193 220 résultats
1937réf. 004544Tokyo: Kokusai Bunka Shinkokai The Society for International Cultural Relations 1937. First edition. Leporello. Hardcover boards paper pastedown. Very Good. The Japanese photobook equivalent of a Leni Riefenstahl movie! Deemed "arguably the high point of both the Japanese propaganda and the modernist photo book" by Parr and Badger in "The Photobook: A History". Oblong folio 27 by 30 cm. 64 pp. or 32 double-page back-to-back photomontages configured as an accordion fold-out and a deliberate attempt to adapt the traditional Japanese pillow book to a more modern usage. Text captions in English French and German. The photographers involved were also staff photographers of the Japanese photo magazine "Nippon". The black and white photos have an extraordinary dynamism and three dimensionality achieved by the artful juxtapositions and there is a cumulative power to the whole enterprise. Just as the photos themselves are able to convey movement the message of the whole is that Japan itself was on the march forward into a new dawn! And virtually every aspect of Japanese life is presented -- economic religious cultural architectural artisanal rural urban etc. Only two of the montages relate to the military -- one the army one the navy -- and this is in sharp contrast to similar publications emanating from Germany and Italy at the time. Japan had by then actually embarked on its program of foreign aggression and conquest whereas for the other Fascist regimes that still lay in the future. The scarce book was probably never for sale but rather was given as a gift to foreign dignitaries. Scarce with the only known institutional copies at the British Museum the Library of Congress. Two folds professionally and discreetly repaired with very minor loss a very thin sliver along those joints. A quarter sized infill to where there was a corner chip to the silver Japanese paper pastedown on the front cover. The front blue blank or endpaper does not have a title label pastedown which has been seen in other copies but it is obvious that there never was such a label pasted into this copy. Kokusai Bunka Shinkokai (The Society for International Cultural Relations) hardcover books
1569réf. 5032541569. Book. A lengthy series of royal edicts / decrees / writs produced by the court under Philippe's close scrutiny in 1569 regarding financial and other obligations on the part of the persons in the area of Castro del Rio and elsewhere. 49 vellum leaves 98pp of manuscript 4 blank pages. The last page of which bears the date 18 November 1569 and the elaborate signatures and marks of the King and a number of his courtiers. Each page of the text bears 2 flourishes ie initials likely by the King and by the person responsible for the production of the document. In the original leather covers much rubbing and wear with remnants of the binding ribbons but the document still well-bound and with we think the original tri-coloured spine-cord binding the text to the cover. The first page with ornate decoration and illustrations in ink embellished with gold detailing and flourishes. Exquisite calligraphy throughout on well-preserved vellum. No seals present. 14" x 10". hardcover
1893réf. 1276951893. LAWRENCE T.E. LONGUS. Daphnis and Chloe: A Most Sweet and Pleasant Pastoral Romance for Young Ladies. London: Vale Press 1893. Quarto contemporary full black crushed morocco elaborately gilt-decorated spine and covers raised bands top edge gilt uncut. $15000.An exceptional association copy: the finely printed and beautifully illustrated Vale Press Daphnis and ChloeÑone of only 210 copies 200 of which were for sale with 36 charming woodcuts in the Italian style by Charles Ricketts and Charles Shannon with ""T.E.L.""Ñlikely in T.E. Lawrence's handÑfaintly penciled in the upper right corner of the front free endpaper and a note from recipient Charles Francis Bell describing the circumstances in which Lawrence presented this copy to him. Beautifully bound in full morocco-gilt by C. & C. McLeish.""There are works which will never cease to be reprinted and which artists will ever love to illustrate according to their own individual fancies"" Jules Claretie Preface. This classical Greek work whose author Longus has not been fully identified has been dated to the 2nd or early 3rd century CE. Described by one scholar as ""an unknown best seller"" Giles Barber Daphnis and Chloe is considered ""the original or earliest survivor"" of the idyllic/pastoral romance Hardin Love in a Green Shade 1. This large-format illustrated edition is one of the Vale Press' most impressive books. It uses the quaint 17th-century translation of Thornley designed to convert the lascivious tale into reading matter for young ladies. One homosexual passage is left in the original Greek. In the Art Nouveau style the illustrations by Ricketts and Shannon effectively capture Longus' combination of decadence and sweet innocence.Born in 1859 binder Charles McLeish was apprenticed to Andrew Grieve in Edinburgh then came to London in 1890 to work for Riviere. When Cobden-Sanderson founded the Doves Bindery in 1893 he hired McLeish as the firm's finisher. McLeish held that estimable position until 1909 when he left to go into partnership with his son Charles who had apprenticed under Roger de Coverly. Although the senior McLeish was no longer in the employ of Cobden-Sanderson all of the bindings that were signed ""Doves Bindery"" between 1909 and 1921 were actually done in the McLeish workshop. The work produced by the McLeishes was beautifully designed and impeccably executed as evidenced in the present volume. With publisher's scarce four-page prospectus bound in at rear. Bookplate of recipient art historian Charles Francis Bell with his handwritten note regarding the circumstances of Lawrence presenting this copy to him tipped to the front free endpaper: ""This book was bound by McLeish for Colonel T.E. Lawrence whose initials in pencil in his own writing are in the top corner of the opposite endpaper. It was given by him to me at All Souls College Oxford on November 16 1920. C.F. Bell."" Bell 1871-1966 was curator of the Department of Fine Art in the Ashmolean Museum Oxford where he met Lawrence when the latter had brought fragments of pottery into the Ashmolean for identification. The two became friends and frequently discussed their shared enthusiasm for Medieval art and architecture. Although the brevity and faintness of the initials on the front free endpaper make it difficult to verify it as being in Lawrence's hand it is consistent with Lawrence's known practice of initialing his own books.Mild offsetting from woodcuts; offsetting from morocco turn-ins partially obscuring penciled initials in upper corner of front free endpaper binding beautiful and fine. An excellent association copy with distinguished provenance. hardcover
