showing a good contrast, on contemporary paper, with usual wide margins, perfect condition.The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid paper of great quality and is printed using a delicate sepia ink. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. For this it is estimated only about 300 copies. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. In this print Goya approaches the theme of the world upside down. In the scene there are three characters, being the focus of attention the man who is eating, and tries to avoid all eyes, ashamed of the obscene features of his face. The artist has clearly indicated his thinking by drawing above the character's head the waistband of a pair of pants. The noses take on a notable presence on the face, and in popular language "noses" is a clear sexual euphemism. The way the face is constructed, so that eyebrows, eyes and nose evoke the male genital apparatus, would reinforce the same sense. Other comments insinuate that the figure, in the upper plane, with his large clenched fists, is committing sodomy with the figure holding the vessel from which the shameful man eats. The year 1799 is one of the key moments in the life and work of Francisco de Goya. In addition to being named first chamber painter, enjoying a growing prestige as a portrait painter and the inauguration of the chapel of San Antonio de la Florida, which he had decorated, on February 6 the announcement of the sale of the eighty prints that form the series of the Caprichos was published in the Diario de Madrid. Here, Goya focuses his social criticism on the bestiality of a deformed man whose head emerges from his breeches. Among the slight variations between the print and the preparatory drawing, the most striking is that, in the former, he wears his trousers, but in the latter, he does not. As a result, the latter came to be known as The satire of man’s lechery. Moreover, this is the only drawing in the series to mix red-ink wash with pen. Valentín Carderera’s handwritten commentaries on the Caprichos, which are in both the Biblioteca Nacional and the Museo del Prado, further clarify this subject. The first reads: Men with large noses also tend to have large arrows [here, “arrow” is a euphemism for penis] and fat gandumbas [testicles]. As they are often sodomites, this one is depicted with his breeches on his head, with his pudenda hanging out as he lies on top of a poor devil and pulls up his skirts. The second commentary completes the information: There are men whose face is the most indecent part of their body, and it would be good if those whose face is that disgraceful and ridiculous would stick it in their breeches. Example from the HENRI MARIE PETIET (Saint-Prix, Seine-et-Oise, 1894-1980) collection (Lugt 5031). Harris 1964, 89.
1913Unread. As new. Number 216 of limited edition of 350 copies. Signed by co-author R.E. Gosnell. "Few publications, if any, of similar size and excellence have been produced in Canada." - From Editor's Foreword. Part I includes 210 pages and eighteen chapters which constitute "a survey of events from the earliest times down to the Union of the Crown Colony of British Columbia with the Dominion of Canada." Part II is "a history, mainly political and economic, of the Province since Confederation up to the present time." Part I is preceded and followed by dozens of tissue-protected black and white portraits of individuals influential in the early history of the province, complete with their brief biographies upon the tissue. Part II comprises eighteen chapters over 226 pages plus 5 pages of addenda followed by dozens of tissue protected portraits of "some of the men conspicuous as present day factors in development." Top edge gilt. Gilt lettering upon backstrip. Marbled endpapers. Exceptionally clean, bright, and unmarked with zero wear. Brown suede exterior appears as fresh as the day it was applied over 100 years ago. This majestic fourteen pound tome measures 13" x 10.5" x 4". A magnificent acquisition for any serious collector of British Columbia history. A better copy will not be found. [Lowther 1607, Hale 2523, Edwards & Lort 3177, Strathern 495] Book
