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BORDELON, Laurent, Abbè de.]

Publicado por Michel Brunet (1698)

Antiguo o usado Tapa dura

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Descripción: Michel Brunet, 1698. Hardcover. Condición: Very Good. 12mo [15.9 x 8.9 cm], (6) ff., 424 (i.e. 432) pp., with an added folding plate [26.1 x 26.1 cm]. Bound in contemporary French mottled calf, covers triple gilt ruled, spine in six compartments, red morocco title label, marbled end papers and marbled edges, engraved ex-libris of Maurice Villaret on front-end paste down. Covers and corners somewhat rubbed. Some leaves toned, an occasional spot in margin, otherwise very good. Very rare second edition (first in 1697) of an enigmatic and ingenious literary satire devoted to the medical practice of Dr. Christophe Ozanne (1633-1713), an unlicensed rural physician from the French hamlet of Chaudray. The present volume contains a very rare, separately issued engraving depicting Ozanne consulting with patients in his modest rooms, providing a fascinating glimpse into the practice of empiric medicine in 17th-century France. Les Malades de Belle Humeur ou Lettres Divertissantes ecrites de Chaudray, the work of the dramaturge and theologian L’abbé Laurent de Bordelon (1653-1730), ranges wildly in genre and subject matter, containing elements of the epistolary novel, poetry, fictitious dialogue, art criticism, medicinal theory, and digests of classical literary works, and even prints genuine letters exchanged by two important female writers of 17th-centruy France, the famed female novelist Madeleine de Scudéry (1607-1701) and the poet Catherine Descartes (1637-1706), niece of the René. The publication of such bizarrerie during the Golden Age of French Baroque Literature – a period during which L’Académie française and the salons of Paris championed the classical ideals of rigidly self-contained and well-defined genres – is truly peculiar and offers a fascinating point of departure for further literary-historical research. Les Malades de Belle Humeur opens with a (real or imagined) description of the author’s convalescence in the care of Ozanne, including a discussion of the doctor’s home, his patients, and his remedies. The large, separately issued folding plate depicts (with no apparent humor) Dr. Ozanne in his chambers distributing ‘curative waters’ to a queue of eager patients. Such detailed depictions of medical practice are of interest in their own right and are fairly uncommon. As we have located the plate in no other copy of the work, and it is almost certainly the ad hoc addition of an early owner (see Notice sur Christophe Ozanne, pp. 44-5). Bordelon’s initial narrative is quickly is overtaken by the literary ephemera that makes this volume such a puzzle, not only for the heterogenous nature of its contents, but also the level of critical intelligence, which ranges from the banal to the sophisticated. We find poetry, a list of mirabilia, elementary plot summaries of Virgil and Homer, a well-informed critical appraisal of Italian vs. French music, dialogues between fictitious characters, etc. Yet the most significant of Bordelon’s digressions is not fictitious at all: the 20-page excerpt of actual correspondence between Madeleine de Scudéry and Catherine Descartes, which includes a poem by Scudéry that appears here in print for the first time. A monograph comparing the letters in the present volume to a verified manuscript of the correspondence confirms that they are genuine. The Paris chaplain Abbé de Bordelon (1653-1730), far from a fringe figure, enjoyed considerable celebrity during his lifetime, publishing dozens of works on a variety of topics, including astrology, drama, morality, philosophy, biography and mock biography, and witchcraft. His works, including a twelve-volume collected works, were frequently reprinted in France and the Netherlands, and were also translated into English, German, Italian, and Spanish. OCLC locates U.S. copies of this 1698 edition at Newberry and San Francisco; Penn and the Library of Congress house copies of the 1697 edition. The added engraving found in the present volume is untraced in public institutions. Nº de ref. del artículo: 4680

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CASTELLO, Pietro

Publicado por Rome Mascardi 1629. (1629)

Antiguo o usado Original o primera edición

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Descripción: Rome Mascardi 1629., 1629. Rare first edition of this polemical work against the use of liquid salts and defending in their their stead the controlled use of arsenic, bound with three other titles by the same author on 1) pharmacy, 2) a distilled vitriolic spirit, and 3) the use of hellebore. Nº de ref. del artículo: 2406

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FÊTE/CARLOS III] Anonymous

Publicado por Barcelona Maria Teresa Vendrell y Texido 0.