1893réf. 1276951893. LAWRENCE T.E. LONGUS. Daphnis and Chloe: A Most Sweet and Pleasant Pastoral Romance for Young Ladies. London: Vale Press 1893. Quarto contemporary full black crushed morocco elaborately gilt-decorated spine and covers raised bands top edge gilt uncut. $15000.An exceptional association copy: the finely printed and beautifully illustrated Vale Press Daphnis and ChloeÑone of only 210 copies 200 of which were for sale with 36 charming woodcuts in the Italian style by Charles Ricketts and Charles Shannon with ""T.E.L.""Ñlikely in T.E. Lawrence's handÑfaintly penciled in the upper right corner of the front free endpaper and a note from recipient Charles Francis Bell describing the circumstances in which Lawrence presented this copy to him. Beautifully bound in full morocco-gilt by C. & C. McLeish.""There are works which will never cease to be reprinted and which artists will ever love to illustrate according to their own individual fancies"" Jules Claretie Preface. This classical Greek work whose author Longus has not been fully identified has been dated to the 2nd or early 3rd century CE. Described by one scholar as ""an unknown best seller"" Giles Barber Daphnis and Chloe is considered ""the original or earliest survivor"" of the idyllic/pastoral romance Hardin Love in a Green Shade 1. This large-format illustrated edition is one of the Vale Press' most impressive books. It uses the quaint 17th-century translation of Thornley designed to convert the lascivious tale into reading matter for young ladies. One homosexual passage is left in the original Greek. In the Art Nouveau style the illustrations by Ricketts and Shannon effectively capture Longus' combination of decadence and sweet innocence.Born in 1859 binder Charles McLeish was apprenticed to Andrew Grieve in Edinburgh then came to London in 1890 to work for Riviere. When Cobden-Sanderson founded the Doves Bindery in 1893 he hired McLeish as the firm's finisher. McLeish held that estimable position until 1909 when he left to go into partnership with his son Charles who had apprenticed under Roger de Coverly. Although the senior McLeish was no longer in the employ of Cobden-Sanderson all of the bindings that were signed ""Doves Bindery"" between 1909 and 1921 were actually done in the McLeish workshop. The work produced by the McLeishes was beautifully designed and impeccably executed as evidenced in the present volume. With publisher's scarce four-page prospectus bound in at rear. Bookplate of recipient art historian Charles Francis Bell with his handwritten note regarding the circumstances of Lawrence presenting this copy to him tipped to the front free endpaper: ""This book was bound by McLeish for Colonel T.E. Lawrence whose initials in pencil in his own writing are in the top corner of the opposite endpaper. It was given by him to me at All Souls College Oxford on November 16 1920. C.F. Bell."" Bell 1871-1966 was curator of the Department of Fine Art in the Ashmolean Museum Oxford where he met Lawrence when the latter had brought fragments of pottery into the Ashmolean for identification. The two became friends and frequently discussed their shared enthusiasm for Medieval art and architecture. Although the brevity and faintness of the initials on the front free endpaper make it difficult to verify it as being in Lawrence's hand it is consistent with Lawrence's known practice of initialing his own books.Mild offsetting from woodcuts; offsetting from morocco turn-ins partially obscuring penciled initials in upper corner of front free endpaper binding beautiful and fine. An excellent association copy with distinguished provenance. hardcover books
1804réf. 007897London: Printed by Thomas Bensley for R. Bowyer 1804. First Edition. Full Calf. Very Good. One of the greatest of early 19th century hand-colored plate books and a monumental work of publishing just at the juncture that interest in Egypt and other areas of the Middle East was intensifying and these areas were also becoming more accessible to Europeans. Folio 47 by 33.5 cm. 96 hand-colored plates. Egypt volume 1801: 6 -- title for entire set title for the volume 102 2 pp. 48 color plates. Ottoman Empire volume 1803: 40 pp. 24 color plates. Palestine volume 1804: 47 1 pp. 24 color plates. Beautiful full speckled calf bound set. Boards with gilt floral patterned border. Red leather title on spine. Five raised spine bands ruled gilt decoration. Bindings are more modern but sympathetic to period -- in a style compatible with an early nineteenth binding. Condition: The bindings are generally fine but the second volume in particular does have some light spotting distinct from the original speckling. The leaves generally have light age toning around their perimeters and also finger smudging and at times a light film of soiling much of which can be mitigated with a simple eraser if one wishes to make the effort. The scattered fox marks and the few dampstains generally small and relatively inconspicuous can't be so eliminated though. Moderate offsetting but if anything on the lighter side. The plates even with the occasional fox mark are invariably bright and we think most would deem them rather clean. A few minor closed tears 2-3mm and not ones likely to increase in length with circumspect handling. Overall this is a beautiful set that in some respects is Near Fine and others merely Very Good in our view. Printed by Thomas Bensley for R. Bowyer unknown
1804réf. 007897London: Printed by Thomas Bensley for R. Bowyer 1804. First Edition. Full Calf. Very Good. One of the greatest of early 19th century hand-colored plate books and a monumental work of publishing just at the juncture that interest in Egypt and other areas of the Middle East was intensifying and these areas were also becoming more accessible to Europeans. Folio 47 by 33.5 cm. 96 hand-colored plates. Egypt volume 1801: 6 -- title for entire set title for the volume 102 2 pp. 48 color plates. Ottoman Empire volume 1803: 40 pp. 24 color plates. Palestine volume 1804: 47 1 pp. 24 color plates. Beautiful full speckled calf bound set. Boards with gilt floral patterned border. Red leather title on spine. Five raised spine bands ruled gilt decoration. Bindings are more modern but sympathetic to period -- in a style compatible with an early nineteenth binding. Condition: The bindings are generally fine but the second volume in particular does have some light spotting distinct from the original speckling. The leaves generally have light age toning around their perimeters and also finger smudging and at times a light film of soiling much of which can be mitigated with a simple eraser if one wishes to make the effort. The scattered fox marks and the few dampstains generally small and relatively inconspicuous can't be so eliminated though. Moderate offsetting but if anything on the lighter side. The plates even with the occasional fox mark are invariably bright and we think most would deem them rather clean. A few minor closed tears 2-3mm and not ones likely to increase in length with circumspect handling. Overall this is a beautiful set that in some respects is Near Fine and others merely Very Good in our view. Printed by Thomas Bensley for R. Bowyer unknown books
réf. WB19687ENCYCLOPEDIA OF ALL THE KNOWLEDGE OF THE ANCIENT WORLD" Treviso: Michael Manzolus 1479. An incunable edition of Pliny's "encyclopedia of all the knowledge of the ancient world" PMM with copious early scientific marginalia and illuminated white-vine initial. When it was published in Venice in 1469 this work marked the first appearance of any scientific text in print. This sixth Latin edition is one of the finest specimens from the press of Michael Manzolus and the second edition of Beroaldo's recension of the text. This copy is extensively annotated by an early learned owner with a particular interest in plants and animals. Pliny an enthusiastic student of nature unto death ultimately perished while observing the eruption of Vesuvius. BSB-Ink P-603; Goff P-791; HC 13092; ip00791000. See PMM 5 1469 ed. Folio 290 x 190mm. 356 leaves of 360; lacking bifolium rum4-6 and first and last blanks. Illuminated white-vine initial M other large and small red and blue initials with 19th-century manuscript facsimile of lacking pages bound in; first few leaves worn some leaves of first gathering repaired at inner margin; occasional worming and dampstaining. Modern auburn morocco. Provenance: extensive early marginalia in several hands - Maffeo Pinelli 1736-1785 important Venetian collector his catalogue no. 1756 - George Kloss 1787-1854 bibliographer; his sale Sotheby's 7 May 1835 lot 3151 erroneously identified as Melanchthon's copyl - Lewis H. Machen 1790-1863 clerk of the United States Senate and Virginia farmer; pencil note. 15000 unknown
