191.922 resultados
ref. Engberg, JensIn Pristine Condition. unknown
1967ref. 2451967. Paul McCartney's handwritten working manuscript as Beatle for "Lovely Rita" from the album Sgt. Pepper's Lonely Hearts Club Band. the most famous album in the entire panorama of modern music. This is the very first rough draft 10 lines in ink all in Paul's handwriting and all written on a single side of an irregular scrap of lined paper 7 1/2" X 5" torn from a spiral notebook. 7 lines in black are Paul's first concept. 3 lines of changes have been added later in blue such as "writing all the numbers in her little black book" changed to "filling in a ticket with her little blue pen" and still later recorded as "filling in a ticket in her little white book." Near fine condition. Lavishly matted and framed with a full size uncorrected 1st state proof photograph of the album cover varying in that McCartney is kneeling the band instruments have been passed around and 2 people are among the onlookers who would not sign releases and therefore did not appear on the published album. Ex-Butterfield's Dec. 12 1993. Rare. Icon time. Beatles manuscripts from Sargent Pepper held all the rock & roll world records until Bob Dylan's Like a Rolling Stone sold at auction for $2000000 in 2014. But it's been a while now and another Sgt. Pepper manuscript will take the record back eventually and someday soon the only way to see one will be in a museum at the end of a long line behind velvet ropes. The last authentic Sgt. Pepper manuscript at auction A Day in the Life admittedly a greater song sold for $1202500 at Sotheby's in 2010. The last real McCartney manuscript of a Beatles song at auction was an abridged later fair copy of 10 condensed lines from Hey Jude that he wrote out to be used as a key by the band at a recording session $910000 at Julian's in 2020 and again $1016000 at Christie's 2026 and that one in contrast to ours was not a working manuscript carrying his thoughts inner debates and changes. The handwritten lyrics to "Lovely Rita Meter Maid" represent an intimate window into The Beatles' conceptual shift during their psychedelic period showcasing McCartney's evolving storytelling approach. Unlike their earlier love songs centered on direct romantic sentiments this track exemplifies their move toward character-driven narratives with whimsical scenarios and playful humor. This creative direction coincided with broader cultural movements challenging conventional structures and celebrating the previously overlooked aspects of daily life. The track's transformation of a mundane authority figure into the subject of amorous pursuit subtly subverted social norms while maintaining a façade of innocent charm-a hallmark of the band's distinctive cultural impact during this period. McCartney's composition emerged during a pivotal moment in Western society when art was increasingly blurring distinctions between "high" and "low" culture. The Beatles' work on "Sgt. Pepper" helped legitimize popular music as culturally significant with songs like "Lovely Rita" demonstrating how seemingly simple pop compositions could contain nuanced social observation. The character sketch format allowed the band to adopt personas and perspectives outside their own experiences expanding their artistic range while connecting with the era's interest in identity exploration and social role-playing. This approach positioned the band as both participants in and commentators on the rapid social changes reshaping 1960s culture making even their lighthearted works like "Lovely Rita" meaningful cultural documents of their time. unknown
ref. Hannestad, Lise, VladimirIn Pristine Condition. unknown
ref. 1219A source collection of antiquarian books and engravings formed by Richard von Hunderdorff on Cicisbeismo the unusual social convention peculiar to the Italian Enlightenment. The subject of the catalogue is the relationship between married women and young men of noble birth in 18th century Italy and Spain. This collection is a sophisticated look at 18th century continental women and their position in society. The collection deals with the status of noble women their place in society the restraints to their freedoms and the ways they were able to engage men as escorts and confidants which allowed them to participate more openly in the social setting of their period. What is perhaps most interesting about the collection is that it not only chronicles the evolution of the position of women in Italy and Spain but records the reaction to this social phenomenon by French German and English writers and visitors to these countries. The criticism was almost universal and at times ferocious. The English and the Germans in particular portrayed the women as prostitutes the young gentleman as sodomites and the husbands as cockolds and by doing so provide stunning insights into the social status of women in their own country. This collection is a remarkable library of books and illustrations documenting the struggle for women to become greater participants in the societies in which they lived. A Copy of a Printed Catalogue is Available upon Request. Payment terms are available. . unknown
1910ref. 000240This remarkable collection relating to the Hejaz Railway includes; 1 An original signed oil painting by its artist together with the handwritten memoirs of an Ottoman officer and a manuscript route diagram indicating the railway's distances measurements and train itinerary. The oil painting measures 91 × 51 cm and was executed in oil by Hajj Muhammad Firaqi Ayyubi signed and dated 31 Dhu al-Qa'dah 1328 AH 1910 CE. The painting presents an exceptionally detailed panoramic representation of the Hejaz Railway illustrating every station along the line together with the geographical character of its surroundings including villages and towns. It depicts the railway's natural setting—mountains seas valleys city walls and tunnels—as well as symbolic representations of urban buildings moving trains distances between stations branch railway lines government buildings in selected towns and military forts. Rich in topographical and historical detail the work functions as a visual book portraying the Hejaz Railway as though it were seen in reality. An extensive explanatory text in Ottoman Turkish occupies the lower section of the painting describing the purpose of the work and the method by which it was produced. Particular attention is devoted to regions such as Haifa Rayak Aleppo and Mada'in Salih with references to their ancient history the historic pilgrimage route and the Imperial Surre the Ottoman annual caravan carrying gifts and financial endowments to the Holy Cities. The title prominently inscribed at the center of the lower section reads: "General View of the Hejaz Railway from Medina al-Munawwara to Noble Damascus Drawn According to the Principles of Cartography." This is a unique and previously unrecorded example combining artistic excellence cartographic precision and historical documentation in a single work. 2 Manuscript Memoirs of an Ottoman Officer: A Modest Journey from Istanbul to Medina This manuscript comprises the handwritten memoirs of an Ottoman officer named Kehyâzâde Mehmed Ali Cevad entitled A Modest Journey from Istanbul to Medina. It consists of 100 pages with most pages containing 19 lines of text and measures 18.5 × 11.5 cm. The manuscript is illustrated with several original hand-drawn plans including: a full-page plan of the Hejaz Railway station at al-Marjah Marjeh Damascus; a plan of a fortress near Kilometer 760 in the al-Akhdar region of northern Arabia; a plan of al-Mu'azzam Station at Kilometer 827; another plan at Mabrakat al-NÄqah around Kilometer 918; a sketch of one of the monumental gateways of MadÄ'in á¹¢Äliḥ near Kilometer 1049; and an unfinished two-page plan of the Prophet's Mosque al-Masjid al-Nabawi in Medina. The manuscript also contains a separate second section independent from the Hejaz Railway memoirs written by another Ottoman officer who was the brother of the author of the first section. This part records the return journey from Istanbul to Bandırma and İzmir following the author's return from the Hejaz. The memoir opens with an account of the political and social conditions in Istanbul following the deposition of Sultan Abdülhamid II. It then narrates the journey on the Hejaz Railway beginning on 18 April 1325 Ottoman Fiscal Calendar and continuing until 2 May 1325. The author records the journey in remarkable detail following the railway kilometer by kilometer. He describes the geographical landscape topography architectural features the condition of the railway stations the railway line and its extensions as well as the demographic social and regional characteristics of the areas traversed. He also notes the prevailing weather conditions and carefully records place names and distances continuing his observations up to Kilometer 1299 in Medina where he provides a particularly detailed description of the city's railway station architecture and principal landmarks. These memoirs constitute an exceptionally rare example of an Ottoman travel account devoted to the Hejaz Railway distinguished by its meticulous documentation of the railway its stations and the surrounding landscape. 3 A Hejaz Railway Train Operations Table effective 25 July 1328 Ottoman Fiscal Calendar measuring 61 × 45 cm. The chart records the elevations of the terrain between each pair of stations above sea level the topographical characteristics of the route the distances in kilometres and the function of each station with particular detail given to the principal stations from Mada'in Salih through Al-'Ula Al-Bada'i and Al-Hadiyyah to Medina. The table also sets out the train timetable over a 24-hour period indicating movements on the main line and the station sidings branch tracks. In addition it illustrates the track junction and turnout configurations at every station along the route.
