[COOK: DEATH] SAMWELL, DavidBiblio.com
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1786réf. 5000990London: Printed for G.G.J. and J. Robinson 1786. Some foxing light marginal toning to endleaves: a very good copy. Quarto 300 x 232 mm. pp. iv 34 without final blank; recently bound in speckled half calf to style smooth spine with triple gilt fillets gilt floral motif at foot red morocco label contemporary marbled paper sides top edge cut others uncut. First edition: one of the rarest and most desirable of all Pacific voyage narratives and among the earliest books devoted to Hawaii. We have traced only five copies at auction in the past fifty years confirming its reputation as one of the most elusive of all eighteenth-century voyage accounts. The catalogue of the Hill Collection aptly describes it as "the highlight of a Cook collection". David Samwell 1751-1798 a Welsh surgeon who sailed on Cook's final voyage joined the Resolution as surgeon's mate before becoming surgeon of the Discovery in 1778. His account of Cook's death at Kealakekua Bay is of exceptional importance providing what Sir Maurice Holmes described as "the fullest most detailed and most objective" narrative of the event. Drawing carefully on eyewitness testimony Samwell's work fills significant gaps left by the official account and remains a cornerstone source for understanding the circumstances surrounding Cook's death. The book was written in part to correct the impression created by the official narrative of the voyage published under the editorship of James King in 1784. As Samwell observed in his preface public opinion had come to attribute Cook's death "in some measure to rashness or too much confidence on his side; whereas nothing can be more ill-founded or unjust" p. iii. Holmes later remarked that the work is particularly valuable because it addresses matters "suppressed in the official account" especially regarding responsibility for Cook's death and because Samwell's assessment of Cook's character coming from "an educated man who knew him well" must be read alongside King's in order to gain a balanced view of the navigator as he appeared to those who served under him. Samwell provides a detailed reconstruction of the fatal encounter at Kealakekua Bay. In several respects his account differs from the official version. Discussing Cook's first wound he notes that although one eyewitness supported the claim made in the official voyage that Cook had been stabbed first the testimony of numerous other witnesses convinced him that Cook was initially struck with a club a conclusion later confirmed to him by the Hawaiian priest Kaireekea pp. 15-16. Samwell also places considerable responsibility on Lieutenant John Williamson whom he accuses of failing to support Cook during the attack. The narrative of Cook's death is followed by a biographical memoir largely reverential in tone and concludes with observations on the spread of venereal disease among the indigenous peoples of the Pacific. As a surgeon Samwell was particularly well placed to discuss the subject although his contention that there was insufficient proof that Europeans first introduced the disease to Hawaii is now generally regarded as doubtful. He records that despite Cook's efforts to prohibit intercourse between his sailors and Polynesians during the first visit in 1778 the disease had become widespread by the expedition's return later that year. Apart from its rarity the work exercised considerable influence. It provided a major source for Andrew Kippis's Life of Captain James Cook 1788 and his contribution to Biographia Britannica 1789. Unlike many contemporary accounts of Cook's third voyage which appeared in numerous European editions and piracies Samwell's narrative was published only in this English edition and a French translation. Not until David Magee's Captain Cook and Hawaii 1957 introduced by Sir Maurice Holmes was the text reprinted. Holmes noted on that occasion that the original printing was "of great rarity and correspondingly expensive". The book holds a prominent place in Hawaiian bibliography. The Hill catalogue observes that among the earliest books relating to Hawaii it ranks alongside Zimmermann's Reise um die Welt 1781 and Shaw's Catalogue of the Different Specimens of Cloth 1787 as one of the most significant publications of the eighteenth century. Combining exceptional rarity with fundamental historical importance Samwell's account remains one of the indispensable primary sources for Cook's final voyage and death. . Printed for G.G.J. and J. Robinson unknown
1773réf. 5488Troyes: chez Jean-Antoine Garnier ca. 1766 to 1773. Hardcover. Fine. Bound with: Le Grand Calendrier et Compost des bergers composé par le berger de la Grande Montagne Avec le Compôt naturel reformé selon le retranchement des dix jours par le Pape Gregoire III. Ensemble la manière comme se doit gouverner le Berger pour empêcher qu'aucun Sorciers ne fassent mourir leurs troupeaux avec toutes choses nécessaire pour se régler en leur art. Troyes: Chez Jean-A. Garnier Imp. Lib. No date ca. 1776 Quarto: II. 144 pp. A-S4. TWO RARE EDITIONS. Bound in contemporary tanned sheep the boards framed by a triple gold rule the spine ruled in gold and with rampant lions tooled in the compartments. The Privilege at end is granted to Pierre Garnier and dated 21 May 1728. It gives also a list of his other publications. Unusually fine copies printed on delicate paper of these works which are rarely found in such nice condition bound in a strictly contemporary binding. The bottom line of the first t.p. "avec permission" has been shaved off. In the second work leaf N1 has marginal stains; the last few leaves are lightly foxed. The Dance of Death "Les trois vifs et les Trois Morts" and the other accompanying texts are illustrated with 60 woodcuts of the Dance of Death copied from the original designs which appeared in the edition of the Danse Macabre of G. Marchant 1490. That of the Moor on p. 32 may be a very close copy of