réf. WB19687ENCYCLOPEDIA OF ALL THE KNOWLEDGE OF THE ANCIENT WORLD" Treviso: Michael Manzolus 1479. An incunable edition of Pliny's "encyclopedia of all the knowledge of the ancient world" PMM with copious early scientific marginalia and illuminated white-vine initial. When it was published in Venice in 1469 this work marked the first appearance of any scientific text in print. This sixth Latin edition is one of the finest specimens from the press of Michael Manzolus and the second edition of Beroaldo's recension of the text. This copy is extensively annotated by an early learned owner with a particular interest in plants and animals. Pliny an enthusiastic student of nature unto death ultimately perished while observing the eruption of Vesuvius. BSB-Ink P-603; Goff P-791; HC 13092; ip00791000. See PMM 5 1469 ed. Folio 290 x 190mm. 356 leaves of 360; lacking bifolium rum4-6 and first and last blanks. Illuminated white-vine initial M other large and small red and blue initials with 19th-century manuscript facsimile of lacking pages bound in; first few leaves worn some leaves of first gathering repaired at inner margin; occasional worming and dampstaining. Modern auburn morocco. Provenance: extensive early marginalia in several hands - Maffeo Pinelli 1736-1785 important Venetian collector his catalogue no. 1756 - George Kloss 1787-1854 bibliographer; his sale Sotheby's 7 May 1835 lot 3151 erroneously identified as Melanchthon's copyl - Lewis H. Machen 1790-1863 clerk of the United States Senate and Virginia farmer; pencil note. 15000 unknown books
2011réf. 251607112CreateSpace Independent Publishing Platform 2011-03-03. Paperback. Very Good. Book is not new but in very good condition. Overall- Minor Wear. Cover is very good with minor - moderate wear. Buy with confidence.customer service is our TOP PRIORITY! Quick Shipping/ Free Delivery Confirmation! CreateSpace Independent Publishing Platform paperback
1883réf. 000521Istanbul: Matbaa-i Bahriye the Navy press 1883 Book. Very Good. Hardcover. 1st Edition. 8vo - over 7¾ - 9¾" tall. THE MOST COMPREHENSIVE ENCYCLOPAEDIA IN THE OTTOMAN TURKISH ABOUT THE ARABIAN PENINSULA AND THE TOW HOLY SANCTUARIES IN HEDJAZ BY THE WELL-KNOWN AUTHOR WHO WAS EMPLOYED IN THE OTTOMAN ARMY IN HEJAZ IN C. 1865 AND THEN BECAME AN ADMIRAL IN THE OTTOMAN NAVY. EYUP SABRI PASHA WAS BORN IN TASALYA THESSALIA IN THE 19th C. AND DIED IN ISTANBUL IN 1890. HE IS BETTER KNOWN WITH HIS DESCRIPTIVE BOOKS ABOUT MECCA MEDINA THE ARABIAN PENINSULA AND THE WAHHABY ACTIVITIES BESIDE HIS RELIGIOUS BOOKS. HE WAS AWARE OF THE OFFICIAL ISSUES OF THE HEJAZ BECAUSE OF HIS BEING ACQUAINTED ON THE OFFICIAL CORREPONDENCE BETWEEN THE VILAYET OF HEJAZ AND THE CENTRAL AUTHORITY IN ISTANBUL Five parts in five volumes. Part 1 Mir'at Mecca in tow volumes. Vol. 1 44 Index pages 1 to 640 with lithographic plates of which tow are in colours on double pages and one gilted. Vol. 2 p. 45 to 58 index pages 641 to 1175 with lithographic plates of which one is in green and silver one unusual to be existing big folding plate in colours gilt and sprinkled in gold of the curtain of the gate of Ka'baa. One folding plan of the holy mosque in Mecca. The tow volumes of Mecca are in contemporary fine bindings with the arm of the Ottoman state and richly gilted spines. Part 2 Mir'at al Medina in tow volumes printed in 1886. Vol. 1 pages 1 to 698 with some diagrams and lithographic plates including one folding in green and silver. Vol. 2 8 index pages 699 to 1343 with a plan of the holy mosque in Medina. The tow volumes of Medina are in contemporary or possibly later fine Ottoman bindings with richly gilted spines. Part 3 Mir'at Jazirat al 'Arab View of the Arabian Peninsula one vol. printed in 1888. index 416 p. with 2 lithographic plates. Contemporary fine Ottoman binding with richly gilted spine. FINE SET WITH EXTRA PLATE WHICH IS VERY DIFFICULT TO EXIST. For other copies of this book see inventory no. 000276 000519 and 000520. Matbaa-i Bahriye (the Navy press) hardcover
réf. ST20214Northern France perhaps Beauvais or Amiens late 13th or early 14th century. 286 x 199 mm. 11 1/4 x 7 3/4". Double column containing a mixture of staves and text approximately 21 lines in an excellent formal gothic book hand. Attractively matted. Rubrics in red chant text containing black penwork initials with red and yellow geometric elaboration BEAUTIFULLY ILLUMINATED with five two-line initials painted blue or pink with white tracery on a ground in the contrasting color two of the initials filled with grotesques and swirling vines and two with the filler design traced out but never completed each initial with blue and pink extensions terminating in orange leaves or spiky shapes; the verso featuring AN IMPRESSIVE SIX-LINE "N" 58 x 50 mm. in the same style filled with an intricate knotwork design and orange leaves with long extensions including a horizontal extension across the upper margin. Margins with light offsetting of the designs from the facing leaf; remnants of mounting tape on recto corners and bottom edge; verso apparently with a barely visible Medieval "14" in lower margin. An area measuring 5 mm. at edges just faintly yellowed from mat burn but IN FINE CONDITION the vellum otherwise quite bright the paint rich and the gold brightly glittering. This sumptuously decorated leaf--which is beautifully preserved and contains a particularly large and handsome initial--comes from the last volume of a three-volume Missal presented to Beauvais Cathedral by Canon Robert de Hangest d. 1356. The Missal remained at the cathedral at least through the 17th century when it is noted in an inventory but was removed from the church at some point likely in the aftermath of the French Revolution. The parent volume eventually entered the collection of Henri-Auguste Brölemann 1775-1854 of Lyon who passed it to his grand-daughter Etienne Mallet who then sold it at Sotheby's in 1926. It was then acquired for the collection of William Hearst where it remained for the next 25 years. In 1941 it was again sold at auction and subsequently dismembered. Though long thought to have been the work of famed biblioclast Otto Ege recent scholarship suggests that it was actually Phillip Duschnes who was responsible for breaking up the book keeping some leaves for himself and selling others on to his colleague Ege for inclusion in his portfolios of "Fifty Original Leaves from Medieval Manuscripts." The Beauvais Missal has been a subject of interest for many notable scholars chief among them being Christopher de Hamel--see: "Otto Ege and the Beauvais Missal" in "Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library" and it is currently the focus of a major effort to "reconstruct" the manuscript digitally--a project spearheaded by Lisa Fagin Davis. Other leaves from the parent volume are in the collections of the Morgan Library the Metropolitan Museum of Art the Cleveland Museum of Art and the Houghton Library at Harvard among many others. Although there is some dispute among art historians the illumination has been tentatively attributed to the artist of the Hours of Yolande of Soissons produced in Amiens ca. 1280 and now held by the Morgan Library MS M.729. It is worth noting that the town of Hangest home to the original owner is only 10 miles from Amiens and is a likely place of origin for the Missal. The present leaf contains a text for a major feast day and thus contains a large and extravagantly decorated initial for its opening "'Nunc scio vere." It is not too much to say that the decoration here is masterful but curiously--and of special interest to us from a modern perspective--the illuminators seem to have forgotten to put the finishing touches on the two smaller initials above which still contain sketches of the preliminary design. unknown