ref. 111661Los Angeles Larkspur and San Francisco self-published 1955-1964. . Semina 1. 10426 Crater Lane Los Angeles California 1955. First and only edition; colophon 5 sheets of different printed papers in various sizes gelatin silver photograph signed by Charles Brittin in blue ink on verso gelatin silver photograph signed by Walter Hopps in blue ink on verso gelatin silver photograph mounted on card signed by Cameron in black ink on verso loose in a brown card wallet 191 x 101 mm 7½ x 4 in short splits to folds with a gelatin silver photograph mounted on upper side initialled by Berman beneath photograph near-fine. Edition of 150 with contributions by Wallace Berman E. I. Alexander Robert Alexander Charles Brittin Cameron Jean Cocteau Marion Grogan Hermann Hesse Walter Hopps and David Meltzer. Semina 2. Los Angeles and Jackson Street San Francisco self-published Dec. 1957. First and only edition inscribed by Berman in red ink on upper cover verso with a note in the same ink on the inside rear cover crediting Charles Brittin for the cover image and a printed label 'handset with miscellaneous available type & papers; 8vo 212 x 139 mm 8¼ x 5½ in; printed sheets of different sizes on various papers mounted throughout; saddle-stapled in card covers with photographic reproduction mounted on upper side and titled in red printed sheet to lower minor wear and toning near-fine; 28pp. Inscribed: 'Walter Shirley / make it up for a / visit / W'. Curator and museum director Walter Hopps and his wife Shirley Hopps an art historian founded the Ferus Gallery 1957-1966 on La Cienaga Boulevard initially with Edward Kienholz then Irving Blum. Contributions by Charles Brittin Wallace Berman Herman Hesse Paul Éluard Jack Anderson Mike McClure Jean Cocteau Zack Walsh Eric Cashen Pantale Xantos Wallace Berman Walace Berman Lynn Trocchi Idell T. Romero J. B. May Charles Baudelaire translated by Hyman Lopez Charles Bukowski Peder Carr Judson Crews John Reed Marion Grogan Paul Valery translated by R. Rand Walter Hopps Alexander Trocchi Lewis Carroll David Meltzer John Altoon Marcia Jacobs Wallace Berman Cameron Rabindranath Tagore and Wallace Berman. Statement by Berman on lower cover: During the second week of a scheduled month exhibit of my paintings and sculpture members of the vice squad entered the Ferus art gallery and confiscated a copy of 'Semina 1' which was exhibited as an important part of a work entitled 'Temple'. Brought before the righteous judge Kenneth Holiday who taking the allegorical drawing out of context declared me guilty of displaying lewd and pornographic matter. I will continue to print 'Semina' from locations other than this city of degenerate angels.' Semina 3. Peyote Poem. Scott Street San Francisco self-published 1958. First and only edition; 1 sheet folded three times and tipped in; paper covers 280 x 228 mm 11 x 9 in with illustrated sheet mounted on upper light toning chipping and wear to edges limitation label now laid in very good. Edition of 200 with contributions by Wallace Berman and Mike McClure. Semina 4. Scott Street San Francisco self-published 1959. First and only edition; 25 sheets of different printed papers plus one duplicate in various sizes loose in a printed interior pocket with title information; card covers with photographic reproduction mounted on upper side light wear near-fine. Contributions by Wallace Berman I. E. Alexander Robert Alexander Wallace Berman William Blake Ray Bremser William Burroughs Peder Carr John Chance Beverly Collins Judson Crews Charles Foster Allen Ginsberg Pierre Jean Jouve translated by Howard Shulman Robert Kaufman Philip Lamantia Ron Lowenisohn Michael McClure David Meltzer Stuart Perkoff 2 copies John Reed Charles Stark Idell T. Romero Su Shi translated by Charles Guenther Jules Supervielle translated by Charles Guenther John Wieners W. B. Yeats and Pantale Xantos Wallace Berman. Burroughs' contribution: 'Excerpt from Pantapon Rose' Maynard & Miles C11 an excerpt from Naked Lunch. Semina 5 Mexico isssue. Scott Street San Francisco Self-published Winter 1959. First edition; 18 sheets of different printed papers two folding in various sizes loose in an interior pocket stamped in red; black-and-white photo-illustrated card folder 189 x 123 mm 7½ x 4¾ in light marking and wear tear at fold very good. Edition of 350 with contributions by Charles Brittin Miguel Cabrera Antonin Artaud John Chance Kirby Doyle Lawrence Jordan John Hoffman Sor Juana Ines de la Cruz translated by Philip Lamantia Robert Kaufman Philip Lamantia Christopher MacLaine William Margolis Michael McClure Anne McKeever David Meltzer John Reed Keith Sanzenbach Ruth Weiss John Wieners Pantale Xantos Wallace Berman. Semina 6 The Clown. Larkspur California self-published 1960. First edition; 14 hand-printed sheets loose in an interior pocket stamped in red; black-and-white photo-illustrated card covers 216 x 154 mm 8½ x 6 in 'Art is Love is God' stamped in red on lower light wear and foxing very good. Edition of 335 with contributions by Wallace Berman and David Meltzer. Semina 7. ALEPH / a gesture involving photographs drawings & text by Wallace Berman. Larkspur California self-published 1961. First edition; 18 sheets of different printed and papers in various sizes loose in an interior pocket stamped in black; cardboard covers with a black-and-white photographic reproduction mounted on upper side and titled in red fine. Edition of 200 copies all contributions by Wallace Berman. Semina 8. Los Angeles self-published 1963. First edition; 3 gelatin silver photographs 13 sheets of different printed papers in various sizes one folding 10 with mounted gelatin silver photographs loose in an interior pocket stamped in green; thick board covers black tape spine photographic reproduction mounted on upper side Aleph stamped in black on lower hole punched at fore-edge with remnant of twine ties very good. Edition of 149 copies with contributions many of which are initialled in black ink by Dean Stockwell Antonin Artaud Cameron Robert Duncan Wallace Berman Kirby Doyle John Reed William House Jess Jerry Katz Michael McClure Aya Tarlow Patricia Jordan Elias Romero Lyn Foulkes John Wieners and Zack Walsh. Semina 9. Crater Lane Los Angeles self-published Summer 1964. First edition; 1 printed sheet in a manila envelope with a gelatin silver photograph mounted on upper side addressed in black pen to 'Don / 1176 San Ysidro / Beverly Hills' with postage stamp and post office cancel ink doodles on lower a very good copy. With contributions by Wallace Berman and Michael McClure. A complete set Semina 2 inscribed by Berman to Ferus Gallery co-founders Walter and Shirley Hopps A complete set of Semina Wallace Berman's seminal assemblage publication comprising poetry aphorisms and images distributed by hand and mail to collaborators friends and like-minded acquaintances in editions of 150 to 350 copies. Semina Two inscribed to Ferus Gallery co-founders Walter and Shirley Hopps: 'Walter Shirley / make it up for a / visit / W'. In 1957 Berman included some of the items from the first issue of Semina in an installation at the Ferus Gallery which was notoriously raided by the vice squad. Berman was arrested and the exhibition closed on obscenity charges. Subsequently Berman retired from exhibiting his work publicly and entered a self-imposed exile. At the end of 1957 he completed a second issue of Semina and relocated to San Francisco where he focused on his family and friends. The core of Berman's circle lived in Los Angeles and the San Francisco Bay Area but it also included avant-garde poets and artists at Black Mountain College and New York poets and filmmakers. In addition to Berman contributors include Charles Bukowski William S. Burroughs Diane DiPrima Kirby Doyle Robert Duncan Cameron Allen Ginsberg Dennis Hopper Walter Hopps Jess Bob Kaufman Michael McClure Taylor Mead David Meltzer Jack Smith Dean Stockwell Russ Tamblyn Alexander Trocchi and John Wieners. Burroughs' contribution: issue 4 'Excerpt from Pantapon Rose' Maynard & Miles C11; Goodman & Coley B.46; Schottlaender v.4 C12; Schottlaender v.5 C12. Clay & Phillips pp78-79; In Numbers: Serial Publications by Artists Since 1955 pp339-344. Los Angeles, Larkspur, and San Francisco, [self-published], 1955-1964. unknown
1902ref. 00011029 × 20 cm. Comprising 158 text plates including 95 photographs produced by the committee of which 42 photographs appear on separate plates measuring approximately 23 × 15 cm. The work documents the Photography Committee's journey from Istanbul to MaÊ¿Än in Transjordan. The accompanying text was compiled from articles originally published without illustrations in various issues of the newspaper Vakit "Time" in 1902. This is a unique work prepared for publication with photographs taken by a private committee that included prominent figures such as the German general Karl Auler Pasha who served as an adviser on Hejaz affairs until the fall of Medina in 1918. hardcover
ref. BOH 217FASCINATING MEDIEVAL BOOK OF HOURS WITH EXTENSIVE ILLUMINATIONS BY THREE DIFFERENT ARTISTS. In Latin and some French illuminated manuscript on parchment Southern Netherlands Mons c. 1460 original portion c. 1480-1490 updated. Dimensions 167 x 116 mm. 199 folios lacking one text leaf written by two different scribes in gothic textualis bookhand in single column on 17 lines; BINDING: seventeenth century brown calf over wooden boards spine with four raised bands gold-tooled gilt title "OFFICIU / BEATEM / VIRGIN" partly worn out gilt edges. ILLUSTRATION: 22 full-page miniatures within full rinceaux borders by the Mildmay Master 13 the Master of Philippe de Croÿ 7 and a third Mons illuminator follower of Simon Marmion 2 and 4 small miniatures by the Mildmay Master additional sixteen full rinceaux borders and 5-line initials in pink or blue on burnished gold grounds. The Mildmay Master was responsible for the core of the original manuscript; the artist paints elongated figures with small heads and slender bodies mostly situated on pale yellow tiled grounds. His outdoor landscapes are cursory. Unusual here are his delicate acanthus and floral borders sprinkled with fanciful grotesques. The artist responsible for updating the manuscript is the Philippe de Croÿ Master. He favors tiled floors in brown or gray and white with a generally somber almost grisaille palette with blue and white grey and a burnt brownish orange. A third painter a follower of Simon Marmion intervened during this second campaign. The most skilled of the three illuminators his delicate figures are well-modeled with tiny hands and individualized faces. PROVENANCE: The manuscript was made in Southern Netherlands probably in two different stages. The core of the Hours and the calendar were written in Mons for an unknown patron c. 1460. Then around 1480 the manuscript was updated also in Mons for a couple represented in prayer in the manuscript: Jean Antoine de Mahieu Lord of Bosqueau and his wife Jacqueline de Sivry Lady of Buath; belonged to Jean-Baptiste-Florentin Gabriel de Meyran marquis de Lagoy 1764-1829; inside front cover: "Jean Fransois de Lescluse demeurant a Frasne." CONDITION: ink stain in the margin of f. 1 water stains in lower margins of first 32 leaves colors slightly faded on marginal decoration f. 120v stain in the marginal decoration f. 77v other minor signs of use otherwise in very good condition. Binding condition: leather very rubbed gold tooling worn front cover almost detached hinges of the back cover fragile. Full description and images available. BOH 217 Southern Netherlands, Mons, c. 1460 (original portion), updated c. 1480-1490