the same subject in the Compost. Another version of it appears on p. 27 and is a very close copy of that in the Bradwardine No. 64. N. B. - the two blocks of this subject appearing respectively on pp. 24 & 27 of the present Danse Macabre are not identical. Two works bound together both examples of important literary genres dating to the late-Medieval and early-Renaissance periods. The "Danse macabre" is a pictorial cycle and poem first painted at a Paris cemetery about 1425. Woodcuts copied from the Paris fresco along with the accompanying verses were first printed by Guy Marchant at Paris in 1485. "Le Grand Calendrier" an illustrated almanac and calendar was first printed in 1491 by Guy Marchant. The book remarkable for both its text and its illustrations was a kind of encyclopedia of meteorological agricultural hygienic and moral knowledge. I. The Dance of Death One of the earliest examples of the pictorial cycle and poem known as the Danse Macabre was painted between August 1424 and Lent 1425 in the arcades of the Cimetière des Saints-Innocents Cemetery of the Holy Innocents in Paris. These arcades constructed as charniers to house bones from earlier mass burials were demolished in 1669 along with their frescoes. The images of the Danse in this book were directly inspired by the Paris Danse. Woodcuts of the Danse copied from the Paris fresco along with the 67 verses that accompanied the images were first printed by Guy Marchant at Paris in 1485 with woodcuts designed by Pierre le Rouge. While there were no women in the original Danse in 1486 Marchant published an all-female version "La Danse Macabre des Femmes". Later Marchant united these two texts in the two-volume "Miroer Salutaire". While Marchant followed the sequence from the Cimetière des Saints-Innocents he introduced numerous changes adding new pictorial elements and verses including 20 additional dancers and the woodcut of the four skeleton musicians. From the 16th through the 18th centuries editions of the Danse appeared outside of Paris printed -with various changes- by French provincial printers in Lyon Rouen and Troyes. Over the years the woodblocks used to print the illustrations in the various Paris editions worn or damaged from repeated use and in some instances lost were re-cut with the images reproduced with varying degrees of fidelity to the originals. The printing history of the Danse in Troyes began in 1493 when Pierre le Rouge's woodblocks were acquired by his nephew Nicolas le Rouge who printed editions of the text into the 1530s. It is in Troyes that the woodcuts were first copied and further changes were introduced by successive printers. In 1610 the Troyes printer Noël Moreau began printing editions of the Danse using copies of the woodcuts from the Parisian edition published by Marchant 1490. Moreau added several new images at this point including the Black man blowing a horn and carrying a spear. According to Mortimer Moreau also used several original 15th c. blocks in this edition e.g. p. 26 the Punishment of the Sin of Luxury also used in the "Compost et kalendrier des bergiers" of 1497. and one of the Occupations of the Months May from the "Compost" of 1499. In 1641 Nicolas Oudot's son Nicolas Oudot II printed a new edition using Moreau's woodcuts. The last Oudot edition with the text largely re-written was printed by Nicolas II's son and widow in 1729 under the title "La Grande Danse Macabée sic!". It is this edition that would set the template for the next publishers the Garniers. The dating of this edition /- 1773 is based on the dates during which the publisher is known to have been active. A number of early bibliographers following the printed privilege on the last page dated this edition to 1728 and numerous cataloguing records have this date. However the publisher to whom the privilege was granted Pierre Garnier died in 1738. Further Jean-Antoine Garnier who is named as publisher on the title page was active between 1766 and 1773. Alexis Socard "Livres Populaires de Troyes" 1864 p. 126-127 tells us that the Garniers continued to print the book up until 1820 with the same imprint and privilege. See also: Corrard de Breban "Recherches sur l'établissement et l'exercice de l'imprimerie à Troyes" Paris 1873 4th ed. p.73-74. The additional texts: Already in the late 15th c. editions of the Danse had begun to include supplemental texts. Those included in this edition are: "Le débat du corps et de l'ame" "La complainte de l'ame damnée" "L'exhortation de bien vivre et de bien mourir" "La vie du mauvais Antechrist" and "Les quinze signes du jugement." Of these "La Vie du mauvais Antechrist" pp. 70-72 is antisemitic. The Antichrist is born of incest by "Un paillard Juif abominable" who knows his own daughter carnally is nursed by a whore before embarking on his career of destroying Christianity. He comes to Jerusalem where the Jews adore him he himself is circumcised but when he attempts a second Ascension from the Mount of Olives he is cast down into a sepulchre at the bottom of hell and "dix millions . De ces Juifs l'accompagneront". Marquand Library Notes: Fairfax Murray 108; see a reproduction of one of J.A. Marchant's editions in Claudin's Hist. de l'Impr. I. 339 sq. A brief description of those editions with some reproductions is found in Nisard Hist. des Livres populaires 1854 II 303 sq. A few of the images in these editions are new e.g. p. 26 the Punishment of the Sin of Luxury which originated in the Compost of 1497 see No. 103 and reproduction in Claudin I. 375 and one of the Occupations of the Months May from the Compost & Kal. Des Bergères 1499 see note to No. 103 and Claudin I. 379 sq. Langlois Essai Historique Philosophique et Pittoresque sur les Danses des Morts I p.340 31; Douce p.60 26; Reichelt 96 II. The Shepherd's Calendar and Compost Le Grand Calendrier et Compost des bergers A Troyes chés P. Garnier s.d. ca. 1776 Illustrated with 49 woodcuts including 12 full-page cuts one for each month of the calendar. Like the Danse Macabre many