réf. ST20214Northern France perhaps Beauvais or Amiens late 13th or early 14th century. 286 x 199 mm. 11 1/4 x 7 3/4". Double column containing a mixture of staves and text approximately 21 lines in an excellent formal gothic book hand. Attractively matted. Rubrics in red chant text containing black penwork initials with red and yellow geometric elaboration BEAUTIFULLY ILLUMINATED with five two-line initials painted blue or pink with white tracery on a ground in the contrasting color two of the initials filled with grotesques and swirling vines and two with the filler design traced out but never completed each initial with blue and pink extensions terminating in orange leaves or spiky shapes; the verso featuring AN IMPRESSIVE SIX-LINE "N" 58 x 50 mm. in the same style filled with an intricate knotwork design and orange leaves with long extensions including a horizontal extension across the upper margin. Margins with light offsetting of the designs from the facing leaf; remnants of mounting tape on recto corners and bottom edge; verso apparently with a barely visible Medieval "14" in lower margin. An area measuring 5 mm. at edges just faintly yellowed from mat burn but IN FINE CONDITION the vellum otherwise quite bright the paint rich and the gold brightly glittering. This sumptuously decorated leaf--which is beautifully preserved and contains a particularly large and handsome initial--comes from the last volume of a three-volume Missal presented to Beauvais Cathedral by Canon Robert de Hangest d. 1356. The Missal remained at the cathedral at least through the 17th century when it is noted in an inventory but was removed from the church at some point likely in the aftermath of the French Revolution. The parent volume eventually entered the collection of Henri-Auguste Brölemann 1775-1854 of Lyon who passed it to his grand-daughter Etienne Mallet who then sold it at Sotheby's in 1926. It was then acquired for the collection of William Hearst where it remained for the next 25 years. In 1941 it was again sold at auction and subsequently dismembered. Though long thought to have been the work of famed biblioclast Otto Ege recent scholarship suggests that it was actually Phillip Duschnes who was responsible for breaking up the book keeping some leaves for himself and selling others on to his colleague Ege for inclusion in his portfolios of "Fifty Original Leaves from Medieval Manuscripts." The Beauvais Missal has been a subject of interest for many notable scholars chief among them being Christopher de Hamel--see: "Otto Ege and the Beauvais Missal" in "Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library" and it is currently the focus of a major effort to "reconstruct" the manuscript digitally--a project spearheaded by Lisa Fagin Davis. Other leaves from the parent volume are in the collections of the Morgan Library the Metropolitan Museum of Art the Cleveland Museum of Art and the Houghton Library at Harvard among many others. Although there is some dispute among art historians the illumination has been tentatively attributed to the artist of the Hours of Yolande of Soissons produced in Amiens ca. 1280 and now held by the Morgan Library MS M.729. It is worth noting that the town of Hangest home to the original owner is only 10 miles from Amiens and is a likely place of origin for the Missal. The present leaf contains a text for a major feast day and thus contains a large and extravagantly decorated initial for its opening "'Nunc scio vere." It is not too much to say that the decoration here is masterful but curiously--and of special interest to us from a modern perspective--the illuminators seem to have forgotten to put the finishing touches on the two smaller initials above which still contain sketches of the preliminary design. unknown books
1721réf. 3633109/1721. Theirs was a famously combative relationship; Frederick would attempt to flee to Britain 9 years later In his early youth Frederick lived with his mother and sister Wilhelmine although they regularly visited their father's hunting lodge at Königs Wusterhausen. Frederick and his older sister formed a close relationship which lasted until her death in 1758. Frederick was educated to speak both French and German and many of his tutors were French Calvinists. The relationship between Frederick the Great and his father Frederick William I was deeply strained and often hostile. Frederick William I was a rigid militaristic ruler who valued discipline obedience and a strong army above all else while his son was drawn to music literature and French Enlightenment culture. The King saw these interests as weak and unmanly and he frequently criticized and even physically punished Frederick in an attempt to force him into a more soldierly mold. Their conflict reached a peak in 1730 when Frederick attempted to flee Prussia to escape his father’s control. The plan failed and Frederick William I reacted harshly—he had Frederick arrested and forced him to watch the execution of his close friend Hans Hermann von Katte who had helped in the escape attempt. Although Frederick later became a brilliant military ruler the emotional distance between father and son never fully disappeared. In fact Frederick’s later embrace of culture and philosophy can be seen partly as a reaction against his father’s severity. Wusterhausen was an important royal residence in early 18th-century Prussia and played a key role in the upbringing of Frederick the Great. In the early 1720s when Frederick was still a child he spent time there with his father Frederick William I who used the palace as a retreat from Berlin. The site was known for the King’s informal “Tobacco Parliament” where political and military matters were discussed. For the young Frederick Wusterhausen symbolized the strict militaristic environment imposed by his father which sharply contrasted with his own developing interests in culture music and Enlightenment thought—tensions that would later shape his character and reign. Autograph letter signed in old Germanic script from then Prince Frederick to the King ""My dear Papa"" ""in September 1721."" The General mentioned is likely Johann Matthias von der Schulenburg. ""I hope that my dear Papa is still doing well and I am longing very much to go to Wusterhausen. I am constantly hoping that my dear Papa will order for me to come. I am awaiting with the greatest impatience to see my dear Papa. I am humbly requesting my dear Papa that he may let me come to Wusterhausen. I remain my dear Papa’s Most obedient servant and son Frederich."" ""The general Schulenburg has told me that my dear Papa is still doing well about which I am very glad and he also asked me to be godfather."" <img class=""alignnone wp-image-25018 size-post-window"" src=""https://cdn.raabcollection.com/wp-content/uploads/20231204144051/Folder-site-11-1600x1327.jpg"" alt=""historical memorabilia dealer"" width=""1600"" height=""1327"" /> unknown