ref. TM 767MEDIEVAL SERMON MANUSCRIPT IN A FIFTEENTH-CENTURY CHAINED BINDING CHAIN INTACT decorated manuscript on parchment in Latin Austria Vienna or Southern Germany c. 1275-1300. 182 x 127 mm. 190 folios complete written in a rapid Gothic hand with cursive influence in two columns of thirty-two to thirty-seven lines justification 141-143 x 96-100 mm. parchment ruled in brown ink quire signatures guide notes for rubrication red rubrics capitals and names of cited authorities stroked in red rhymed phrases underlined in red red paraphs two- to three-line plain red initials two-line red initial with pen flourishing in red f. 131v occasional scribal corrections and marginalia. BINDING: Fifteenth-century blind-tooled and -stamped red calf with eight engraved and bossed cornerpieces intact fore-edge clasp and chain hasp with intact chain with two manuscript fragments serving as front flyleaf and lower pastedown. Chained libraries were a late medieval solution to the problem of providing access to needed books in an institution while at the same time preventing theft and we can assume many late medieval volumes were once chained. Most however have been rebound or survive without the chain and other metalwork and intact chained bindings such as this one are uncommon. TEXT: This extensive collection includes more than one hundred sermons from the Sermones de sanctis et de communi sanctorum of the early Franciscan writer Conrad of Saxony d. 1279 together with his very popular text the Speculum beatae Mariae virginis all copied not long after their composition. This is however not simply a copy of Conrad's sermon cycle since some of his sermons are omitted and six sermons by contemporary Dominican authors Martinus Polonus Aldobrandinus de Calvacantibus and Antonius Azaro de Parma as well as eight sermons by unidentified authors were also included. It seems likely this is an example of a re-working of Conrad's texts for a Dominican audience who would have prized it as a preaching aid and for its pronounced Marian focus. Marginal annotations attest to the early use of these sermons most likely by preachers. PROVENANCE: Written in Southern Germany or Austria at the end of the thirteenth century as suggested by evidence of spelling script and decoration. Belonged to the Dominican house attached to the Church of St. Maria Rotunda in Vienna as indicated by two fifteenth-century inscriptions; here it was probably part of the house's chained library. Belonged to a Dominican convent at KosiÄe in present-day Slovakia as indicated by a sixteenth-century inscription. Belonged to Maurice Burrus 1882-1959 Alsatian philatelist; his ex libris on the front pastedown. CONDITION: Slight rust stains and corrosion in the outer margins of ff. 184-188 margins trimmed away overall in good condition. Full description and photographs available TM 767. books
1917ref. 000214We believe this to be the first complete collection of its kind including several items that we have not encountered in public libraries or archival sources. In any case it represents the most comprehensive collection of issues that we have traced over a period of twenty-five years of Ottoman state publications many of which are difficult to assemble. The collection essentially consists of official reports most of which were prepared by the two ambassadors Fakhr al-Din Rûm Bey Oğlu and Muhammad Nâbi. These reports are highly restricted official documents. Description of the Collection The reports were prepared in Ottoman Turkish except for four items written in modern Turkish after the alphabet reform; these were prepared by İsmail Hakkı Tevfik and Abdulgani Seni Bey. 1. Najd Issue Najd Question Ottoman Turkish report published by the Ministry of Foreign Affairs Istanbul 1918. 15 pages octavo. Prepared by Ambassador Fakhr al-Din Rûm Bey Oğlu and the Ottoman Ambassador in Rome Muhammad Nâbi dated 11 March 1917. The report discusses the political borders of Ottoman Najd; the treaty signed between Süleyman Şefik Pasha and Abdulaziz ibn Saud; the Ottoman–British treaty concerning Najd including Qatar; and the Ottoman treaty with Ibn Saud converting Najd from a mutasarrifate into a province vilayet appointing Ibn Saud as governor and commander-in-chief including military organization. Topics include: Midhat Pasha's report; Wahhabis; the conflict between Saud and Abdullah ibn Faisal; the sheikhs of Muscat Mukalla Oman Hadhramaut and Bahrain and their relations with Britain; Saudi movements along eastern Najd; Ottoman naval response under Midhat Pasha; the administrative difficulty of Najd; support of Mubarak al-Sabah for the Ottomans; coercion of Abdullah al-Faisal to sign the al-Ahsa treaty; Ibn Rashid's advances; tribal dynamics; British support of Al-Sabah; British protection; Ibn Saud and the Muntafiq sheikh; Ottoman–Wahhabi agreements 10 April 1905; British protests regarding Ibn Saud's border violations and interference in Qatar and Oman; the 12-article Ottoman–Ibn Saud treaty of 12 July 1913 including the separation of Qatar from Najd; maritime boundaries; recognition of Jasim Al Thani; compensation to the Sheikh of Bahrain. 2. Muscat Issue Ottoman Turkish report Ministry of Foreign Affairs Istanbul 1918. 6 pages. Prepared by Fakhr al-Din Rûm Bey Oğlu and Muhammad Nâbi dated 27 November 1916. Covers Muscat modern Oman the Imamate foreign involvement Ottoman views rejecting Muscat's independence from the Arabian Peninsula; relations between Najd Muscat and British India; strategic location; occupation history; Al-Sa'id relations with Wahhabis; British and French recognition of Omani independence in 1862; Ottoman perspective on Oman's connection to Arabia. 3. Qatar Coasts Issue Prepared 8 January 1917. Printed at the Imperial Press. 7 pages plus 9 pages of French appendices. Topics include British expansion from Bahrain to Qatar; Ottoman claims; British intervention since 1891; correspondence with the Ottoman state; Bahrain–Qatar disputes over Zubarah and al-'Udayd; appointment of Abd al-Rahman Al Thani; British encroachments; Qatar within the Kuwait treaty framework; confirmation of Jassim Al Thani's authority in 1913. 4. Kuwait Issue Fakhr al-Din Rûm Bey Oğlu & Muhammad Nâbi. Imperial Press Istanbul 1334 AH. 34 pages. Geography population sect history of Al-Sabah; Ottoman administration of Baghdad and Basra; British policy; secret treaties 1899–1904; borders; railways; maritime flags; taxation refusal; British attempts to place Kuwait under protection; Ottoman responses; oil islands Bubiyan Khor Abdullah; Sheikh's declaration of being an officer in the British army. Dated 31 August 1918. 5. Basra Gulf Issue Bahrain Qatar Pirate Coast/Emirates İsmail Hakkı Tevfik. Ankara 1931. 32 pages. Political tribal and documentary history in Turkish English and French. 6. Irrigation in Arabia Fakhr al-Din Rûm Bey Oğlu & Muhammad Nâbi. 14 pages. Ottoman irrigation projects; British interference since 1910; German involvement. 7. Asir Revolt of 1911 Report by Consul General İsmail Hakkı. 31 pages. Ottoman military actions; Idrisi revolt; tribal loyalties; Wahhabi involvement; detailed military maps. 8. Aqaba Issue By Rashdi Infantry Brigade Commander. Istanbul 1326 AH. 154 pages. Ottoman–British relations; Egypt's role; Hijaz railway; Aqaba dispute. 9. War in Arabia between Ibn Saud and the Imam of Yemen By Abdülgani Sünni Bey. Ankara 1934. 20 pages. Unique copy. Covers causes tribal alignments Asir Aden Najran foreign involvement. 10. Guide to the Gulf of Aden Ottoman Turkish. Istanbul 1310 AH. 276 pages. Includes maps; authored by naval officer Süleyman Nutqi. 11. Tripoli Benghazi and the Twelve Islands Issue Report dated 27 November 1916. 24 pages French treaty texts. Ottoman North Africa American conflicts Italian ambitions Lausanne Treaty. 12. Sheikh Sa'id Island Issue Istanbul 1916. 4 pages. Strategic Bab al-Mandab island dispute with France. 13. Palestine Issue – Zionist Claims Istanbul 3 March 1918. 43 pages. Origins of Zionism; European diplomacy; Jerusalem administration. 14. Notes on the Iraq War Military Press 1333 AH. 88 pages. Translated from English for official use only. Rare. 15. Bahrain Issue Report dated 8 January 1917. 12 pages French texts. History British protection treaties 1820–1898 inclusion in 1913 Gulf treaty. 16. Muhammarah Issue Report dated 1 March 1917. 8 pages. Borders oil Sheikh Khaz'al Anglo-Iranian-Ottoman relations. 17. Oil Concessions in Arabia Report dated 26 March 1917. 9 pages English treaty. Mosul Baghdad Basra Shell Najd Kuwait. 18. Baghdad Issue Report dated 31 August 1917. 53 pages French texts. Baghdad Railway; British–Ottoman rivalry; Gulf politics. 19. Farasan Islands Issue Report dated 28 November 1916. 8 pages. German coal depot request; British occupation; oil and gas. 20. Hadhramaut Issue Report dated 11 March 1917. 6 pages. Tribal governance; British relations via Aden. 21. Aden and the Nine Districts Report dated 27 November 1916. 39 pages French annexes. Portuguese Ottoman British rule; Yemen administration; sovereignty claims. 22. Memorandum on British Claims Regarding the Baghdad Line and Basra Gulf Istanbul 21 January 1911. 35 pages appendices. Detailed diplomatic negotiations since 1903. 23. Guide to the Red Sea Istanbul 1307 AH. 459 pages. Comprehensive nautical and railway guide with ports and routes. 24. South Arabia Issue Hadhramaut Socotra etc. İsmail Hakkı Tevfik. Bulgaria 1935. 132 pages with photographs and maps. 25. The Egyptian Issue Prepared March 1918. 186 pages. Ottoman legal and political analysis of Egypt from Muhammad Ali to British occupation. 26. Shatt al-Arab Issue Istanbul 1917. 30 pages. 1913 treaty with Britain; navigation borders Iran Muhammarah. Note İsmail Hakkı Tevfik was a senior Ottoman and Republican diplomat and son-in-law of Sultan Mehmed VI. Fakhr al-Din Rûm Bey Oğlu and Muhammad Nâbi were leading Ottoman statesmen. Other contributors include Süleyman Nutqi naval officer and Abdulgani Seni Bey later a key Republican thinker. 26 items Ottoman Ministry of Foreign Affairs paperback