1890Two decorated wooden panels, painted in polychrome tempera, gold gilt, and gesso, with a leather spine. 330 x 250 mm. Elaborately decorated on one board with four armorial shields, surrounded by incised stamps on gilt fields and gilt floral sprays on a blue field. The text below the shields reads: "INVENTARIO DELLE COSE DEL LA SAGRESTIA DEL DUOMO EDE LALTRE COSE MOBILI DELU OPARA RIFATTO LASICO DA VOLTA AL TENPO DEL UENE RABILE UOMO FRANCESCHO DI PAOLO TADDEI ANNO D. 1475." [Roughly translated: Inventory of the things in the sacristy of the Duomo Ede. Taken from the last by the incomparable Frances Taddei in the year 1475. The front board has a lovely Rennaisance Madonna and Child, with "Samis de Petris" below. This de may have been an attempt to attribute the painting to the artist Sano di Pietro. Beveled edges. Brass bosses at each corner. Very good. RARE. A contemporary of the famed "Spanish Forger", Icilio Federico Joni (1866-1946) was born in Siena. As a young man he worked in the shop of a gilder and art restorer. He began, as a sideline, to produce imitations of fifteenth century Sienese painted wooden panel book covers. He based these tempera painted wooden panels on the Tavolette in the Archivio di Stato, which he probably never saw in person. It is quite clear from his autobiography (1932) that he was proud of his skill and his brilliant imitations of the ancient art of Siena. He considered them original art rather than 'forgeries'. There are probably no more than twenty examples of his work extant today. From the Bridwell Library, SMU: "A skilled producer of imitation "Gothic" altarpieces, he received a commission c. 1890 to create a book cover in imitation of those found on Siena's Tavole di Biccherna, the elaborately gilt and painted fourteenth-century tax registers. Without ever seeing a real Biccherna, he established a lucrative business of faking Biccherna covers. Joni later boasted of incidents in which the local police were alerted to books purportedly stolen from Siena Cathedral or the state archives, only to discover that they were by Joni. A number of book collectors were deceived by Joni's creations, and several of his works were published as Gothic originals. Today, Joni's forgeries are highly valued in their own right. In his autobiography Joni discussed his methods for antiquing the covers by mixing soot, turmeric, chrome yellow, and gilding gesso with gum arabic to produce the patina on the gold. The bosses were bathed in ammonia and the clasp plates were dipped in iodine, "which rusted them in just the right way." Note that Joni's boards are simply glued onto a rough leather spine; he apparently did not know how to replicate a fifteenth-century sewing structure." Research in America has clarified Joni's role as a restorer in such works as Piermatteo d'Amelia's Annunciation (Gardner Museum) and the half-length figures in Fra Angelico's Annunciation (Mrs E. Ford Collection). **PRICE JUST REDUCED! Front Case 1/R
1748réf. 46400880, 1748-1749 ; in-4°, basane fauve de l'époque (lacets) - Beau manuscrit calligraphe espagnol du XVIII° siècle. 10 grandes feuillets de vélin. Le premier orné d'une grande composition (titre - frontispice), dessinée à la plume à l'encre rouge avec rehauts d'or : large architecture rococo avec portique, colonnes, médaillons, angelots, statues, emblèmes et portraits. Le second feuillet est une composition dédicace à la Vierge, également dessinée en rouge et or ; large encadrement de rocailles et d'emblèmes ; au centre la Vierge en assomption entourée d'anges ; en dessous, le personnage pour lequel a été exécuté ce manuscrit représenté à cheval ; suivent 15 pages de manuscrit d'une belle calligraphie, avec double encadrement de filets d'argent ; 2 lettres ornées, grotesques calligraphiés sur l'avant dernière page, la dernière page donne l'arbre généalogique des Martinez Rodriguez de Carvajal. L'illustration de ce manuscrit est d'une belle facture populaire rococo. La planche de la Vierge est préservée par un feuillet de soie rose."
19334 vols., 8vo., First Edition, with 4 portrait frontispieces, and numerous plates, facsimiles, maps and plans; handsomely bound in half navy crushed and polished morocco BY SOTHERAN, blue cloth sides ruled in gilt, backs with raised bands with gilt fillets, second and third compartments with red leather labels framed and lettered in gilt, all other compartments framed in gilt, gilt tops, marbled endpapers, an elegant set ideal as a gift or presentation. THE BINDINGS ARE SIGNED ON FRONT FREE ENDPAPER VERSOS. AN ELEGANT SET OF THE ORIGINAL EDITION AND SCARCE IN THIS CONDITION. Cohen A97.2(I-IV).a, Woods/ICS A40(aa).