1721réf. 3633109/1721. Theirs was a famously combative relationship; Frederick would attempt to flee to Britain 9 years later In his early youth Frederick lived with his mother and sister Wilhelmine although they regularly visited their father's hunting lodge at Königs Wusterhausen. Frederick and his older sister formed a close relationship which lasted until her death in 1758. Frederick was educated to speak both French and German and many of his tutors were French Calvinists. The relationship between Frederick the Great and his father Frederick William I was deeply strained and often hostile. Frederick William I was a rigid militaristic ruler who valued discipline obedience and a strong army above all else while his son was drawn to music literature and French Enlightenment culture. The King saw these interests as weak and unmanly and he frequently criticized and even physically punished Frederick in an attempt to force him into a more soldierly mold. Their conflict reached a peak in 1730 when Frederick attempted to flee Prussia to escape his father’s control. The plan failed and Frederick William I reacted harshly—he had Frederick arrested and forced him to watch the execution of his close friend Hans Hermann von Katte who had helped in the escape attempt. Although Frederick later became a brilliant military ruler the emotional distance between father and son never fully disappeared. In fact Frederick’s later embrace of culture and philosophy can be seen partly as a reaction against his father’s severity. Wusterhausen was an important royal residence in early 18th-century Prussia and played a key role in the upbringing of Frederick the Great. In the early 1720s when Frederick was still a child he spent time there with his father Frederick William I who used the palace as a retreat from Berlin. The site was known for the King’s informal “Tobacco Parliament” where political and military matters were discussed. For the young Frederick Wusterhausen symbolized the strict militaristic environment imposed by his father which sharply contrasted with his own developing interests in culture music and Enlightenment thought—tensions that would later shape his character and reign. Autograph letter signed in old Germanic script from then Prince Frederick to the King ""My dear Papa"" ""in September 1721."" The General mentioned is likely Johann Matthias von der Schulenburg. ""I hope that my dear Papa is still doing well and I am longing very much to go to Wusterhausen. I am constantly hoping that my dear Papa will order for me to come. I am awaiting with the greatest impatience to see my dear Papa. I am humbly requesting my dear Papa that he may let me come to Wusterhausen. I remain my dear Papa’s Most obedient servant and son Frederich."" ""The general Schulenburg has told me that my dear Papa is still doing well about which I am very glad and he also asked me to be godfather."" <img class=""alignnone wp-image-25018 size-post-window"" src=""https://cdn.raabcollection.com/wp-content/uploads/20231204144051/Folder-site-11-1600x1327.jpg"" alt=""historical memorabilia dealer"" width=""1600"" height=""1327"" /> unknown books
réf. 32483AB1974. Scotland 1974-2002. Oblong-Folio 44 cm wide x 36 cm high. Hardcover / Original Full-Leather Folders with stong black cardboards and original tissue-guards. Excellent condition with only minor signs of wear. With hundreds of manuscript annotations on the photography the photography-technique film used and with extensive elaborations on each photograph in these albums. More images on request ! Album 1: Covers the years 1974 1977 and 1978. The West Highland Line is walked from Arrochar a 1977 driving and camping holiday and a 1978 seventeen day touring holiday with many nights sleeping in a car fill the leaves with c. 200 b/w original photographs. Album 2: Covers the years 1991 and 1992. It is noted that 1990 is the fourth year that returning locomotives from the Mallaig line will work south over the West Highland main line. Images of Corrour Summit Glasgow to Fort William trains and many many more bridges viaducts tunnels stations and signalling equipment fill the leaves. c.182 b/w original photographs. Album 3: Covers 1993. More colour photographs now fill the leaves and annotations cease to second half of album. c 270 b/w colour and tinted original photographs. Album 4: Covers 1999 and 2002. Many images from The Highlands Rail Festival in Sept 1999. c.250 b/w and colour original photographs. An extraordinary photographic record and passion project presented in 4 huge well-bound albums containing over 900 fine photographs taken curated and annotated by an unidentified railway enthusiast and talented photographer. The albums span 4 decades recording trips to some of the most scenic and famous rail locations in the UK. The West Highland Line is returned to again and again over the decades and our photographer captures Scotlands most dramatic landscapes and railways as the route passes on its way from Glasgow to Mallaig through sections including Corrour and Rannoch Moor. Albums and contents in fine condition. A tissue guard between every leaf protects the photographs within. A single photograph of a middle aged man among every other photograph which records a detail of the railway is the only clue to the albums previous ownership and perhaps authorship. Partial description by our colleague Dr.Christian White from Christian White Rare Books in Ilkley UK. __________________________________________________________________________________________________________ The West Highland Line Scottish Gaelic: Rathad Iarainn nan Eilean "Iron Road to the Isles" is a railway line linking the ports of Mallaig and Oban in the Scottish Highlands to Glasgow in Central Scotland. The line was voted the top rail journey in the world by readers of independent travel magazine Wanderlust in 2009 ahead of the notable Trans-Siberian line in Russia and the Cuzco to Machu Picchu line in Peru. The ScotRail website has since reported that the line has been voted the most scenic railway line in the world for the second year running. The West Highland Line is one of two railway lines that access the remote and mountainous west coast of Scotland the other being the Kyle of Lochalsh Line which connects Inverness with Kyle of Lochalsh. The line is the westernmost railway line in Great Britain. At least in part the West Highland Line is the same railway line as that referred to as the West Highland Railway. History: The route was built in several sections: Glasgow Queen Street to Cowlairs Junction - Edinburgh and Glasgow Railway Cowlairs Junction to Bowling - Glasgow Dumbarton and Helensburgh Railway later absorbed into the Edinburgh and Glasgow Railway Bowling to Dumbarton Central - Lanarkshire and Dumbartonshire Railway operated by the Caledonian Railway Dumbarton Central to Dalreoch - Caledonian and Dumbartonshire Junction Railway Dalreoch to Craigendoran - Glasgow Dumbarton and Helensburgh Railway Craigendoran to Fort William opened 11 August 1894 - West Highland Railway sponsored by the North British Railway Crianlarich to Oban - Callander and Oban Railway operated by the Caledonian Railway. There is an additional section from Fort William or a junction near Fort William to Mallaig built as the Mallaig Extension Railway. The West Highland Railway approved the construction of the line at their annual meeting in January 1895. The line faced potential closure as part of the Beeching cuts in 1963 and again in 1995 due to reduced revenues. Route description: Shortly after leaving Glasgow Queen Street station and beyond Queen Street Tunnel the line diverges from the main trunk route to Edinburgh Waverley and Perth at Cowlairs and follows a northwesterly course through the suburbs of Maryhill and Kelvindale. Between Westerton and Dumbarton the route is shared with the North Clyde Line to Helensburgh Central before branching northward at Craigendoran Junction towards Garelochhead the section where the West Highland Line itself is generally accepted to begin. It gives high-level views of the Gare Loch and Loch Long before emerging alongside the northwesterly shores of Loch Lomond then climbs Glen Falloch to Crianlarich. The branch to Oban diverges at Crianlarich an important Highland junction of both road and rail and runs through Glen Lochy to Dalmally and