1594ref. 16352Amsterdam 1594-1635. Oblong quarto 260 by 170mm 176 engraved plates numbered in an early hand 1-46 48-54 57-69 80-189 including 8 title-pages all with fine contemporary hand-colour in full occasionally heightened in silver two plates torn with slight loss to image and with early repairs six plates with slight worming to margins and three plates trimmed to neatline and laid down on old paper front free endpaper with later ownership inscription; mid-seventeenth century English red morocco elaborately gilt silver clasps and catches. A magnificent album of natural history engravings collected and bound for an English patron containing two complete suites of plates: Hoefnagel's 'Diversæ insectarum volatilium'; and Woutneel's 'Cognoscite lilia agri quomodo crescent' often bound as the fifth part 'Altera Pars' to the Crispin de Passes' 'Hortus Floridus' - the "most ambitions if not the first early effort to employ Continental resources to produce a set of botanical engravings designed for the English market" Gerard; and nine near complete or partial suites including an early issue of tulip plates from the 'Hortus Floridus'. All plates have been numbered consecutively in manuscript at the time of binding to a rudimentary scientific rubric: insects first then aquatic animals quadrupeds birds and botanicals last but not least. As a result some plates are bound with like subject rather than with their original publications. The album represents the work of some of the most famous natural history artists of the late sixteenth and early seventeenth centuries. The majority are published by Claes Jansz Visscher 1587-1652 the most important publisher of prints and maps in Amsterdam of his day. Recorded as an engraver in Amsterdam as early as 1608 he built a distinctive inventory of prints after the designs of Flemish artists which proved extremely popular and formed the basis of Visscher's early success as a publisher. INSECTS HOEFNAGEL Jacob. Diversæ insectarum volatilium: icones ad vivum accuratissmè depictæ per celeberrimum pictorem D.I. Hoefnagel typisq. Mandatae a Nicolao Ioannis Visscher anno 1630 Engraved title-page complete with 15 numbered plates of insects misbound including some upside-down bound with plates 11 and 12 from 'Volatilium varii generis effigies' after Nicolaes de Bruyn all with contemporary hand-colour heightened in silver consecutively numbered in an early hand 1-18. North German insects with the exception of the tarantula and scorpion. Engraved by Visscher after those by Jacob Hoefnagel 1573-1632 court painter for Emperor Rudolph from 1607 son of Joris Hoefnagel whose drawings of animals flowers and insects he engraved and published as the 'Archetypa Studiaque Patris Georgii Hoefnagelii' 1592. He also engraved plates for Braun and Hogenburg's 'Civitates Orbis Terrarum' 1512 - 1617. Ebert 798; Hagen I 371f; Hollstein IX 46 1-16; Nissen 1955; Horn-Schenkl. 10473. AQUATIC ANIMALS BRUYN Nicolaes de. Libelius sic varia genera piscium compectens pictoribus sculptoribus etc mire utilis et necessaries Nicolaes de Bruyn inventor Claes Ianss. Visscher excudit. interspersed with: COLLAERT Adrian. Piscium vivae icones inventae ab Adrian Collardo et excusae a Nicolao Ioannis Visscher anno 1634 Engraved allegorical title-page for 'Libillus' 11 of 12 without the sea-horse plates of aquatic animals and sea-monsters; 19 of 20 engraved plates of aquatic animals numbered in an early hand 19-44 followed by the allegorical title-page for 'Piscium' numbered 45 all with contemporary hand-colour all annotated in an early hand with common names in English. An early state of the title-page for de Bruyn's 'Libellus' before correction. Nicolaes de Bruyn 1571-1656 is best known for his large engraved landscapes "after designs by artists such as Gillis van Coninxloo and David Vinckboons from around 1600 his pupil and brother-in-law was Jan van Londerseel" Hollstein online A near complete suite of plates from a later edition of Collaert's famous work on fish first published in about 1598 in which the original engravings included elaborate landscape backgrounds. For his version Claes Visscher has incorporated his harpoon monogram into the dramatic title-page. Collaert 1560-1618 married engraver and publisher Philippe Galle. WEYER Gabriel. Monstra marina dat is verscheydon zee-monsters ge inventeert door Gabriel Weyer gedrucht by Claes Ianss. Visscher a.o 1634 Engraved allegorical title-page 7 of 12 plates of mermaids and mermen all with contemporary hand-colour numbered in an early hand 46 48-54. Berliner 'Ornamentstichkatalog' 4292 I; Nagler XXIV S. 220 I QUADRUPEDS BOLSWERT Boetius Adams after Adrien BLOEMAERT. Natus Dei solius ad servitium cinctis homo per hund creates imperat. Volentibus promisq.e; ut huic puessulo blande Leo Jouisq.e ales submittitur. ABloemaert invent: BA. Bolsuerd: sculp C Visscher excudebat 1632 G. Ryckius interspersed with: BRUYN Nicolaes de. Animalium quadrupedum varii generis effigies Allerley viervuessiger thier eigentliche abbildung den goltschmieden dienlich 1594. 8 of 14 without plates 1 5 and 11 plates 12 13 14 bound below with 'Volatilium' engraved plates of pastoral scenes from 'Natus'; 11 of 12 bound without the title-page engraved plates of animals from 'Animalium' all with contemporary hand-colour numbered in an early hand 57-69 and 80-85 allegorical title-page for 'Natus' numbered 86 annotated with the common names in English. The artistic Bolswert and Bloemaert families of Utrecht seem to have been very close frequently working together. Bloemaert met a grisly death at the hands of one of his students in 1666. 'Animalium' cf Hollstein 303-310; 'Natus' cf Hollstein 406-419 BIRDS BRUYN Nicolaes de. Volatilium varii generis effigies in tyronum praecipue vero aurisabrorum gratiam aeri incisa Claes Ianss. Visscher exu. NB. interspersed with: COLLAERT Adrian. Avium vivae icones Adriano Collardo inventore et excusum apud C Visscher anno 1625. 9 of 13 without plate 13 and plates 11 and 12 bound with 'Diversæ insectarum volatilium' above engraved plates of birds from 'Volatilium'; 12 of 18 without plates 4 9 14 15 18 plate 1 title-page bound separately below engraved plates of birds from 'Avium'; plates 12 13 and 14 from 'Natus' see above all with contemporary hand-colour numbered in an early hand 87-110 allegorical title-page for 'Volatilium' numbered "1" in the plate in manuscript "iii" ie 111 and with "Thretti" in the lower margin. BOTANICAL PASSE Crispin van de the elder and younger. Hortus Floridus Utrecht 1614 12 engraved plates of tulips numbered 32 43-53 all with early hand-colour numbered in an early hand 112-123 one ascribed to Willem de Pass in the plate. An early issue with no text on verso and captions only in Latin of a selection of tulip plates from "the most popular florilegium ever published" 'An Oak Spring Flora'. The work was first issued in a number of states between 1614 and 1617 and is often hailed as "the most important of early examples of botanical illustration" Gerard. It was issued in four sections on for each season with text in Latin and subsequently a selection of vernacular languages. 'An Oak Spring Flora' 12 WOUTNEEL Hans; and possibly Crispin van de PASSE the elder. Cognoscite lilia agri quomodo crescent non laborant neque nent: attamen dico vobis ne salomonem quidem in universa Gloria sua sic amic tum fuisse.ut unum ex his. Matthe: 6 Cap. Formulis Crispiam Passaei et Joannis Waldnelij 1603-1608 Allegorical title-page 61 engraved plates captions in Latin French English and Dutch all with early hand-colour numbered in manuscript 124-185 annotated throughout in two early hands with the months in which they flower and their medicinal properties in the "first" "second" and "third degree" misbound. The "most ambitions if not the first early effort to employ Continental resources to produce a set of botanical engravings designed for the English market" Gerard. Complete a suite of 61 plates depicting 120 plants published as a separate work in its own right but often issued as the fifth part of the de Passe's 'Hortus Floridus' when it appears with an additional letterpress title-page as the 'Altera Pars'. An early issue with no text on verso. "Traditionally the 'Alera Pars' has been considered as an aesthetically inferior appendage to the 'Hortus Floridus' and has received little attention from historians of prints or botanical illustration. However the presence on the title-page of the imprint of Hands Woutneel "Joannis Waldelij" an Antwerp native who was a bookseller and publisher in London from 1576 until his death sometime between 1603 and 1608 implies that the 'Altera pars' had a significant English component. As such it stands as an early example of Anglo-Continental print publishing collaboration. Prior to publication of the 'Altera Pars' the demand in England for botanical illustrations had been met primarily by relatively crude highly schematic collections of woodcuts such as those in Jacques LeMoyne de Morgue's 'La Clef des Champs' 1586 and John Norton's publication of Gerard's 'Herball' 1597. The 'Altera Pars' with its more naturalistic depictions of 120 plants set a new standard and served as the primary source of botanical images for English engravers and publishers from the late years of the reign of James I through the Restoration' Gerard. Hans Woutneel first appears in London on being admitted to the Stationers Company in 1579-80. Cartographer Abraham Ortelius mentions him frequently in his correspondence with his nephew Jacob Cole Gerard and Woutneel appears to have worked as Christopher Plantin's London agent. de Belder 272; Gerard 'Woutneel de Passe and the Anglo-Netherlandish Print Trade' 1996; Hunt 199; Nissen BBI 1494 Avium vivae icons Adriano Collardo inventore et excusum apud C Visscher anno 1625 Engraved allegorical title-page numbered 186 see above for plates. Untitled composite natural history. Claes Janss Visscher excudibat A.o 1625 A suite of 12 numbered engraved plates of composite natural history subjects all with early hand-colour numbered in manuscript 187-198 11 with the joint imprint of Assuerus van Londerseel and Claes Visscher. In the style of Hoefnagel's 'Archetypa Studiaque ' 1592 this is a very scarce suite of plates with only one uncoloured set known in the British Library.