popular editions of this calendar were printed into the 18th c. particularly in Troyes and Paris. The Kalendrier des Bergiers an illustrated almanac and calendar was first printed on 2 May 1491 by Guy Marchant. On 18 April 1493 he printed an entirely new edition under the title: "Compost et Kalendrier des Bergiers" and on 18 July Marchant completed yet another edition further expanded in both text and illustrations: "Here is the Compost et Kalendrier des Bergiers. to which many new items have been added as those who look at it will be able to discover." The book remarkable for both its text and its illustrations was a kind of encyclopedia of meteorological agricultural hygienic and moral knowledge. "What we have here" says Monceaux "is the first almanac ever printed in France and one can readily understand the appeal of a work that addressed itself to the rural and popular masses and gave them advice of every kind on the health and hygiene of men and animals on agriculture on how to conduct oneself in this world with a view to arriving safely in the next - while at the same time giving those who could not read some basic knowledge of astronomy and the measurement of time via explanatory images." The beautiful incunabula editions of the Shepherd's Calendar were transformed into popular booklets in the mid-17th century notably by Nicolas Oudot. All the printers of the Bibliothèque bleue Blue Library published an edition of this Compost. "This undoubtedly means that the Compost was to be considered an introduction to popular literature because it contained presented-one might even say in their purest form the essential themes of the popular library." G. Bollème Les almanachs populaires p. 41. The book opens with a brief verse to the reader explaining the Gregorian calendar reform followed by a prologue in which the shepherd-author presents his central argument: that the natural human lifespan is seventy-two years demonstrable through a parallel between the twelve months of the year and twelve successive stages of human life six years to each month. The heart of the book is the compost and the almanac proper. The compost material includes mnemonic verses and tables for calculating the moveable feasts of the church year - Easter Pentecost and the rest - along with the Golden Number a nineteen-year cycle used to predict the date of the new moon the Dominical Letter a device for finding the day of the week on which any given feast falls and Epact tables the Epact being a number expressing the age of the moon on 1 January used to calculate Easter under the Gregorian reform. The almanac proper gives each month its own full-page woodcut a verse in the month's own voice describing its character and principal feasts and a calendar table. Part Two is devoted to the vices and the torments of Hell. It opens with the "Exhortation pour le Salut de l'Ame faite par maniere de double ballade" a poem calling the reader to repentance. The moral center of this section is an extended account of the punishments awaiting sinners in Hell introduced through the figure of Lazarus. It is illustrated with seven woodcuts depicting the punishments of the damned one for each of the deadly sins - the proud hung from spinning wheels fitted with iron cramps; the envious plunged to the waist in a freezing river; the wrathful pierced by swords in a dark and blood-soaked hall; the slothful assailed by serpents; the avaricious submerged in cauldrons of boiling oil and molten metal; the gluttonous forced to eat toads and drink from a foetid river; the lustful tormented in pits of fire and sulphur. Part Three - headed "La Troisième Partie du Compost des Bergers qui est science salutaire ou champ des vertus" - is devoted to religious and moral instruction. One notable section is the Field of Virtues "Jardin ou Champ des Vertus" which contains a poem of the soul adrift at sea guided by God to port two shepherd songs a verse catalogue of the pains of Hell a long poem in the voice of a rotting corpse meditating on the vanity of earthly honor a poem spoken by Death mounted on the pale horse of the Apocalypse and the Tree of Virtues with Humility as root and seven cardinal virtues - Charity Faith Hope Prudence Temperance Justice and Force - as its branches each with named sub-branches. Immediately following and without a new Part heading comes the Anatomical Man - a figure illustrated with a woodcut showing which of the twelve zodiac signs governs which part of the body with the practical implication that one should not apply a surgical instrument to any part of the body while the moon is passing through its governing sign - followed by the four human complexions or temperaments choleric sanguine phlegmatic and melancholic a month-by-month health regimen giving dietary and practical advice for each season and a comprehensive phlebotomy guide treating every vein in the body from forehead to groin. The book closes with the comic poem "Les débats des Gens d'Armes & d'une Femme contre un Limaçon" in which a woman armed with her distaff and two soldiers with their swords attempt to drive away a snail that has been eating her garden while the snail defies them all by threatening them with its horns. chez Jean-Antoine Garnier, ca. 1766 to hardcover