through the Pass of Brander to reach salt water at Taynuilt and Connel Ferry before a final climb over a hill to Oban. About three miles five kilometres from Crianlarich the Mallaig and Oban routes both pass through the village of Tyndrum but they are served by separate stations making it an unusually small settlement to be served by more than one railway station. After Bridge of Orchy the line to Mallaig climbs onto Rannoch Moor past the former crossing point at Gorton Crossing to Rannoch station. In winter the moor is often covered with snow and deer may be seen running from the approaching train. The station at Corrour on the moor is one of the most remote stations in Britain and is not accessible by any public road. This is the summit of the line at 1347 ft 410 m above sea level. Carrying on northwards the line descends above the shores of Loch Treig and through the narrow Monessie Gorge. The final stop before Fort William is Spean Bridge. The section between Fort William and Mallaig passes over the Glenfinnan Viaduct through Arisaig with its views of the Small Isles of Rùm Eigg Muck and Canna and the white sands of Morar before coming to Mallaig itself. With the exception of the route between Glasgow Queen Street and Helensburgh Upper and the short section between Fort William Junction and Fort William station the railway is signalled using the Radio Electronic Token Block controlled from the signal box at Banavie station. Notable railway-related features Glenfinnan Viaduct The Horse Shoe Curve between Upper Tyndrum and Bridge of Orchy The Cruach Rock snowshed between Rannoch and Corrour Glenfinnan Viaduct between Locheilside and Glenfinnan The Pass of Brander stone signals between Dalmally and Taynuilt Arisaig is the most westerly railway station in Great Britain West Highland Line in film: Train crossing bridge at Banavie The summit of the line just north of Corrour Glenfinnan Viaduct on the line between Fort William and Mallaig is a filming location for the Hogwarts Express in the Harry Potter series of films. Eddie McConnell's poetic documentary A Line for All Seasons 1970 showcases the line and its history set against the scenery of the western highlands as it changes through the seasons. Corrour features in Trainspotting 1996 directed by Danny Boyle. Source: Wikipedia hardcover
1588réf. 57770Kiøbenhaffn, (Matz Vingaard), (1588-)89. Folio. (39 x 27 cm.). Samtidigt hellæderbind i brunt kalveskind over svært træ og med kanter i smig. Lettere ophøjede bind på ryg. Håndsyede kapitælbånd. Lille hak i skindet på nederste rygfelt. Med de 4 originale hængselsbeslag i støbt messing bevarede, men den ene strop fornyet og den anden mangler. Permerne har begge blindtrykte arabesker, i midterfeltet en stor arabesk og i hjørner og kanter 6 pyramideformede arabesker, som alle er med en blindtrykt krone i pyramidens top. Permerne har mindre messingstifter med store hoveder til beskyttelse af bindet ved opslag. Marmoreret snit. Bindet er ganske velbevaret med kun lidt kantslid og let slid på de ophøjede rygbind. (22),353(i.e.354),226,159 blade. Komplet, men uden de 3 blanke blade. Træskåret titelblad med tekst trykt i rødt i midterfeltet. Titelbladsvarianten med kongens kobberstukne portræt (af Goltzius) opklæbet på bagsiden (en del eksemplarer udkom uden portrættet). Blad 2 med rigsvåbnet, bladet er kantrepareret. 2 træskårne deltitelblade. Registerbladene med svag skjold i ydre marginer. De sidste 35 blade delvist omkantede, for det meste i ydre marginer. Ganske få spredte brunpletter. Iøvrigt ganske lette brugsspor. Et udmærket velbevaret og komplet eksemplar (bortset fra de 3 blanke).På forreste friblad er anført lidt af eksemplarets ejerhistorie fra 1819, - erhvervet af Mikkel Johannesson Fladebøe som her delvist klausulerer dens ejerskab til fremtidige ejere af gården (Fladebøe ?). Senere synes den overgået til andre i slægten bosat i U.S.A. (Olaf Albertsen, Axel Albertsen, Stanley Albertsen, Sidney Albertsen). Folio. (39 x 27 cm.). Contemporary brown full calf over heavy wooden boards with oblique edges. Sloghtly raised bands to spine. Hand-stitched capital bands. A small notch to the leather of bottom compartment of spine. With the four original brass clasps preserved, but one strap has been renewed and the other is missing. Boards with large blindstamped centre-arabesque and six pyramid shaped arabesques to corners and edges, all with a blindstamped crown on top. Large-headed bras spins to boards, to protect the boards when open. Marbled edges. A bit of wear to edges and light wear to the raised bands. (22), 353(i.e.354), 226, 159 ff. Complete, save for the three blank leaves. Woodcut title-page with centre-text printed in red. The title-page variant with the engraved portrait of the king (by Goltzius) mounted on verso. Several copies were issued without portrait, and some were issued, as here, with the title-page mounted on verso. F. 2 with the royal arms, restored at edges. Two woodcut helf-titles. The index-leaves with a vague damp stain to the outer margins. The last 35 leaves have been partly re-edged, mostly at the very outer margins. A bit of light scattered brownspotting. Light signs of wear. An overall well preserved copy in- as well as externally. Front free end-paper with handwritten notes on provenance from 1819 onward – bought by Mikkel Johannesson Fladebøe, who partly clauses the ownership of the copy to the future owners of the estate (Fladebøe?). It seems to have then passed to other generations of the same lineage located in The United States (Olaf Albertsen, Axel Albertsen, Stanley Albertsen, Sidney Albertsen).
1633réf. 60241Kiøbenhaffn, (Melchior Martzan og Salomon Sartor), (1632-) 1633. Folio (binding: 37 x 25 cm.). Bound in a spledid, contemporary full calf binding over wooden boards. Rich, elaborate gilding to both boards and spine. The gilding is vague, especially on the front board, but the tooling is very sharp, and the binding overall is magnificent. With four beautiful, ornamented brass edges to each board and two large ornamented brass clasps. All edges are gilt and beautifully blindtooled. Wear to capitals, where the cords are loosening a bit, and with a bit of loss of leather. A bit of wear to hinges, at the cords, which are showing. But overall the binding is in splendid condition. Also internally extremely well preserved. The title-page has a tiny restored hole to lower right corner, and the first four leaves might have been inserted. They are slightly smaller at the outer margin than the other leaves. But that might also be due to restoration, as the binding has not been tampered with at any point and is completely unrestored. The text is unusually nice, clean and fresh, by far the nicest copy we have ever come across. Pasted-down front end-paper with the ownership signature and lacquered coat-of-arms seal of Severin Svanenhielm (Severin Seehusen (1664-1726) ) as well as the ownership signatures of Søren Schiøtz (1796-1863) (with names of members of his family), C. Th. Zahle and Erik Zahle. With the book plate of William Davignon (d. 1924). The brass corners carry the initials HL and are depicted in Johannes Rudbeck's Svenska Bokband I (fig. 26, p.53). The binding there is dated 1622, whereas our binding is from 1633 or right after. The brass fittings were a commercial merchandise for sale in Germany and probably also in both Sweden and Denmark. Engraved title-page as well as the engraved portrait of Christian IV, all by the royal engraver Simon the Pas. Without the half-title, which merely contains the printed words ""BIBLIA / Paa Danske"", which is almost never present. (21 - not counting the engraved title-page and the portrait), 353 (i.e. 354 due to the erroneous double pagination 353), 226, 159 ff.