1900réf. WRCAM51843Havana 1900. Approximately 520; 600pp. including several folding charts. Over 200 separate imprints. Original half leather and brown cloth boards spine gilt. Corners and edges worn spine rubbed boards scuffed. Initial leaves of first volume torn away but present. Several other leaves chipped and torn throughout. With many official signatures and docketing stamps. Good. Two volumes of orders promulgated in 1889 and 1900 by the American military government of Cuba after the cessation of hostilities in the Spanish-American War. Under the terms of the Teller Amendment to the Congressional Joint Resolution for war with Spain in 1898 the United States denied the intention of using the conflict as a pretext for the annexation of Cuba and promised to leave the island following the termination of the war. The American military therefore oversaw the creation of the new independent Cuban government before departing in 1902. The documents contained in this collection consist of over two hundred orders in both English and Spanish from the Headquarters Division of Cuba that helped to shape the emerging civilian government. They include instructions for the running of elections the organization of the courts and school system the appointments for various government offices provisions for tax regulations and many other critical issues facing Cuba at its independence. The directives cover two periods from January to July in 1899 and from July to September in 1901. Many of the orders are signed in manuscript by the assistants to the military governor for the island Gen. Leonard Wood including assistant adjutant generals J.B. Hickey and L.W.V. Kennon and Brig. Gen. Chief of Staff Adna R. Chaffee. An interesting documentation of the first American occupation of Cuba. hardcover books
Four volumes. A COMPLETE SET, ON SPECIAL PAPER, OF THE MOST IMPORTANT PUBLICATION OF SPANISH MEDIEVAL TEXTS. Comprises, IN FIRST EDITION, (I) the Poema del Cid, (II) the complete works of Berceo, (III) the Poem of Alejandro Magno, and (IV) the Arcipreste de Hita's Libro de buen amor (this fourth volume is almost always missing.) This is A SPECIAL SET, PRINTED ON THICK PAPER. This is furthermore AN ASSOCIATION COPY, from the library of DANIEL DEVOTO AND MARIA BEATRIZ DEL VALLE-INCLAN (their stamp on rear endpapers). Devoto (1916-2001) was an important intellectual figure who counted among his close friends many of the great literary figures of 20th-century Spain, France, and Latin America. He wrote many books and articles, some of which concern the texts which appear in the present publication. COMPLETE WITH ALL HALF-TITLES. 8vos. ATTRACTIVELY BOUND IN SPANISH CALF. Tiny traces of wear to bindings, else an EXCELLENT SET. In the introduction to his edition of El poema del Cid, Colin Smith emphasizes the great importance of this publication, pointing out that Sanchez was way ahead of his time as a textual editor. AN OUTSTANDING SET OF AN EXTREMELY RARE AND IMPORTANT PUBLICATION, WITH A FINE PROVENANCE.
1634In -4°, pp. (22), 289 (i.e. 379), (9); frontespizio inciso (al fr. la data è 1633) e un ritratto calcografico dell’autore che precede il testo. Carta Yy con prova di penna, con testo ancora leggibile. Saavedra, nato e vissuto a Cordoba fra il XVI e il XVII secolo fu un poeta spagnolo, lontano parente di Cervantes. Fumagalli 428. Il volume è rilegato con la raccolta poetica del figlio di Saavedra, “Ocios de Aganipe divididos en differentes poesias” - pp. (6), 260, frontespizio inciso -, pubblicato anch’esso a Trani nello stesso anno. Due rarissime opere spagnole appartenenti al Siglo de oro. In -4 °, pp. (22), 289 (i.e. 379), (9); engraved title page (the title page date is 1633) and a chalchographic portrait of the author preceding the text. Yy leaf with spoiled with ink, yet the text is still readable. Saavedra, was born and lived in Cordoba between the 16th and 17th centuries, was a Spanish poet, distant relative of Cervantes. Fumagalli 428. The volume is bound with the poetic collection of Saavedra’s son, “Ocios de Aganipe divididos en differentes poesias” - pp. (6), 260, engraved title page -, also published in Trani in the same year. Two very rare Spanish works belonging to the Siglo de oro.