1750réf. 31151750. DBI s.v. Albani; G. Cucco ed. Papa Albani e le arti a Urbino e a Roma 1700-1721 2001. Highly finished preparatory design for a fresco or tapestry connected to the Albani family whose coat of arms appears under the left-hand arch crowned with a cardinal’s hat. Under the central arch of the drawing preceded by a palafreniero four servants in blue and white livery carry a red baldacchino that covers two figures processing on horseback. One is clearly a secular prince with his garland crown and red cape while the other figure is a cardinal wearing a black hat and a red robe. It is possible that the cardinal depicted is either Annibale 1682-1751 or Alessandro 1692-1779 Albani or their nephew Cardinal Giovan Francesco Albani II 1720-1803. Under the right arch of the fictive architecture two buildings appear. While three commedia dell’arte figures who are commonly associated with the Venetian carnevale appear the carriage in the background contradicts the possibility that the setting for this event is Venice. Below these three arches a series of nine crests appear. The personification of death reclines with his scythe behind the coat of arms of the Corsini family blue and yellow diagonal stripes with a white band through the center. The crown which signified the rank of the family has been wrenched off. The Corsini were made dukes by Urban VIII in the seventeenth century and princes by Clement XII in 1730 This act of vandalism fits well within the long history of enmity between the Corsini and Albani families in the papal court. We have been unable to connect the sheet to a specific project at any Albani residence but future research should consider the Villa Castelbarco Albani in Vaprio d’Adda northeast of Milan whose documentation has proved difficult to obtain. unknown books
In Lausanna [i.e. Livorno] / In Siena, [tipografia Coltellini] / per Francesco Rossi stamp. del pubblico, 1765 / [1786], due titoli legati in un volume, in-8 piccolo, legatura coeva in piena pergamena, titolo manoscritto al dorso, tagli screziati. Beccaria: pp. [2], 141, [3], 135-229, [3], l'ultima carta bianca. Con antiporta incisa in rame, vignetta calcografica (bilancia in equilibrio su spada spezzata) sul frontespizio, e fregio xilografico al recto di carta A2, con i simboli delle arti. L'irregolarità della paginazione fu causata dalla volontà del tipografo di reintegrare, rispetto ad una prima composizione a stampa, le numerose pagine omesse nel Giudizio del De Soria. Terza edizione assoluta di questa "pietra miliare" del pensiero giuridico e prima in assoluto a recare l'antiporta allegorica incisa in rame immaginata dal Beccaria. Edizione pubblicata dalla tipografia Coltellini: cfr. L. Firpo, Le edizioni del "Dei delitti e delle pene", p. 544-547, n. 4 in Edizione nazionale delle opere di Cesare Beccaria, v. 1, Milano 1984. Var. C: vignetta calcografica sul front. (bilancia in equilibrio su spada spezzata) e fregio a p. 3. Atti del Convegno Internazionale su Cesare Beccaria, Torino, 4-6 ottobre 1964, pp. 399-403. Riforma della legislazione criminale toscana: pp. 80. Con stemma xilografico di Pietro Leopoldo granduca di Toscana sul frontespizio. Il 30 novembre del 1786 il Gran Ducato di Toscana sotto Pietro Leopoldo promulgò il nuovo codice criminale; per la prima volta nella storia degli stati moderni, con questo documento, furono abolite la pena di morte e la tortura. Timbretto di possesso privato sul frontespizio dell'opera del Beccaria. Volume unico che riunisce il testo teorico fondativo dell'abolizione della pena capitale e la sua prima applicazione pratica nella storia. Ottime condizioni di conservazione.
1696réf. 5532Frankfurt: Heirs of Matthäus Merian 1696. SECOND EDITION THUS. Fifth edition overall. This edition is based on Merian's own 1649 edition which was the first to include these revised images and a number of the supplementary texts. Hardcover. Fine. Bound in original tanned sheepskin light surface wear corners bumped lower edge of rear board abraded faithfully and almost imperceptibly rebacked the new spine richly tooled in gold and with a red morocco label. Internally an attractive copy with minor soiling and discoloration to margins of the title page scattered mild soiling in the text mainly marginal a few small rust spots and light blemishes a discreet contemporary repair to one blank margin a small tear in the margin no loss of leaf G1 a clean tear barely entering the image no loss on leaf M1; Memento Mori plate lightly soiled. There is a curious feature in this copy: there is light offsetting -from the text of different book- on one side of the 3 sheets that made up gatherings H S and Cc probably the result of those sheets having been laid upon sheets of the other book while still damp. With the collector's stamp of Johann Carl Conrad Oelrichs 1722-1798 on the title verso. A series of engravings with accompanying text by Matthäus Merian the Elder depicting the Grossbasler Totentanz the 60-meter long Dance of Death mural painted circa 1439 which adorned the inner face of the cemetery wall adjoining the Dominican convent and Predigerkirche in Basel. It was along with the Danse Macabre murals painted in the arcades of the Paris Cimetière des Innocents one of the two earliest painted Dance of Death fresco cycles. The Basel frescoes were lost in 1805 when the wall was destroyed. Only 19 fragments survive. The murals depicted a communal dance between cadavers and people from all strata of society from pope to peasant including members of various trades and professions from physician to fool. The list of those who join -unwillingly- their macabre dance masters in this dance to the grave are in order of appearance: pope emperor empress king queen cardinal bishop duke duchess count abbot knight lawyer councilman church canon physician nobleman noblewoman merchant abbess lame man hermit young man usurer maiden minstrel herald mayor executioner fool peddler blind man Jew heathens a man and a woman cook peasant painter and a mother holding her child. The dance is preceded by the images of a preacher delivering a sermon and a group of skeletons emerging from a charnel house playing instruments this image was probably added over the actual ossuary in the cloister during the restoration of 1616. "The figures of Death were depicted in all kinds of contortions suggesting movement and presumably intended to evoke an association between the represented action and the variety of dance being performed particularly round dances Reigen popular at that time. This is all the more probable because the introductory part of the dance of death which did not survive quite likely depicted figures of Death making music."Dreier Der Totentanz p. 47 "Beneath the pictures was a band containing