1633réf. 60241Kiøbenhaffn Melchior Martzan og Salomon Sartor 1632- 1633. Folio binding: 37 x 25 cm. Bound in a spledid contemporary full calf binding over wooden boards. Rich elaborate gilding to both boards and spine. The gilding is vague especially on the front board but the tooling is very sharp and the binding overall is magnificent. With four beautiful ornamented brass edges to each board and two large ornamented brass clasps. All edges are gilt and beautifully blindtooled. Wear to capitals where the cords are loosening a bit and with a bit of loss of leather. A bit of wear to hinges at the cords which are showing. But overall the binding is in splendid condition. Also internally extremely well preserved. The title-page has a tiny restored hole to lower right corner and the first four leaves might have been inserted. They are slightly smaller at the outer margin than the other leaves. But that might also be due to restoration as the binding has not been tampered with at any point and is completely unrestored. The text is unusually nice clean and fresh by far the nicest copy we have ever come across. Pasted-down front end-paper with the ownership signature and lacquered coat-of-arms seal of Severin Svanenhielm Severin Seehusen 1664-1726 as well as the ownership signatures of Søren Schiøtz 1796-1863 with names of members of his family C. Th. Zahle and Erik Zahle. With the book plate of William Davignon d. 1924. The brass corners carry the initials HL and are depicted in Johannes Rudbeck's Svenska Bokband I fig. 26 p.53. The binding there is dated 1622 whereas our binding is from 1633 or right after. The brass fittings were a commercial merchandise for sale in Germany and probably also in both Sweden and Denmark. Engraved title-page as well as the engraved portrait of Christian IV all by the royal engraver Simon the Pas. Without the half-title which merely contains the printed words "BIBLIA / Paa Danske" which is almost never present. 21 - not counting the engraved title-page and the portrait 353 i.e. 354 due to the erroneous double pagination 353 226 159 ff. A magnificent copy of the scarce first edition of the last i.e. the third of the Danish folio-bibles known as "Christian IV's Bible" being a slightly revised edition of the Bible of 1589. Christian IV is the most famous Danish king ever to have lived and the Christian IV bible is extremely sought-after. An unusually fresh and complete apart from the always lacking half-title copy of this splendid bible printed by the first royal printer Melchior Martzan and Salomon Sartor part 2. The numerous woodcut illustrations are the same that were used for the Frederik II Bibel from 1589. The four engraved leaves - the portrait and the three title-pages - are by Simon de Pas.Bibl. Dan.I9 - Thesaurus II 378. - Birkelund 41. - Darlow and Moule 3160. Provenance: Svanenhielm was a family of Danish and Norwegian nobility. Morten Hansen Seehuusen 1629-1694 was a merchant from Bredstedt in Schleswig-Holstein who re-located to Stavanger Norway. His son Severin Seehusen 1664-1726 was an official in Bergen as well as in Stavanger and Northern Norway. He owned among other properties Damsgård Manor outside Bergen Svanøy in Sunnfjord and Arnegård in Stavanger. In 1720 Severin Seehausen was ennobled under the name Svanenhielm. Søren Daniel Schiøtz 1796-1863 was a Norwegian bailiff and judge who was also very much engaged in religious matters and came to play an important role in the history of theology in Norway. He was one of the founders of the Norwegian Mission Society and the Norwegian Israeli Mission. He translated several important upbuilding pieces from German among them a comprehensive bible history. Carl Theodor Zahle 1866 – 1946 was a highly important Danish lawyer and politician. He was prime minister of Denmark from 1909 to 1910 and again from 1913 to 1920. In 1895 he was elected member of the lower chamber of the Danish parliament for the Liberal Party. A campaigner for peace in 1905 he co-founded the Social Liberal Party Det Radikale Venstre. He stayed on as a member of Parliament for Det Radikale Venstre until 1928 when he became a member of the upper chamber of Parliament Landstinget. In 1929 he became Minister of Justice a post which he held until 1935. Zahle was instrumental in starting negotiations for a new Danish–Icelandic Act of Union in 1917 which resulted in Iceland being recognized as a sovereign nation in a personal union with the king of Denmark the following year. Erik Zahle 1898-1969 was a famous Danish art historian author and museum director. hardcover
1588réf. 57770Kiøbenhaffn Matz Vingaard 1588-89. Folio. 39 x 27 cm. Samtidigt hellæderbind i brunt kalveskind over svært træ og med kanter i smig. Lettere ophøjede bind på ryg. Håndsyede kapitælbånd. Lille hak i skindet på nederste rygfelt. Med de 4 originale hængselsbeslag i støbt messing bevarede men den ene strop fornyet og den anden mangler. Permerne har begge blindtrykte arabesker i midterfeltet en stor arabesk og i hjørner og kanter 6 pyramideformede arabesker som alle er med en blindtrykt krone i pyramidens top. Permerne har mindre messingstifter med store hoveder til beskyttelse af bindet ved opslag. Marmoreret snit. Bindet er ganske velbevaret med kun lidt kantslid og let slid på de ophøjede rygbind. 22353i.e.354226159 blade. Komplet men uden de 3 blanke blade. Træskåret titelblad med tekst trykt i rødt i midterfeltet. Titelbladsvarianten med kongens kobberstukne portræt af Goltzius opklæbet på bagsiden en del eksemplarer udkom uden portrættet. Blad 2 med rigsvåbnet bladet er kantrepareret. 2 træskårne deltitelblade. Registerbladene med svag skjold i ydre marginer. De sidste 35 blade delvist omkantede for det meste i ydre marginer. Ganske få spredte brunpletter. Iøvrigt ganske lette brugsspor. Et udmærket velbevaret og komplet eksemplar bortset fra de 3 blanke.På forreste friblad er anført lidt af eksemplarets ejerhistorie fra 1819 - erhvervet af Mikkel Johannesson Fladebøe som her delvist klausulerer dens ejerskab til fremtidige ejere af gården Fladebøe . Senere synes den overgået til andre i slægten bosat i U.S.A. Olaf Albertsen Axel Albertsen Stanley Albertsen Sidney Albertsen. Folio. 39 x 27 cm. Contemporary brown full calf over heavy wooden boards with oblique edges. Sloghtly raised bands to spine. Hand-stitched capital bands. A small notch to the leather of bottom compartment of spine. With the four original brass clasps preserved but one strap has been renewed and the other is missing. Boards with large blindstamped centre-arabesque and six pyramid shaped arabesques to corners and edges all with a blindstamped crown on top. Large-headed bras spins to boards to protect the boards when open. Marbled edges. A bit of wear to edges and light wear to the raised bands. 22 353i.e.354 226 159 ff. Complete save for the three blank leaves. Woodcut title-page with centre-text printed in red. The title-page variant with the engraved portrait of the king by Goltzius mounted on verso. Several copies were issued without portrait and some were issued as here with the title-page mounted on verso. F. 2 with the royal arms restored at edges. Two woodcut helf-titles. The index-leaves with a vague damp stain to the outer margins. The last 35 leaves have been partly re-edged mostly at the very outer margins. A bit of light scattered brownspotting. Light signs of wear. An overall well preserved copy in- as well as externally. Front free end-paper with handwritten notes on provenance from 1819 onward – bought by Mikkel Johannesson Fladebøe who partly clauses the ownership of the copy to the future owners of the estate Fladebøe. It seems to have then passed to other generations of the same lineage located in The United States Olaf Albertsen Axel Albertsen Stanley Albertsen Sidney Albertsen. The magnificent first printing of the second Danish-Norwegian Bible in folio. This the second Danish Bible in folio is also the first to be printed by a Dane. The scarce and famous "Frederik II-Bible" constitutes the magnum opus of the famed book printer Mads Vingaard "and the most extensive work of printing undertaken in Denmark during the sixteenth century. The book is profusely illustrated with woodcuts copied from a german Bible issued by Sigmund Feyerabend in Frankfurt a. M. 1560. The original woodcuts were made by the artist and craftsman Virgil Solis. Wide woodcut borders together with pictures using themes from the Scriptures surround the title pages and the illustrations. On the reverse of the first title page many copies have pasted in a portrait of Frederich II engraved by the Dutch artist Hendrick Goltzius. However this portrait may also be found on a separate leaf." Thesaurus I.Lauritz Nielsen 405. - Thesaurus I 129. - Birkelund 34. hardcover