réf. 1197Original lithographic poster in color. published by the Martha Graham Dance Company New York printed by Maeght Paris 1975. Mourlot 1050. Copy #51 of 75 signed by Miro in pencil on handmade paper there were also 500 unsigned copies with "letters" published as an advertising poster for the performance. Mourlot. The Lithographs of Joan Miro #1050; Picazo. The Posters of Joan Miro #86. 31" x 21". Image/sheet size 30 3/4 x 22 1/4 in. 78.0 x 56.4 cm unmatted Deckled edges. Miro created this lithograph as an advertising poster for the modern ballet Lucifer performed by the Martha Graham Dance Company featuring Margot Fonteyn and Rudolf Nureyev as guest artists. Lucifer premiered June 19 1975 at The Uris Theater in New York City as the main feature of The Martha Graham Gala. In Martha Graham's words "Many people have asked me why I did Lucifer with Rudolf Nureyev. Lucifer is the bringer of light. When he fell from grace he mocked God. He became half god half man. As half man he knew men's fears anguish and challenges. He became the god of light. Any artist is the bringer of light. That's why I did Lucifer with Nureyev. He's a god of light. And Margot Fonteyn was such a glorious complement to him at it. Luminous as night. When I first saw Margot Fonteyn she was a great and beautiful figure." Unidentified interview with Martha Graham 1975. Fonteyn provides background as to the Premiere of Lucifer in 1975. "It was certainly a star occasion. Tickets for the performance went on sale from $10000 down to $50. Fans wore Martha Margot Rudi buttons. Among other things the Gala may have been a sort of official celebration of the marriage between classical ballet and modern dance. Martha dominated her Gala from a Chinese chair beside the proscenium arch where she announced each ballet. The fashion designer Halston made the Lucifer costumes." It was the first performance for Fonteyn without toe shoes. Margot Fonteyn Autobiography Knopf 1976 Provenance: Through the family of former Rhode Island governor and United States senator John Orlando Pastore 1907-2000. books
1820réf. ZB394212American Association of Teachers of Spanish and Portuguese 1918-2000. volumes 1-83; lacks 9-12. 1918-2000. partly bound library markings textually clean & tight price is for the set. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. American Association of Teachers of Spanish and Portuguese unknown
1758réf. 34566Madrid: The Author 1758. 16mo. ca. 150 x 103 cm. Full contemporary vellum with manuscript titling to spine leather ties. 1f. recto title verso blank 1f. "Al Lector i privileges dated July 2 9 and 10 1737 iii "Advertencia" 72 pp. text 20 engraved plates of choreographic notation of dances including those by Feuillet and Pecour with music with alternate rectos and versos blank as issued. With one folding plate of engraved music between pp. 35 and 37. With charming woodcut depictions of both male and female dancers one with an accompanying musician illustrating positions of the arms and feet and dance etiquette including bowing and managing one's hat. Diagrams and choreographic notation within text. The final textual section "Explicacion del Danzar a la Española" offers detailed definitions of 46 steps used in Spanish dance followed by descriptions of "Danzas a la Española ." including the pabana the gallarda the españoleta the villano the impossibles and the hermosa. Plates include: - Explicn. de la Chorographia - Movimentos de los Brazos Codos etc. - Demonstracion de la Bretaña - Rigodon ô Allegro de la Bretaña - El Amable con otra Chorographia - La Pastoril demonstda. redonda y larga - La Diligenta delinda. â lo largo ô larga - La Cortesana Cont. quadrada ô en quadro Free front endpaper with elaborate contemporary paraph verso with contemporary inscription: "Soy de la Libreria de Dn. Antonío de Hozes Ferñz de Cordova." Binding slightly worn; ties partially lacking; endpapers slightly worn; free front endpaper slightly stained. Minor internal wear and soiling; some leaves browned; occasional foxing; several small virtually invisible professional archival repairs. Rare third edition of the work demonstrating the foundations of dancing in the French style considered of greater elegance than the Spanish first published in 1737. Derra de Moroda 1856 edition of 1758. Malkin 79 edition of 1737. Niles & Leslie pp. 360-361 