addresses by Death and replies by the individual representatives of the estates each of four lines in Basel or eight lines in Paris. These verses were written in the local idiom generally in iambic rhyming couplets or alternating rhyme. In the verses the encounter between Death and the human representative was cast as a dialogue in which Death reminded human beings that in the face of mortality everything worldly was transitory and vain. Following Erwin Koller's outstanding philological investigations. it may be assumed that the blockbook produced in Basel around 1460 now preserved in Heidelberg University Library under the shelfmark cpg 438 is a contemporary virtually identical transcription of the original Basel text."Dreier p. 48 Merian made his engravings based on his drawings of the Basel frescoes in 1616. He then either gave or sold his engravings to his nephew Johann Jakob Merian. The first two editions appeared in 1621 one of them printed by Johann Schröter the other by Matthäus Mieg who re-published the book in 1625. The artist himself reworked the plates in 1649 adding atmospheric elements and background details and printed them with a greatly expanded text. This 1696 edition by Merian's heirs reprints the images and text of that edition. For the 1649 expanded edition Merian added a 10-page history of the Basel mural the now-iconic Memento Mori engraving an hourglass with a skull a burning candle and wilting flowers the Adam and Eve engraving and the dual-portrait engraving which when viewed right side up shows a bearded man and when turned upside down show a death's head. Merian also added as announced on the title 42 pages of "Admonitions concerning Human Mortality the Fleeting Nature of This Present Life and the Vanity of All Earthly Things; concerning the Burial and Resurrection of the Dead; concerning the Last Judgment; concerning Hell and the Damnation of the Godless; and concerning Eternal Life.". Heirs of Matthäus Merian hardcover
réf. 10850Wien / Baden bei Wien, Gesellschaft für vervielfältigende Kunst / Verlag Rudolf Rohrer, 1889 bis 1938. 39 volumes (36 in-folio et 3 in-4). Les 5 premiers pleine percaline brune, titre et décors dorés et noirs aux dos, premiers plats richement décorés (doré, noir et à froid), plats biseautés, tranches dorées pour le volume 5. Du 6e au 36e, pleine toile grège d'éditeur, titre et décors rouges jusqu'au 23e, vert pour les suivants, tranches marbrées ou teintées. Les 3 volumes in-4 sont reliés pleine percaline bordeaux, titre doré aux dos, têtes dorées (plats un peu tachés). La toile de certains volumes est un peu poussiéreuse. Intérieur très frais, quelques rousseurs extrêmement rares, 1 planche et 1 cahier déboîtés. Les années 1909, 1917 et 1918 non reliées mais sous cartonnage toilé normal, 1917 en 3 numéros / 2 cahiers (sur 4 / 3), 1918 en 3 numéros / 2 cahiers (sur 4 / 3).
1728réf. 17444Troyes 1728. 4to. Jean-Antoine Garnier 19th-century half cloth. With 60 woodcuts in text including 3 repeats most of them half-page. 76 pp. 18th-century French chapbook edition of one of the most popular picture books in Europe since the Middle Ages. It depicts two Dances of Death: first the Dance of Death of men of all ranks and professions followed by the Dance of Death of women of various ranks and stations in life. These Dances of Death were meant to remind people that everybody was mortal however powerful in life and to warn people to be prepared to die at any moment.Browned throughout some occasional foxing and a small piece torn from the margin of page 19 not affecting text or illustration. Overall a good copy.l Oberlé La Bibl. Bleue 1; Nisard II p. 284: "Le plus beau des livres de la Bibliothèque Bleue". ART ARCHITECTURE & PHOTOGRAPHY EUROPE LITERATURE & LINGUISTICS Caricature & Satire France French Literature hardcover
1784réf. 3603426London: Sold in Spur Street Leicester Square 1784. Small crease in lower corner in good condition. Oval engraving 350 x 265 mm. image size; mounted. Rare variant of the famous engraving of Cook's death showing as the caption notes "Part of the Original Plate after Webber" and presumably quite literally printed from an oval cut from the fuller engraved copper. This is only very rarely seen: the single example noted by Joppien and Smith was in the British Museum. The full-size engraving was first issued early in 1784. Based on the oil painting executed by Webber soon after he returned to London in 1780 the figures were engraved by Francesco Bartolozzi and the landscape by William Byrne. Quickly becoming the most famous of all eighteenth-century depictions of the massacre the view appeared at about the same time as the official third voyage account was published. This was no coincidence: although lavishly illustrated by Webber the official account did not include any depiction of the most famous scene of the entire voyage the death of Captain Cook. As a result the iconic engraving is often seen bound into extra-illustrated editions of the third voyage account. Reflecting the general opinion prevailing in published accounts of the voyage the original image as Joppien and Smith argue appeared to show Cook as 'an innocent victim killed in the act of pleading for peace'. This is here heightened by the changed composition as the oval shape dictates a radically different impact to that of the original engraving omitting the dramatic conflict between the British sailors and the Hawaiians and thus implying a scene in which Cook his arm raised in supplication to his men offstage stands alone and is overwhelmed by a seething crowd. The only copy noted among Australian holdings appears to be the heavily clipped copy in the National Library of Australia part of the Nan Kivell collection. . Sold in Spur Street, Leicester Square unknown
In-4to piccolo, (36), 121, (1) pp., 10 tavole. Completo delle 56 silografie nel testo (molte delle quali a piena pagina) e delle 10 tavole incise in rame fuori testo, una delle quali (cuore) con volvelle. Vitello coevo, dorso ben restaurato.