réf. Lerhard, Morten, edNot in perfect condition. unknown
réf. 39529London: 1843-1899. 77 Vols. folio numerous illustrations throughout first 6 volumes bound in orig. publishers cloth re-backed the rest bound in half hard grain morocco spines lettered in gilt some light rubbing but a very nice usable set. A complete run cover the nineteenth-century of this highly important and influential architectural periodical. Originally published as a weekly magazine from 31 December 1842 onward complete runs such as this are extremely rare. Each volume is illustrated large woodcut illustrations showing newly designed buildings by the major architects of the time. "The most informative and influential works in the field of architecture. incomparable in the scope and range of their coverage and they form an extraordinary record of aesthetic and cultural progress not only in the United Kingdom but around the world. yet the wealth of architectural information in The Builder. still lies buried in the weekly descriptive reports on literally thousands of buildings that include churches schools hospitals town halls libraries market halls office blocks factories private houses court houses hotels workhouses monuments public baths exhibitions halls clubs and even cemetery monuments public parks and engineering structures. These articles do not appear to have ever been methodically examined or presented in a digital format in a manner that can be easily used by historians architects artists heritage planners conservation officers community heritage groups students restoration consultants or anyone in the related fields of research or in the building trades."Robert G. Hill. London: 1843-1899 hardcover
1648réf. B1GGR2474I77Amsterdam 1648. Small 4to 19 x 15 cm. Tymen Houthaeck Modern marbled wrappers. With a engraved illustration of a labyrinth on title-page an engraved plate by P. Holsteyn after A. Vinckenbrinck 3 engravings in text and a folding engraved plate of David & Goliath. 8 ll. Extremely rare third edition the first with poems by Jan Vos and double the size of the two earlier editions of a description intended as souvenir of the "Oude Doolhof" literally: old labyrinth of Amsterdam a sort of amusement park at the Looiersgracht. It was the first public doolhof founded by the wine merchant and inn-keeper Vincent Jacobsz. Coster at the beginning of the 17th century. The Doolhof was a sculpture garden with a labyrinth exhibiting fountains sculptures and automata showing historical mythical and biblical figures and spectacles. The booklet was first published ca. 1645 by Crispyn Passe the younger in 4 leaves and other versions followed soon after. For the present edition one full-page and one folding engraved plate were added together with poems by Jan Vos 1612-1667 the most popular Dutch playwright of his time.With the outer corner of the foot of the title-page and the first plate torn off and two minor waterstains on the title-page otherwise in very good condition.l Franken 1375 note; Meijer "Het oude doolhof te Amsterdam" in: Oud Holland I 1883 pp. 119-135; Spies De Amsterdamse doolhoven pp. 70-71; STCN 2 copies; WorldCat same 2 copies. ART ARCHITECTURE & PHOTOGRAPHY DRAWINGS PRINTS & WATERCOLOURS HORSES HUNTING SPORTS & GAMES LOW COUNTRIES Amsterdam Castles Gardens & Mansions Games & Sports Netherlands unknown
1562réf. 376729Frankfurt am Main: David Zöpfel 1562. Woodcut title vignette 43 woodcut illustrations some repeated. Title page in red and black. 8 300 leaves. Small 4to 7-3/4 x 5-7/8 inches. Late nineteenth century brown crushed morocco gilt by Frances Bedford marbled endpapers gilt edges. Provenance: William Title inscription dated 1856 on front free endpaper; C. S. Ascherson bookplate and inscription to; Edward Ascherson bookplate. Woodcut title vignette 43 woodcut illustrations some repeated. Title page in red and black. 8 300 leaves. Small 4to 7-3/4 x 5-7/8 inches. The first of two Frankfurt printings by David Zöpfel that year using the same woodcuts. The text is descended from the Low German version Reynke de Vos first printed at Lübeck in 1498. Among the most widely adapted of the beast fables the tales of Reynard the Fox originated in the 12th and 13th centuries with early versions in French Dutch Latin and German being notable. One of the most important secular literary traditions of the Middle Ages Reynard the Fox is at its essence biting satire and parody. The character of Reynard an anthropomorphic fox and trickster has since become almost an archetype in the literatures of many languages. "The supreme 'anti-hero' of medieval fiction" Cambridge Guide to Children's Books in English. This copy from the renowned library of the eminent British architect and book collector Sir William Tite 1798-1873 whose sale at Sotheby's in May-June 1874 took sixteen days certainly one of the greatest collections of the time. [David Zöpfel] unknown
1562réf. 376729Frankfurt am Main: David Zöpfel 1562. Woodcut title vignette 43 woodcut illustrations some repeated. Title page in red and black. 8 300 leaves. Small 4to 7-3/4 x 5-7/8 inches. Late nineteenth century brown crushed morocco gilt by Frances Bedford marbled endpapers gilt edges. Provenance: William Title inscription dated 1856 on front free endpaper; C. S. Ascherson bookplate and inscription to; Edward Ascherson bookplate. Woodcut title vignette 43 woodcut illustrations some repeated. Title page in red and black. 8 300 leaves. Small 4to 7-3/4 x 5-7/8 inches. The first of two Frankfurt printings by David Zöpfel that year using the same woodcuts. The text is descended from the Low German version Reynke de Vos first printed at Lübeck in 1498. Among the most widely adapted of the beast fables the tales of Reynard the Fox originated in the 12th and 13th centuries with early versions in French Dutch Latin and German being notable. One of the most important secular literary traditions of the Middle Ages Reynard the Fox is at its essence biting satire and parody. The character of Reynard an anthropomorphic fox and trickster has since become almost an archetype in the literatures of many languages. "The supreme 'anti-hero' of medieval fiction" Cambridge Guide to Children's Books in English. This copy from the renowned library of the eminent British architect and book collector Sir William Tite 1798-1873 whose sale at Sotheby's in May-June 1874 took sixteen days certainly one of the greatest collections of the time. [David Zöpfel] unknown books
1860réf. 19066France: Unique ca1860. Original black full Russia leather with a fine pebble grain pattern; a.e.g. Near fine; binding bumped and a bit rubbed. Oblong 4to 33 unnumbered pages stiff glazed paper with 22 mounted star maps various sizes drawn on deep violet colored paper in black and gold ink. An accomplished manuscript beautifully rendered by an individual with advanced knowledge of interstellar space. It is also unusual in that the text initially emphasizes findings in the southern hemisphere. Discussion involves fixed stars double stars and variable stars and the seasonal variation as to what is observable. The color of stars distances culminate in the author's consideration of observable nebulae and reference to the then recent discoveries of Lord Rosse of new spiral galaxies beautifully illustrated in this text. Robert Grant History of Physical Astronomy pp. 568 - 577 London 1852 provides contemporary context for the speculations of the author and for Rosse's important discoveries - only possible with the use of the largest reflector constructed to date 1845. It is most unusual to find such a self-aware manuscript that is well in advance of any academic exercise. The author's avowed consideration - from the title - of the large structures of the observable universe segue to informed speculation about the processes that made possible these structures. Unique hardcover books