1715ref. 48763Augsburg.: Jeremias Wolff. c.1715. Full contemporary blond calf boards with elaborate neo-classical decorative borders composed of rules foliate floral and rope-work tools vase tools at head and foot and mask corner tools all to surround a central lozenge with a decorative composition of floral foliate and mask tools later banded spine with elaborate decorative tooling in gilt in seven compartments turn-ins tooled in gilt red speckled edges. Folio. 554 x 423 mm. Engraved allegorical title with Latin and German text leaf with letterpress text in German in double columns and 56 engraved allegorical plates all after the Deckers by various engravers see below. Sheet size: 435 x 560 mm. An exceptional copy of Decker’s very rare suite of engravings – here in-plano and with exceptional additional colouring and highlighting in gilt by hand – illustrating the battles of the War of the Spanish Succession.Decker’s suite depicts the battles of the complex series of engagements that became known as the War of the Spanish Succession 1701–1714. Prompted by the death of the last of the Spanish Habsburg Kings the childless Charles II and with a shifting group of alliances and a field of warfare that included not only Continental Europe and the Mediterranean but also the Caribbean and North America the War of the Spanish Succession has a case to be a true world war. In part an attempt to check French hegemony the war featured a number of outstanding victories for the Duke of Marlborough and Prince Eugene of Savoy including Blenheim although the war was ultimately at best indecisive.Each of Decker’s magnificent plates features a single engagement depicted in the central portion of the plate the whole image surrounded with a decorative border composed of architectural allegorical and armorial symbols and motifs in the Baroque manner and a descriptive text concerning the battle. Many of the plates feature an additional small vignette of the battlefield keyed to the descriptive text and illustrating the placement of the armies and the most significant figures involved.The colouring and highlighting by hand of the present copy is remarkable. The painstaking detailing and the additional ornamentation in liquid gold is lavish and in combination with the binding suggests this copy was important and worthy of presentation. The printed text 'Kurze Beschreibung des Spanisch Successions-Krieg . &c.' here and unusually in German gives a detailed outline of the origins and history of the conflict and concludes with the list of plates and the engagements they depict. The text appears in other copies in other languages suggesting a commercial flexibility of distribution.It is a measure of the importance attached to Decker’s suite that the painter Ignaz Preissler used Decker’s plates as the basis for the decoration of an important tea service and garniture now at least partly in the collection of the Metropolitan Museum in New York see ‘Repraesentatio Belli ob successionem in Regno Hispanico . A Tea Service and Garniture by the Schwarzlot Decorator Ignaz Preissler’ by Maureen Cassidy-Geiger.‘Such commemorative series were considered works of art as well as encapsulations of recent events and were highly valued by collectors of the period who acquired them for their libraries or print cabinets.’ Maureen Cassidy-Geiger.Decker’s suite is very rare outside Germany: COPAC lists copies at the British Library and V & A only while KVK lists copies at the Polish National Library the Bibliothèque Nationale and the Université de Charles de Gaulle Lille in France and the Rijksmuseum Amsterdam; the only traceable copy in North America is at Brown University. We can locate no other copies with contemporary colouring or highlighting by handBerlin 103 incomplete; Bobins III 1165; Brunet V 626 for the French edition. Jeremias Wolff. hardcover
1938ref. 69823New York:: The Macmillan Company 1938. Reprint of the 1936 first edition. original gray cloth stamped in blue in dust jacket. Ink stamp of Selznick International Pictures Inc. to verso of rear free endpaper; a little browning to the hinges from binder's adhesive; some shelfwear to the bottom edge; but a bright copy. The jacket is chipped at extremities of the backstrip and has a few other tiny chips; good to very good. The framed certificate of appreciation is somewhat rippled and there is some fading to some of the signatures. . 8vo and framed artwork measuring 25 x 21 inches overall. Denoted in pencil "Copy #1" this was Assistant Director Eric Stacey's copy signed by David Selznick Director Victor Fleming and 28 members of the motion picture cast including Vivien Leign Clark Gable and Olivia de Havilland. Eric Stacey has added his ownership signature in pencil on the half-title. Accompanying the book is a framed gift presented to Eric Stacey "In appreciation for his cooperation and unfailing interest during the darker days of "Gone With the Wind." Created by Atlanta artist Jack Conner the signatures of 82 members of the motion motion picture production staff are surrounded by a decorative cartouche in colors featuring Aeolus the Keeper of the Winds as a pair of cherubs amid scrolls the sun moon and stars. In the decorative title lettering "Gone" is windblown. The Macmillan Company, hardcover
1960ref. 69825Philadelphia:: J. B. Lippincott Company 1960. Thirteenth impression. publisher's cloth-backed boards in dust jacket. Preserved in a quarter morocco folding box. Fresh and bright: better then very good in a very good jacket with the usual rubbing and edgewear. 8vo. This book was a gift for Helen Grotke who was the schoolteacher on the motion picture set tutoring the school-age actors. Inscribed by Harper Lee and twelve members of the cast including Gregory Peck Robert Duvall and the children. Many of the actors have written the names of their characters under their inscriptions. Mary Badham's reads "To Miss Grotke my favorite teacher. Mary Badham Scout." J. B. Lippincott Company, hardcover
1956ref. 140943102Various Places: The War Relocation Authority 1956. A substantial archive of over 300 individual documents plus a few duplicates relating to Japanese internment during WWII forming a very thorough view of the federal agency that directed their imprisonment The War Relocation Authority. Such a sizeable collection of WRA documents is extremely rare in commerce. All the major facets of the dark disturbing episode of Japanese internment are represented in this archive: its basic legal and historical outlines the WRA's publicity and propaganda and its reception in the US the WRA's groundbreaking use of social sciences in service of repressive American policies life and death in the camps and the ending of internment. The essential history of internment can be said to begin with Franklin D. Roosevelt's Executive Order 9102 establishing the War Relocation Authority included in mimeograph format. Around that time and later an Index-Digest of Opinions by the Office of the Solicitor compiles legal opinions about internment with commentary by regional attorneys. Additionally included are many of the WRA's quarterly and semi-annual reports as well as a nearly 300-page contemporary history of the agency by an unknown author untitled and likely written in late 1944. The publicity campaigns of the agency are reflected in collections of the propaganda leaflets the WRA issued a near-complete run of the abstracts the WRA prepared on press coverage it faced mimeographed speeches presented by WRA head Dillon S. Myer and other agency figures and a file of documents relating to the WRA's investigation by the House Committee on Un-American Activities HUAC which would become famous under Joseph McCarthy in the early 1950s. The WRA's sensitivity to criticism is readily apparent especially in their robust reaction to HUAC's critiques. One of the most controversial sections of the WRA the Community Analysis Section is heavily represented in this archive by near-complete runs of their Community Analysis and Project Analysis Reports. The Community Analysis Section was largely composed of social scientists primarily anthropologists who studied life in America's WWII concentration camps. Their aim was to aid Franklin D. Roosevelt's administration in running the camps with as little resistance as possible by applying lessons learned in the disciplines of Japan studies and the human sciences. Although some Community Analysts voiced objections within restricted internal communications few brought these objections before the American public. Throughout the next six decades anthropologists psychologists and sociologists would become increasingly integral in US military operations and counterinsurgency campaigns leading to controversy with the revelation of their complicity in acts of torture by the American military in Iraq and Afghanistan. Life and death in the camps is revealed in the previously mentioned reports of the Community Analysis Section as well as in detailed reports of Americans of Japanese ancestry who died in the camps and in military service Cumulative Casualties by Center documents about Tule Lake and a death there. The thoroughness of these reports is undoubtedly of use to future historians looking into various rebellions within the camps and the repression which followed as well as deaths of Nissei in WWII. A smaller collection of documents outlines the closing of the camps and attempts to transition their residents back to normal life. Most are stapled mimeographed documents; a few are carbon copy typescriptsas indicated in their descriptions. Very Good condition overall. Around ten of the documents are ex-library copies with their stamps and "discard" written on them. Occasional holograph notations for routing in the WRA bureaucracy. Some documents marked "Confidential" and "Do Not Publish." Manuscript annotations to some leaves. A remarkable collection of documents that reveal not only what the WRA did but how its bureaucrats perceived it and themselves. There is a strange but quintessentially American mixture of professionalism media savviness cruelty optimism and racism for historians and researchers to study here and hopefully for us all to learn from. DETAILED DESCRIPTION OF CONTENTS AVAILABLE UPON REQUEST. The War Relocation Authority unknown