réf. 059-Ao.J. Kupferstich, 1614, nach Barthel Beham, auf Bütten. 5,7:8,2 cm. Im rechten Rand gering flecking. Literatur: Hollstein 559. Ganz ausgezeichneter und klarer Abdruck mit leichtem Plattenton und mit Rand um die Plattenkante.
réf. 127885aafBasel, (u.a.) Getruckt bey - Jacob Werenfels - J. Bertsche - J.-J. Decker - G. Decker - J.R Genath - J.H. Meyer / Auch (n° XVI:) Winterthur J. R, Meyers / (XXXIX) Frankfurt, Jonae Rosen 1617 / (n° XL, Tauffprädigt) Heidelberg, J. Lancellot, 1618, 28 S. + 2 Bl., um 1655-68, in-4to, Vorgebunden 3 Bl. mit hs. ‘Index Textum - Index Authorum - Nomina Defunctorum’ + 2 Bl. leer + 879 Bl. (= 1758 S.) + 2 Bl. mit handschr. Notizen, teils etwas gebräunt u. fleckig, hs. auf Spiegel ‘Tomus XX’ & ‘Ex Bibliotheca Johann Leonhardi Schopferi, V.D.M. collectus Sangalli Ao 1668’, Prgt. d. Zt. (Bestossen, gebräunt u. fleckig, Kanten tls. etw. beschabt).
1783réf. 002461Paris, Bastien, 1783
[20], 644 pages. Index. Twenty-six black and white photographic plates. Leather binding. "Comprising a history of Egypt, with a comprehensive and authentic account of the antiquity of masonry resulting from many years of personal investigation and exhaustive research in India, Persia, Syria and the Valley of the Nile." - title page. After first receiving the Light in India, the author was moved to "investigate, to the fullest extent, the meaning and purport of the numerous hieroglyphic inscriptions, symbols and characters found upon the ancient tombs and temples, so that the Masonic Fraternity might understand, appreciate and apply the teachings of the hierophants and sages of bygone days." - Preface. Chapters: Alexandria - the Antiquity of Masonry; Ruined Temples - Masonry and Masonic Symbols; Ancient Cities - Soirian Myth - Karma; the Nile - Origin of the Name Free Mason - Scottish Rite Philosophy; Ancient Mysteries - Scottish Rite philosophy; Suez Canal - The Druses, Their Manners and Customs; Agriculture - Irrigation - Lotus - Papyrus; The Supreme Architect of the Universe; Mosques - Tombs - Massacre of Mamelukes - Heliopolis; Esoteric Teaching of the Scottish Rite - Brain and Thought; Pyramids - Sphinx - Tombs; Solomon - Death of Hiram - Cross - Swastica; Mummification - Transmigration - Re-incarnation; Sixteen Saviours - Lost Knowledge; The Golden Fleece - Roman Eagle - Masonic Apron - What it Teaches; Pyramids of Sakkarah - Lisht - Medum - The Fayum - Labyrinth; Sun Worship - Zodiac - Masonic Allegories; A Voyage up the Nile - Description of Tombs and Temples - Pro Doric Columns; Ineffable degrees - Thoughts on Ecclesiastes - I.N.R.I. - Voyaging up the Nile - examining Tombs and Temples - Paintings - Sculptures; Masonic teachings - Hindu beggar - Roman Catholicism; Thebes - Colossi - Der-El-Bahari - Luxor - Karnak; Ceremonies - Initiation - Blue Lodge - Transmigration - Mystery Language; The Gawazee - exploring Temples and tombs - Philae and its ruins - Nubia; Jewish Traditions and customs - Cable tow - Ceremonies of ancient Initiation - book of the Law; Circumsision - upon what the Ancient Craftsmen were obligated - the lost word. All edges gilt. Protected frontis portrait of author. Ornately embossed boards. Raised bands to spine. Partially rubbed gilt lettering and decoration upon back strip. Marbled endpapers. Hinges intact internally, open or opening externally. Front board partially detached. Somewhat above-average wear to boards. Unmarked. A worthy original copy of this monumental work. 12" x 9.5" x 2.5". 11 pounds. Book
réf. 006479Paris C. L. F. Panckoucke 0 6 volumes in-8 Demi-veau tabac Edition originale
1909réf. 76832Death Valley: N.p. 1909. Twenty-seven noncommercial stereoviews 7 x 3 1/2 inches. The photographs are very sharp and mounted onto plain gray mounts. Overall excellent condition.We can find no other history of a stereoscopic documentation of a gold prospecting expedition in Death Valley nor anywhere else in California for that matter. Almost all of the cards are dated and they bear the same date of January 1909 which leads one to think that they packed it up after a month. The ostensible first view is the exception; it is dated Dec. 1908 and shows a couple of the party standing next to two of Smith's huge borax wagons in Ludlow California. Ludlow was the southern railhead for the Tonopah and Tidewater Railroad operated by the Pacific Coast Borax Company and bringing borax and other mining products from Death Valley and Beatty Nevada to long distance Santa Fe Railway lines. The mere fact that one of the exploring party carried a stereoscopic camera is in itself remarkable as a decent such camera is 1909 cost between $50 and $75 dollars or between $2000 and $2500 in today's dollars. Death Valley prospector's were not known for their wealth and a burro was their usual big ticket item.The majority of the cards have annotations on the verso. From those we learn some of the party's names "Emmit" "Dickie"etc. but no last names and the names of the places in the Valley where they prospected. Their main site seems to have been Gold Basin in the Funeral Mountains of the eastern part of Death