edition of 1758. Waterloo p. 144 RISM Écrits p. 587 editions of 1758 and 1768. All with variant titles no recorded copies with this title. Minguet's manual incorporates material from two other important early 18th century dance treatises Feuillet's Chorégraphie Paris 1700 and Rameau's Le Maître de danser Paris 1726. "A compilation of Feuillet Rameau and De la Cuisse. His engravings however are superior to the originals of the fore-mentioned and make his Arte de Danzar perhaps the most important treatise in 18th century Dance literature in Spanish." Niles & Leslie "Spain was one of the first countries to record its social dances in a system of dance notation and notation was to be an important element in dance manuals of the eighteenth century. The first Spanish book devoted entirely to dance was Discursos sobre el arte de danzado 1642 by Juan de Esquivel Navarro dancing master to Philip IV. The next dance book by Bartolemé Ferriol y Boxeraus did not appear until a century later in 1745. Pablo Minguet e Irol a famous engraver as well as an author and translator published works on a wide range of subjects; his dance books included several important works which incorporated the French dance notation of Raoul-Auger Feuillet." International Encyclopedia of Dance 5 p. 670. "A particularly lovely set of illuminations can be found in Pablo Minguet e Yrol's Arte de danzar àl a francesca." op. cit. 6 p. 124. Antonio de Hoces Fernández de Córdoba 1722-1782 was a "Master of Seville" and served as mayor of Cordoba. [The Author] unknown books
1898réf. 3455New York: Published at the Office of "Cuba" 1123 Broadway 1898. First edition. In original printed wrappers. Wrappers creased and dented; spine missing at bottom. Corners dog-eared. A few pages with wormholes not affecting text. Otherwise in very good condition. First edition. In original printed wrappers. 74 2 pp. Rare first edition of Spain's 1897 grant of autonomy to Cuba and Puerto Rico-its last failed attempt to retain the islands through reform and the first constitutional success for the Cuban and Puerto Rican autonomist movements. Issued by Cuban autonomist exiles in New York this publication presents the full English translation of the Royal Decree of November 25 1897 signed by Queen Regent María Cristina which established broad local self-government for Cuba and Puerto Rico. It is accompanied by political commentary from Eliseo Giberga a leader of the Cuban Autonomist Party and editorials from El País the party's principal newspaper in Havana. The decree promised legislative authority to elected insular parliaments universal male suffrage civil and political equality with mainland Spaniards and control over finance commerce education public works and internal justice while reserving military naval and foreign affairs to the Spanish central government. A unique provision among colonial constitutions preserved the islands' representation in the Spanish Cortes. Although hailed at the time as realizing "the dream of three generations of Cubans" the new constitutional system was overtaken by events. After the sinking of the USS Maine and the outbreak of the Spanish-American War in 1898 Spain was forced to cede Puerto Rico to the United States and withdraw from Cuba rendering the newly granted autonomy largely theoretical. The political structure outlined in this decree was never fully implemented. The publication also offers comparative analysis asserting that the rights granted exceeded those enjoyed by Canadian provinces under the British North America Act of 1867 and in some respects by U.S. states. It preserves the vision of peaceful constitutional reform promoted by the Cuban Autonomist Party soon eclipsed by military occupation and the shift toward independence under American influence. This volume captures Spain's last liberal attempt to modernize its empire-a transitional political vision for Cuba and Puerto Rico that was quickly overtaken by war U.S. intervention and the collapse of Spanish colonial rule in the Americas and Pacific. It is also a key document in the history of Cuban constitutionalism and Puerto Rican political status. Rare particularly in original wrappers; only a handful of institutional holdings recorded. RBH lists only one copy sold in the past fifty years Sotheby's 2021. . Published at the Office of "Cuba," 1123 Broadway unknown