1673ref. 12722Bologna Guiseppe Longihi Pietro Todeschi 1673. Nova et accurata totius Americae tabula auct. G. I. Blaeu America quarta pars orbis quam plerunq nuvum orbem apellitant primo detecta est anno 1492 a Christophoro Columbo . A hand-coloured engraved wall map printed on 4 joined sheets. Size: 86 x 110 cm. / 33.9 x 433 inch. Large very rare hand coloured copy of Willem Blaeu's famous wall map of the Americas which is considered ""one of the most influential maps of America ever made"" Burden. The map is based on the latest explorations and shows everything known at the time about the American continent as well as the north and south poles which are included on two inset maps. As the wall map was in great demand but expensive and difficult to transport it was also printed by various French and Italian publishers for the local market. Like Blaeu's edition the French and Italian editions are very scarce as it is highly unusual for wall maps from this period to survive. We have only been able to trace 4 other copies of the present edition in sales records of the past hundred years of which only 1 is also hand coloured. Willem Janszoon Blaeu 1571-1638 first published the wall map in 1608 together with similar maps of Asia Africa and Europe. He spared no expenses for this project and hired Hessel Gerritsz 1580-1632 a great cartographer in his own right to both design the maps and research the latest sources exhaustively to create the most accurate depiction of the continents possible. Although the Americas were drawn too wide due to the inadequate methods of determining longitude at the time the shapes and most of the coastline are already very well defined. Central and South America were drawn according to Portuguese and Spanish sources and ""Nova Scotia"" on the Atlantic coast was based on the voyages of Samuel de Champlain and Pierre Gua de Monts from 1604. After the first edition in 1608 the four continents were subsequently published in 1612 and in 1624 they were reissued by Hendrik Hondius and in 1655 by Nicholas Visscher. The third state included changes to the Strait of Magellan based on Le Maire's findings from his expedition in 1615-1617. The map has been beautifully decorated with cartouches and small engravings. The cartouche in the lower right tells how the New World was discovered and is flanked by the figures of Christopher Columbus and Amerigo Vespucci. Below are four roundels containing the portraits of the four circumnavigators: Ferdinand Magellan Sir Francis Drake Sir Thomas Cavendish and Olivier Van Noort. The Atlantic features a beautiful depiction of King Philip III of Spain riding a sea chariot supposedly on a figurative visit to his New World possessions and in the Pacific Poseidon with his wife Amphitrite and son Triton can be found amidst battle ships and sea monsters. Elephants rhinoceroses camels and ostriches roam the continent. Some copies of the present map include a decorative border with illustrations of native people and sometimes also a textual border with descriptions which are not present here. It appears that these borders were engraved on separate copper plates and were not always included. Blaeu's wall maps were first printed in Italy in 1646 probably by Stefano Mozzi Scolari 1598-1650 in Venice which were based on the third state from 1624. The present copy was engraved by Pietro Todeschi dates unknown around 1670 and published in Bologna in 1673 probably by Giuseppe Longhi who had worked on similar projects with Todeschi before. It closely resembles the Venetian edition which was most likely used as the model. Todeschi's edition is however clearly recognizable because of the misspelling of Mar del Norte as Mar del Noi and the fact that California has been drawn as an island. It is the only edition known to do so. The map has been reinforced on the back and is somewhat browned and stained; the surface has faded the work has been professionally restored: the colouring has been retouched some of the losses have been filled in. Otherwise in good condition. Burden II 433; Schilder Monumenta cartographica Neerlandica V p. 195; cf. Burden I 156 Blaeu map. Bologna, Guiseppe Longihi, Pietro Todeschi unknown
1979ref. mon0000031013The Pennsylvania State Universit 1979. Paperback. Good. in x in x in. The Pennsylvania State Universit paperback
1450ref. ST20835Flanders ca. 1450. 109 x 81 mm. 4 1/4 x 3 1/8". Single column 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar f. 1r; Mass of the Holy Spirit f. 14r; Mass of the Holy Cross f. 23r; Requiem Mass f. 30r; Prayer on the Seven Last Words of Christ by the Venerable Bede f. 36v; Passion according to John f. 40v; blank f. 53; Hours of the Holy Cross f. 55r; Mass of the Virgin Mary f. 60r; Gospel Lessons f. 66v; Hours of the Virgin f. 73r; Penitential Psalms f. 126r; Litany f. 138r; Office of the Dead f. 144r. PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF apparently with some old skilled restoration to joints spine and corners covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA" each word separated by one of four small motifs a flower a human profile the lamb of god and a sitting animal--perhaps a lion raised bands compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine interior lined in suede the whole within a calf-lipped suede-lined matching slipcase. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark blue penwork many two-line initials in burnished gold on pink and blue ground with white embellishments several larger "I" initials between four and 11 lines in burnished gold on pink and blue ground with white embellishments 12 six- to seven-line initials some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground or the initial in burnished gold on pink and blue ground with white embellishments EIGHT LARGE MINIATURES each inside a thin gold frame and with a three-quarter border of gilt leaves hairline vines and floral spays each facing page with a similar three-quarter border the subjects of the miniatures being: the Holy Spirit in the form of a dove f. 13v; St. Helena and the True Cross f. 22v; Raising of Lazarus f. 29v; Crucifixion f. 54v; Virgin and Child Enthroned f. 59v; Annunciation f. 72v; Last Judgment f. 125v; Funeral Mass f. 143v. Prickings visible in fore margins. See: Defoer et. al "The Golden Age of Dutch Manuscript Illumination" pp. 75-86. Just minor wear to the solid very pleasing early binding. A little chipping almost always mild to four of the miniatures with square frames the fifth the Annunciation somewhat rubbed and faded the three domed miniatures perfectly intact vellum with minor soiling and thumbing in places especially in lower corners of leaves in second half other trivial imperfections but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures large gleaming burnished gold initials and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht the name given to a variety of Dutch artists active in the 1430s and '40s all working in a similar mode rather than to a specific master or workshop. According to Defoer et al. the work of these miniaturists "exhibit varied compositional formulas and bright highly contrasting colors . . . . The small somewhat doll-like figures appear rather wooden but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures all set within domed gilt frames the Holy Spirit St. Helena and Raising of Lazarus shows particular skill with a very smooth application of color figures with long eloquent hands and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures set within square golden frames Crucifixion Virgin and Child Enthroned Annunciation Last Judgment and Funeral Mass. Though this hand is less polished and the miniatures slightly smaller in size the scenes are all quite charming and attractively colored with vivid splashes of bright orange bubblegum pink sky blue and pale green. It is worth noting that the miniatures differ not only because of the artists' degree of success but also because of their condition: whereas the five are generally well preserved the other three are in a virtually perfect state. In addition to the central text of the Hours of the Virgin this manuscript contains several Masses each of which is preceded by a miniature. Perhaps the most interesting of these is the Mass of the Holy Cross which is paired with a miniature of St. Helena mother of Constantine the Great. According to Christian tradition Helena found the wooden cross used in the Crucifixion while she was travelling in Jerusalem in the fourth century. Constantine built the Basilica of the Holy Sepulchre in its honor and installed the relic there to be venerated. Britannica says that the adoration of the True Cross led to wide-spread sale of its fragments sought after as objects of devotion. It is unusual to find St. Helena depicted in a Book of Hours and this image is especially appealing with Helena in a beautiful red robe crown and halo embracing a large wooden cross in the center of the composition. The background is reminiscent of the work of the Gold Scrolls group with small swirls of liquid gold swimming in a scarlet sky the same scrolling motif graces the Holy Dove miniature. There is no indication of former ownership in this manuscript although the Calendar presents a few unusual saints that confirm a Flanders connection. These include St. Amandus in red known as the "Apostle of Flanders" on 2 February; St. Guido known as the "Poor Man of Anderlecht" on 9 September; St. Bavo in red patron saint of Ghent where a Cathedral is named in his honor on 10 October; and St. Eligius patron saint of goldsmiths and metalworkers on 1 December. The binding here is very close to contemporary and probably dates to the late 15th century. Neither the floral roll nor the "Ave Maria" roll seems to appear in EBDB. Similar rolls include r001954 r000623 and r000670 but ours is the only one with four different and charming tools one of each used between every "Ave" and "Maria." For a manuscript only slightly bigger than the palm of one’s hand this Book of Hours has a great deal to offer. In addition to its early binding and lovely illumination by an influential group of artists great care has been put into its preservation so that it resolutely endures for our pleasure and for owners in the centuries to come. unknown
ref. NYBF15Amsterdam Nicolas Visscher 1660. Large folio 535 x 358 mm of 9 double-pages with 36 engravings bound in 18th century paperboards. Complete copy printed on large paper in sumptuous contemporary colouring of the baroque atlas of the Netherlands. In the last 60 years auction records mention only 2 copies of the standard issue one from the first edition of 1657 the other one from the present edition of 1660. A third copy which was incomplete was sold in 1987. The present compilation contains 36 engravings printed by groups of 4 on the recto of double folios that illustrate baroque architecture of the Netherlands in the middle of the 17th century. The prints not only depict towns canals ports village scenes mains monuments but also precarious housing return from the market hunting scenes sailing castles churches convents wind mills as well as ornamental gardens the whole entirely enhanced with warm contemporary colouring. Hollstein Schut 32; Hollstein Publ. Clae Claesz Visscher I 7 The present copy printed on large-paper is the only one recorded from this de luxe edition. In the posterior editions the Ottens ones for instance engravings were cut and presented separately and so printed in a 4to format. The Visscher family is famous in the history of printing Atlases in the Netherlands in the 17th century. Nicolas Visscher I the editor of the present atlas was born in Amsterdam in 1618. Only son of Claes Jansz Visscher he got married in 1643. When his father died in 1652 he carried on the activity and settled in the Kalverstraat in Amsterdam until his passing in 1679. Français Amsterdam Nicolas Visscher 1660. Grand in-folio de 9 double-pages regroupant 36 estampes cartonnage du XVIIIè siècle. 535 x 358 mm. Exemplaire complet imprimé sur grand papier en somptueux coloris de l'époque de l'Atlas baroque des pays bas. Depuis 60 ans le répertoire des ventes publiques ne mentionne que 2 exemplaires en tirage normal l'un de la première édition de 1657 l'autre de la présente édition de 1660 un troisième incomplet fut vendu en 1987. Ce recueil présente 36 estampes gravées groupées par 4 vues imprimées au recto d'un double folio -illustrant l'architecture baroque des Pays Bas au milieu du XVIIè siècle. Sont dessinés et peints avec bonheur les villes canaux ports scènes villageoises les principaux monuments mais aussi l'habitat précaire le retour du marché les scènes de chasse la navigation les châteaux églises couvents moulins ainsi que les jardins d'agrément le tout rehaussé en chaleureux coloris de l'époque. Hollstein Schut 32 ; Hollstein Publ. Clae Claesz Visscher I 7 Le présent exemplaire imprimé sur grand papier est le seul répertorié dans ce tirage de luxe. Dans les éditions postérieures par exemple les éditions Ottens les gravures furent coupées et présentées séparément et donc imprimées au format in-4. La famille Visscherest célèbre dans l'histoire de l'imprimerie des Atlas aux Pays Bas au XVIIè siècle. Nicolas Visscher I l'éditeur du présent atlas est né à Amsterdam en 1618. Fils unique de Claes Jansz Visscher il se maria en 1643. A la mort de son père en 1652 il poursuivit l'activité et s'établit sur la Kalverstraat jusqu'à sa mort survenue en 1679. hardcover