Valley. There is no record of a Gold Basin in the literature of Death Valley. Place names in Death Valley were still fluid at this point and the name was likely made up at the time. Probably it become what is now called Golden Canyon. We do know that they were solely active in the Funeral Mountains and this was likely due to the fact that the most successful strikes in Death Valley were also in the Funeral Mountains. The famous Keane Wonder Mine was still very active in January of 1909 and some $600000 in gold and silver were mined before it began to fizzle in 1911. Some of the other places named and shown in the stereos are South Mountain. Gold Mountain Rhode's Wash Scott's Canyon and Scott's Cave Death Valley Narrows Saddle Horseshoe Ridge and others. Again none of the names given by this party survived. Member's of the prospecting party are shown in 16 of the views and it seems to have consisted of six members. One interesting view is captioned "Prospector's Camp and Forge Bill Keys of Death Valley." At age 15 Keys left home to work as a ranch hand smelter worker and miner honing skills that would define his later years. His early adventures took him to Arizona where he served as a deputy sheriff in Mohave County and to Death Valley where he befriended the colorful prospector Walter “Death Valley Scotty” Scott. The year after this photo was taken Keys took a job as custodian and assayer at the Desert Queen Mine in what is now Joshua Tree National Park. He soon took ownership of the land and it became the famous Desert Queen Ranch.Why these views were taken remains something of a mystery. It is more than likely especially when keeping in mind the outrageous cost of a stereoscopic camera in 1909 they they were to be used as an advertising ploy to lure investors into investing in mining Death Valley. The two most famous and best producing gold mines in the history of Death Valley Skidoo and the Keane Wonder Mine were both at their height in 1909 and western Nevada with its mining booms in places like Goldfield Tonopah Rhyolite Bullfrog etc. was also in full-swing. We can be thankful that the anonymous photographer was very skilled; the images are very sharp and he often conveyed the desolation and grandeur in a way not seen before. In recent times taking a trip to Death Valley is considered just another fun road trip but in 1909 is was a perilous endeavor not to be undertaken lightly. N.p. unknown
1615réf. 002850Paris, Chez Toussainct du Bray, 1615
2009réf. 86916Caja De Ahorros De La Inmaculada. New. 2009. Hardcover. 849686927X . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- INCLUDES CD-ROM. Text in Spanish. 446 pages with many illustrations. Catalogue Raisonne Catalog Raisonné Complete Works Catalogo Razonado Obra Completa Raisonnee -- with a bonus offer . Caja De Ahorros De La Inmaculada hardcover
1936réf. 015728Paris EDITION ORIGINALE. Tirage à 1012 exemplaires numérotés. Un des 35 sur Hollande van Gelder mis dans le commerce, second papier après vingt-cinq Japon . Bel exemplaire relié à l'époque : demi-maroquin noir à coins et filets or, dos à nerfs et pièce de titre rouge et lettre or, tête dorée, couverture et dos conservés. 1936 fort in-8 Broché Edition originale
1774réf. 6518Mexico 1774. Very good. Broadside 23.5 x 16.5 inches. Untrimmed. Printed on two joined sheets. Previously folded. Contemporary manuscript docketing on blank verso. Minor edge wear and scattered faint foxing. A rare ecclesiastical edict addressing the burial of deceased infants issued by the Archdiocese of Mexico on March 15 1774. The broadside responds to complaints from parish priests that numerous baptized children were being buried without notification to their parishes depriving the churches of both jurisdictional oversight and the burial fees set by the ecclesiastical tariff. The document sheds light on the social realities of infant mortality and poverty in eighteenth-century Mexico City. It notes that many families were unable to afford burial expenses resulting in unrecorded deaths and in some cases the abandonment of children's bodies at the doors of churches. Particularly noteworthy is its condemnation of the custom of dressing deceased children as angels clerics bishops or cardinals and displaying them publicly before burial. The edict denounces these practices as abuses and orders that all burials whether of children or adults be conducted only with the knowledge and authorization of the proper parish priest. The present copy bears the manuscript rubrics of Josef Ruiz de Conejares Vicar General of the Archdiocese and Joaquín de Sasturain Chief Notary and the complete wafer seal of Archbishop Alonso Núñez de Haro. unknown
1930réf. 1180Paris, Editions EOS, 1930 ; in-4 en feuillets, couverture rempliée rouge-brique, sous chemise cartonnée à larges rabats et lacets de soie de même couleur et illustrée d’un grand bois gravé bistre, dos en percaline bistre ; (4) feuillets, 88 pages, (4) feuillets ; 20 bois gravés en couleurs dont dix hors-texte, six vignettes et culs-de-lampe et un grand bois illustrant l’étui et la couverture.
1955réf. 009647Paris (Gretry Wols) 1955 En feuilles, sous chemise cartonnée bleue éditeur.
1724réf. 000220Paris Imprimerie d'Antoine Urbain Coustelier 1724
1786réf. 4439France 1786. Hand-colored etched folding paper fan printed on the recto of two joined sheets backed in plain paper mounted on 15 later plain wooden sticks the open leaf measuring approx. 112 x 460 mm. total fan height 260 mm. The etching shows two couples and a small dog and table with wine carafe and glass flanking a female figure in white Grecian robes and a green wreath holding in one hand a heart at her breast and with the other hand ceremoniously setting alight a bundle of wood a fagot on a small pedestal or altar above which is the wreathed inscription Institution des fagotiers a auteuil le 2 avril 1786 / On prete serment sur un fagot de pratiquer toute sa vie cinq vertus : cordial franchise amitié générosité obeisance sic et tendresse; at top a star with the initials T L A and a banner lettered Vertus des fagotiers surmounted by the caption Ronde joyeuse des fagotiers/ Air: c’est la petite Theresse sic; on either side of this scene are four verses within two green-outlined oval cartouches within stenciled blue and yellow decorative border. Some wear and slight splitting along a few folds a couple of small tears at mounts. A mildly licentious pre-Revolutionary printed fan possibly commemorating a real event a “festival of the wood-gatherers” fagotiers held in Auteuil on April 2 1786 but of which there appears to be no historical record. Rather than a guild the fagotiers may have been a local association or club. The symbolism of the image and verses seems to be along the lines of Carpe diem carnally for death is around the corner — heavy sentiments for a feather-light fan. One of the men is gesturing toward his partner’s crotch and the verses on either side of the central scene are dotted with sexual innuendo. The first stanza “Let us sing of the burning fagot a bundle of small wood lit by friendship / he who backs away from it knows her i.e. friendship only half-way / without her life is nothing / with her one is deified” could be understood as innocuous but the second stanza celebrates the joys of Déduit an archaic term for the pleasures of love or coïtus. Stanza three brings in Death in the form of Charon: “amiable fellow let us sing his good humor his boat may lead to the devil but his spirit leads to happiness / with his worthy ardor the fire burns in our hearts.” The last stanza declares that the “august fagotine law” allows us to include women we need not hide everyone kiss your partner etc. I locate one other example of this fan held by the Musée Carnavelet in Paris. It is digitized on their website with the description “The Genie of Friendship lights the pyre on which the couples will take the oath of friendship.” The stenciled border of our copy differs from that of the Carnavelet example which is in pink; here it is in two colors and includes two birds perched on branches. unknown
In-8 p. (mm. 207x169), cartonato rustico coevo (dorso restaur.), pp. (12),LXII, fregio tipografico xilografato al frontespizio. "Prima edizione", dedicata dall’A. al Barone Giuseppe De Sperges e Palenz (Cavaliere dell’Insigne Reale Ordine di Santo Stefano d’Ungheria, etc.). Trattato suddiviso in 16 paragrafi che contengono: “Della necessità, del fine, e della misura delle Pene in generale - Di alcune Nazioni, le quali non hanno dato la Pena di Morte - Pretesa contradizione della Pena di Morte - Se la Religione diminuisca l’impressione della Pena di Morte - Incovenienti della troppo grande estensione della Pena di Morte - Delle leggi, le quali decretano la Pena di Morte contro il Furto, ecc.”. “Il milanese Paolo Vergani (1750-1821) approfondì gli studi in storia e diritto canonico divenendo prelato. Si formò nell’ambiente intellettuale e culturale milanese dei fratelli Pietro e Alessandro Verri, oltre che di Cesare Beccaria, dal quale successivamente in parte prese le distanze. D’impronta moderata e illuminista, nel 1777 pubblicò con l’editore Malatesta "Della pena di morte", in cui si poneva l’obiettivo di elaborare una sorta di difesa del sistema criminale allora vigente, nella convinzione dell’ineluttabilità della pena di morte. La sua posizione oscillava, tuttavia, tra la necessità che la pena di morte venisse inflitta esclusivamente nei casi di maggiore gravità, in presenza di prove certe, e l’effetto intimidatorio insito nella stessa per la repressione dei reati. Anche per Vergani le leggi penali dovevano avere come fine l’utilità sociale ma, diversamente da Beccaria, sosteneva quanto le disuguaglianze delle condizioni sociali potessero giustificarne l’inflizione.. Ricevette per quest’opera il plauso su riviste come il “Journal encyclopédique”. Così Diz. Biograf. Ital., vol. 98. Fresco esemplare ben conservato, con bell’ex-libris al risguardo.
1927réf. 123017Paris Simon Kra 1927 1 vol. broché in-4, broché, couverture illustrée rempliée, non coupé, non paginé (44 ff.). Edition originale de cette danse macabre des années folles illustrée de 21 pochoirs par Yan B. Dyl. Tirage limité à 325 exemplaires, celui-ci numéroté sur vélin. Quelques rares et pales rousseurs, mais bel exemplaire de ce bel illustré "Art déco".