ref. TM 796MEDIEVAL ILLUMINATED MANUSCRIPT IN ITALIAN ON PAPER Northeastern Italy Veneto Venice c. 1474. Dimensions 328-332 x 230 mm. 188 folios missing at least three leaves written in brown ink in an Italian cursiva libraria script EIGHT ILLUMINATED INITIALS of seven lines one-line paraphs in red or blue simple two- to four-line in red or blue initials. BINDING: re-cased using original binding materials of brown half leather over bevelled wooden boards with three double bands remains of four straps present. TEXT: Italian translation of Gregory the Great's Moralia in Job one of the most important and widely copied texts of the Middle Ages. Though forty copies of this translation survive this volume is unusual in its incorporation of Venetian dialectal forms. All other copies are in European institutions and have not been on the market for the last century. PROVENANCE: scribal colophon on f. 190v provides a date for this manuscript's completion and helps localize its production within Italy: "Scripto per mi zuane de zane zoielier condam per simon et chi li lezeranno priegi dio per lo scriptore. MCCCCLXXIIII" Written by me Zuane de Zane jeweler once for Simon and may whoever will read it pray to God for the writer. 1474. There is no Zuane de Zane on record elsewhere as a scribe; the name itself is Venetian and evidence of the manuscript's watermark and decoration also suggest an origin in the region of Veneto and possibly Venice specifically. The manuscript was later acquired by a private European collection. CONDITION: slight tears in the lower margin of f. 25 and upper margin of ff. 37 and 160 from f. 161 to the end there is a slight loss to the upper outer corner slight water staining visible parchment reinforcement present prickings visible. Full description and images available. TM 796 Northeastern Italy, Veneto (Venice?), dated 1474
ref. 10529Two & one-half woodcut illus. 44 sheets each folded into multiple pages. Oblong small 8vo 89 x 288 mm. orig. stiff boards in concertina format one board loose. Beijing: Fanjing chang 番經廠 1617 date of colophon; woodblocks carved in 1599. One of three surviving copies of a Tibetan-Chinese bilingual liturgy of Bhaiṣajyaguru the Medicine Buddha printed under Ming imperial patronage at the Tibetan scripture workshop Ch. fanjing chang 番經廠. Tibetan books printed in pre-1644 Beijing are very rare and precious; this is the only copy we have encountered. Our copy has the well-known 廣é‹ä¹‹å¯¶ seal on the frontispiece representing Ming royal provenance. Many of the early-Ming emperors were devout followers of Tibetan Buddhism and sponsored large-scale sutra printing projects including the first printed edition of the Tibetan Kanjur canon completed in 1411 under the patronage of the Yongle Emperor r. 1402-24. This veneration declined during the reign of the Jiajing Emperor r. 1521-64 who favored Daoism and dissolved many longstanding Buddhist institutions in the capital. It was after his rule in 1572 that the court reestablished the Tibetan scripture workshop in part to secure the alliance of the Altan Khan 1508-82 of the Tümed Mongols a powerful patron of the Gelug sect. Despite its name the Tibetan scripture workshop seems to have printed few Buddhist texts with the notable exception of a new 1605 edition of the Kanjur. Falling under the jurisdiction of the Directorate of Ceremonials Ch. Silijian å¸ç¦®ç›£ the workshop's main responsibility was to officiate routine Buddhist rituals within the palace complex. As the court was hesitant to admit Tibetan Buddhist monks into the inner palace these rituals were led instead by trained eunuchs and courtesans some of whom lived and practiced as nuns within the workshop 陳楠 "法渊寺與明代番經廠雜考" ä¸åœ‹è—å¸ 2006.2 pp. 138-43. According to the Preface in our copy this bilingual ritual of the 12 vows of the Medicine Buddha was prepared in Wanli 27 1599 by the palace eunuch Zheng Li 鄭利 master of rituals at the Tibetan scripture workshop. The Tsinghua University Library currently exhibiting one of the two other surviving copies describes the book as follows in trans.: "First edition published in 1599 by the scripture workshops of the Directorate of Ceremonials in the inner palace. Only surviving copy sic. It begins with a frontispiece in three pages followed by the preface of Zheng Li explaining the conditions around the translation and publication of the text which is valuable for understanding the functions of the Ming scripture workshops. The text consists of prayers for incense offering light offering and purification followed by the twelve vows of the Medicine Buddha and the dedication of merit.The page is wide and large the layout is generous the characters are large as coins the engraving is exquisite and the paper is of high quality. These are typical of the 'palace workshop' editions. To accommodate the bilingual text the Chinese text is written horizontally from left to right making it an exemplar of early horizontally written Chinese texts. The binding also differs from the traditional Chinese sutra binding. To accommodate the horizontal text the tuipeng 推篷 or 'push-awning' binding is used instead. It is a rare example of a Ming-era book in the 'push-awning' binding."-"万å·ç³ç…--馆è—å部善本特展" accessed Oct. 3 2026. A provisional comparison of the Chinese and Tibetan texts shows that with the exception of a few short passages neither is a direct translation of the other and the bilingual text likely formed an integrated liturgy conducted with a mixture of languages including Sanskrit mantras in Tibetan transliteration. This linguistic hybridity is echoed by the unusual choice of a vertical concertina binding which ingeniously brings together the layout and reading practices of the Tibetan pecha with a Chinese binding traditionally associated with Buddhist scriptures. As mentioned above ours is one of three surviving copies. While the exact state of completeness and condition of the Tsinghua University copy is unclear a comparison with the copy digitized by the Berlin State Library Pander C 18 shows that its frontispiece with the colophon dated Wanli dingsi 1617 when 120 copies were printed and royal seal fully present in our copy is damaged and mostly lacking in the Berlin copy. The front board of the Berlin copy has the bilingual title Mi 'khrugs pa'i 'cho ga dang po bzhugs sto A chu fo tan chang jing 阿閦佛壇塲經 but its relation to the text is unclear. The comparison also shows the final part of the illustration at the end of our copy to be damaged and incomplete. Our copy nevertheless contains a short final inscription "shang g.yi kyen tha'i kyen zin gon dbang shing tshin kci yin tsog" which appears to transcribe an unidentified Chinese phrase and is lacking in the Berlin copy. The Berlin copy was evacuated to Silesia during the World War II and then taken to Krakow when that region became part of Poland. It remains in Krakow. We believe that our book comes from the collection of Japanese sinologist Kanda Nobuo 神田信夫 1921-2003. As mentioned Tibetan books published in Ming-era Beijing are extremely rare; we find no other example in WorldCat. The Tibetan scripture workshop was dissolved during the Ming-Qing transition and the region later became home to the famous Songzhusi 嵩ç¥å¯º temple complex the center of Tibetan publishing in Qing Beijing. Fine copy; some tears in the margins with no loss of text and some marginal dampstaining as well as the aforementioned loss of half an illustration at the end. One board is loose. Preserved in a modern hantao. unknown
ref. 00019516x11 cm. Contemporary Ottoman binding tooled in gold with Shamsa on each board and flap. Surah headings in gold and colors golden durations between verses and all pages out-ruled in gold. 16th c. Signed Hamdullah el Amasi. The signature due to the Era of the calligrapher and the writing character is same of the calligrapher's. Sheikh Hamdullah was born in Amasya a north-central town in Anatolia. His father Mustafa Dede was a Sheik of the Suhrawardi order and had migrated from Bukhara in present-day Uzbekistan to Anatolia. In Amasya he studied the six scripts under the tutelage of Hayreddin Mar'asi. He learned the traditional method of the old masters but struggled to reproduce it. While studying he met Bâyezïd the son of Sultan Mehmed the Conqueror who was a fellow student and the pair became friends. When Bâyezïd assumed the throne in 1481 following his father's death he invited his friend Sheikh Hamdullah to the capital Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace. In 1485 Bâyezïd II acquired seven works by the great calligrapher Yaqut al-Musta'simi. Bâyezïd then encouraged his court calligrapher Hamdullah to devise a new script inspired by the acquisition. Hamdullah regarded al-Musta'simi's work as unsurpassable but at Bâyezïd's insistence Hamdullah reluctantly agreed. Scholars have suggested that Bâyezïd's enthusiasm for a new script was symbolic of his desire to establish a new empire and a new dynasty. Hamdullah underwent a period of reclusion during which time he claimed that a prophet taught him the new scripts in a vision. He ultimately recodified and refined the nashk style of calligraphy originally developed by Yaqut al-Musta'simi. Hamdullah's scripts were more elegant balanced and legible. From 1500 the majority of Q'rans adopted Hamdallah's new style which became known as the Ottoman style or "Seyh's manner'. For this he is often considered to be the "father of Ottoman calligraphy". His many students spread his style throughout the Ottoman Empire. His style endured for 150 years making him one of the greatest Ottoman calligraphers of all time. As much as two centuries later students of calligraphy such as Hâfiz Osman continued to copy his works assiduously as part of their training. He devoted his whole life to the art of calligraphy continuing to produce works well into his 80s. He produced 47 Mus'hafs book of Quran and innumerable En'ams Evrads and Juz' a number of which are held in the collection of the Topkapi Palace.12 His inscriptions also decorate the Bâyezïd Firuzaga and Davud Mosques in Istanbul and the Bâyezïd Mosque in Erdine. His son Mawlana Dede Chalabi became a calligrapher after studying with Hamdallah his father and Hamdallah's daughter whose name is unknown married a calligrapher by the name of Shukrullah Halife of Amasya who had also been one of her father's pupils. Hamdullah's grandsons also became calligraphers; Pir Muhammad Dede d. 986/1580 son of Hamdallah's daughter and Dervish Muhammad d. 888/1483 son of Mawlana Dede. As his reputation grew many myths to his abilities outside calligraphy sprang up. It was said that he was a great archer falconer swimmer and even an extraordinary tailor. He died in Istanbul in 1520 and was buried at Karacaahmet Cemetery in the district of Üsküdar at Istanbul. Surviving examples of his works are held in the Topkapi Collection. hardcover
ref. 5611"Hishu" today Saga Prefecture: 1841-45. A very rare Japanese manuscript sea chart of the sea routes from Saga Prefecture a major trading area in the west to Osaka through the Inland Sea which is more than 400 km. long and includes in excess of 3000 islands. The Inland Sea one of the main trade routes for the Japanese in the Edo period has numerous areas of turbulence and navigating through the numerous islands and rocky outcroppings presented enormous problems in the era before modern navigation systems. In the early 1840s the central government in Edo ordered each fiefdom to prepare maps of coastal routes to facilitate trade and shipping. Our manuscript was prepared by Tsugihei Miyachi a high level sea pilot "mite kako" in the Saga Prefecture shipping office as an employee of the Nabeshima Clan. The map were it to be unbound is about 11340 mm. long about 37 feet depicting Saga in the west to Osaka in the east. It is finely drawn in black ink heightened with wash in green purple blue grey and red. Five of the openings have folding extension sections pasted onto the lower margins of the leaves. Blue lines depict safe sailing routes for smaller ships. The map depicts in very great detail areas of turbulence there are famous whirlpools in the Inland Sea numerous islands rock formations and landscapes for orientation anchorages harbors and fishing areas. Each section of the map has been annotated by the compiler with notes on distances characteristics of rivers landmarks for navigation tidal activities the route to Nagasaki etc. The first map opening depicts Saga and the final opening Osaka. The sea chart is prepared with considerable local knowledge of castles and temples. A series of notable castles each is labeled with name of the lord assets etc. are depicted along the shores and Miyachi describes harbors for anchoring and to get fresh water. The routes are drawn from a "bird's-eye view" perspective with lovely vistas of mountains and islands and villages and towns. The two leaves of manuscript text at the beginning in the style of a dedicatory letter to the fiefdom lord describes the compiler's efforts over a five-year period to prepare the map. He writes that it is based on his own personal experiences as a sea pilot. He states that purple denotes routes he has taken red denotes shallows blue lines denote the routes for large ships grey for land and green for mountains and forests. The eleven pages of text at the end provide details on prevailing weather patterns and how to prepare for inclement weather how to navigate by landmarks and the stars wind and tidal patterns and the history of the preparation of this map "it took me five years of daily observation to prepare this work". He provides a list of his voyages to different cities on this route. On the final page the author states that three copies were made: the first for the fiefdom lord the second for a cabinet member and the third for Miyachi's divisional chief. A modern scholar has laid-in a note describing this sea chart as one of those three. Japanese sea charts are rare survivals and we know of no other similar example outside of Japan. ❧ The sea pilot Miyachi's log books are preserved in the Nabeshima clan's archives see the Saga kenritsu toshokan database. unknown books
1944ref. 149272Bombay: Keshav Bhikaji Dhawale October 2 1944. First unabridged edition of this tribute to Gandhi with introductions by Gandhi and Jawaharlal Nehru and a biographical essay by Albert Einstein. Quarto original publisher's half cloth patterned endpapers illustrated with black and white photographs and tipped-in color plates frontispiece. Boldly signed by Mahatma Gandhi on the half-title page. Association copy additionally signed by John Kenneth Galbraith opposite the copyright page "John Kenneth Galbraith 1987 -- Ambassador to India 1961-1963." Although he remains best known as an iconoclast in the field of economics John Kenneth Galbraith was very active in Democratic Party politics serving in the administrations of Franklin D. Roosevelt Harry S. Truman John F. Kennedy and Lyndon B. Johnson. During his time as an adviser to President John F. Kennedy Galbraith was appointed United States Ambassador to India from 1961 to 1963. Kennedy considered India to be important not just in its own right but also because an Indian diplomat always served as the chief commissioner of the International Control Commission ICC. Thus Galbraith came to be involved in American policy towards Southeast Asia from his perch as an ambassador in New Delhi. During his tenure in India Galbraith developed close ties with Prime Minister Jawaharlal Nehru and engaged deeply with the political and cultural life of the country. He expressed admiration for India’s experiment in democratic socialism and non-alignment and he frequently drew comparisons between Nehru’s political legacy and that of Mahatma Gandhi. While Galbraith did not interact directly with Gandhi—who had been assassinated in 1948—he often invoked Gandhian ideals in his reflections on India’s development and its moral role in the post-colonial world. His writings and diplomatic efforts emphasized the importance of non-violence civil society and moral leadership themes closely associated with Gandhi’s philosophy. In very good condition. A wonderful association copy very rare and desirable signed by Gandhi and even more so with the addition of Galbraith's signature. Published in 1944 to both commemorate Mahatma Gandhi’s 75th birthday and support the Kasturba Gandhi National Memorial Fund Gandhiji: His Life and Work contains essays by various contemporaries examining Gandhi’s political career social reform efforts and influence on Indian society as well as a curated selection of Gandhi’s own writings including speeches and letters. Although Gandhi generally declined to participate in birthday commemorations he wrote a preface for this volume citing its charitable purpose. As a mid-career publication released during Gandhi’s lifetime the book reflects the contemporary reception of his work and offers early interpretations of his role in the Indian independence movement. "Generations to come it may be will scarce believe that such a one as this ever in flesh and blood walked upon this earth" Albert Einstein On Gandhi. Keshav Bhikaji Dhawale hardcover
1450ref. 0226BOOK OF HOURS USE OF SARUM In Latin and French illuminated manuscript on parchment. Bruges Flanders c. 1450 with substantial additions made in France in the late fifteenth and sixteenth centuries. Five miniatures by the Masters of the Gold Scrolls subgroup of the Master of Berlin Kunstbibliothek MS Grisebach 4 and one later French miniature in the artistic milieu of Antoine de Lonhy fl. c. 1446–1490. 193 × 134 mm. vi 124 leaves. Written principally in textualis formata in brown ink with rubrics in red and numerous initials in burnished gold blue and rose with penwork and foliate decoration. FIVE HALF-PAGE MINIATURES from the original Bruges campaign set within burnished-gold arches and surrounded by elaborate borders of scrolling vines acanthus flowers gold ivy leaves and bezants. ONE THREE-QUARTER-PAGE MINIATURE of the Mass of Saint Gregory was added in France at a later date. Made in Bruges around 1450 for the English market as demonstrated by its calendar for the Use of Sarum. The five surviving original miniatures depict the Massacre of the Innocents f. 7 Virgin and Child f. 13v Funeral Mass f. 38v Adoration of the Magi f. 57v and Resurrection f. 73. Gregory T. Clark attributes the illumination to a refined subgroup of the Masters of the Gold Scrolls centered around the Book of Hours Berlin Kunstbibliothek MS Grisebach 4. After reaching France the manuscript was extensively personalized. A striking miniature of the Mass of Saint Gregory with a kneeling female patron and impaled arms was added to the front of the volume. Stylistically it belongs to the immediate artistic milieu of Antoine de Lonhy and may possibly be by the artist himself. Additional French and Latin prayers protective texts healing charms and two versions of the Obsecro te—one for a female supplicant and another for a male—document its continued use by successive owners. Offsets from former pilgrimage badges preserved between its pages provide particularly evocative evidence of medieval devotional practice. An early ownership inscription appears most likely to read "I. Damas" or "H. Damas" while a later red-wax armorial seal appears to correspond with the heraldic tradition of the Damas family suggesting a possible long or recurring association with the family although continuous ownership cannot presently be demonstrated. The manuscript contains the Calendar Use of Sarum; Hours of the Virgin imperfect; Short Hours of the Cross; Mass of the Virgin; Seven Penitential Psalms; Litany; Office of the Dead; and substantial supplementary devotional material. Several leaves and miniatures are lacking particularly within the Hours of the Virgin. Nineteenth-century black silk velvet binding over pasteboards fitted with four pierced silver corner pieces and an elaborate silver clasp depicting the Agnus Dei beneath the Banner of the Resurrection. Housed in a twentieth-century red cloth clamshell box. Parchment generally sound with occasional stiffness and cockling moderate soiling and staining and occasional rubbing to initials and marginal decoration. The five original Bruges miniatures remain exceptionally fresh retaining brilliant color and crisp execution. The later Mass of Saint Gregory miniature has significant rubbing and wear to the background with minor modern interventions and restoration. PROVENANCE: Produced in Bruges for the English market c. 1450; unidentified female French patron later fifteenth century; Damas family late fifteenth or early sixteenth century and possibly later; subsequent female and male users documented by added prayers; private collection Switzerland. FOR FULL DESCRIPTON PLEASE SEE MY WEBSITE Illuminated Manuscript / Book of Hours