Antiguo o usado Original o primera edición

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Descripción: Barcelona Maria Teresa Vendrell y Texido 0. Rare first edition and fine copy of this illustrated funeral festival book for Charles III of Spain. Nº de ref. del artículo: 2187

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CORTONA, Pietro, da (Berrettini)

Publicado por Rome J.J. de Rubeis 1690. (1690)

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Descripción: Rome J.J. de Rubeis 1690., 1690. Two rare suites of engravings depicting Pietro da Cortona’s celebrated frescoes in the salone of Palazzo Barberini and the Pitti Palace, then the residence of the Duke of Etro. Nº de ref. del artículo: 533

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BRANCALEONI, Giovanni Francesco

Publicado por Rome A. Bladus de Asula 1535. (1535)

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Descripción: Rome A. Bladus de Asula 1535., 1535. Rare first edition of this influential balneological treatise by one of the founding fathers of hydrotherapy. A modern interpretation of Galen, Avicenna and Hippocrates, Brancaleoni’s work promoted the healthful and hygienic effects of bathing a generation earlier than Falloppio, and well in advance of the 19th-century pan-European trend for spa cures associated with Vincenz Priessnitz (1799-1851) and Father Sebastian Kneipp.While the identity of the early annotator of this copy has not been confirmed, the primary hand appears identical to the notes appearing in another medical text handled by our firm: Ferdinando Balami’s translation of Galen’s De ossibus, also published in Rome by Blado in 1535, and bound in an analogous green vellum binding, which bears the ownership inscription of the physician Ottaviano Caligari. OCLC lists two copies of the 1535 edition: Harvard and the Wellcome (this edition not in the NUC). * Wellcome 1037; Durling 669, 670 (1536 eds.); BMC (1536 ed.); Bibliotheca Palatina F2421; not in Osler, Duveen, Waller. On De Balneis omnia see Durling 1101; Garrison & Morton 1986. Nº de ref. del artículo: 2593

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CARDIOLOGY] / HOFFMANN, Friedrich

Publicado por Johann Eric Hahn for Christian Kirchner, Leipzig (1671)

Antiguo o usado Soft cover

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Descripción: Johann Eric Hahn for Christian Kirchner, Leipzig, 1671. Soft cover. Condición: Very Good. 4to. [19.5 x 16 cm], engraved frontispiece, (8) ff., 28 pp., (4) ff., 2 engraved folding plates. Bound in later wrappers. Some toning and occasional browning typical of German books of the period, but rather less than usual; generally very good, with a strong impression of the frontispiece. Rare first and only edition of this work describing the inverted heart found in the body of a 19-year-old woman during a five-day-long dissection by physicians at the medical college in Halle. The Cardianastrophe describes the details of the deformed heart and speculates on the cause, with a summary of the present state of knowledge about the heart and comments by earlier physicians on heart defects. In the final four unnumbered leaves, Hoffmann discusses the transformation of chylus (a fluid involved into digestion) into blood and the circulation of blood. The charmingly bizarre engraved title page (signed J.G.T) bears an enormous stylized heart with groups of women holding hearts above and below. (The heart held by the three women at the foot of the engraving is upside down.) The two folding plates show the anatomical structure of the heart, front and back, with the parts labeled. OCLC lists NYAM, NLM, Philadelphia College of Physicians, Texas, Wellcome. * Wellcome record; Krivatsy 5786; not in Garrison-Morton. Nº de ref. del artículo: 4186

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EDDY, J. H.

Publicado por New York (1818)

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Descripción: New York, 1818. No Binding. Condición: Very Good. Original color; dissected and mounted on original linen; abraded surface lower left corner with slight loss, else excellent. ¿Remarkable for its clarity of execution and detail¿ (Rumsey). This large and attractive map of New York State and adjacent areas was published posthumously by the geographer John H. Eddy, who had completed it just months before his death at 35 on December 22, 1817. The eulogistic article on Eddy that appeared in May of 1818 in The American Monthly Magazine and Critical Review said of this map that it ¿may be pronounced his best executed work¿ it may be safely said to exceed all other maps hitherto published in America. It cost him nearly four years of unremitted labour: his materials were original, he collected them with uncommon care, and incurred great expense in obtaining distinct surveys of every county in the state.¿ Tanner, who engraved the map, cited Eddy¿s work as the source for the New York map that appeared in his own American Atlas. Little is known of Eddy. His short life was plagued with illness, and he was deaf. His published cartographic work was mainly confined to New York; in 1811 he produced a map of the proposed route of the Erie Canal and in 1814, a map of the 30 miles surrounding New York City. Eddy is known to have produced a map showing alternative routes between the Atlantic and the Great Lakes, as well as one of the Niagara River, but neither of these appears to have been published. Eddy had planned a map of New Jersey comparable to this one of New York State, and he had also been solicited to produce an American Atlas, but his untimely death prevented his work on either project. Rumsey #2622. Ristow, W. in The Map Collector #67, pp 21-23; Ristow, W. American Maps & Mapmakers p. 103. Nº de ref. del artículo: 10016

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FOWLER, T. M.

Publicado por Milwaukee (1876)

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Descripción: Milwaukee, 1876. No Binding. Condición: Very Good. Marginal mends away from image, rebacked on supporting sheet, very good overall. An elegant and scarce bird¿s-eye view of College Point, showing the area during its transition from a rural suburb to a thriving factory town. The development of the neighborhood centered on the Enterprise Rubber Works, founded by the German-American philanthropist and entrepreneur Conrad Poppenhusen. His factory is shown as well as two other significant Poppenhusen works: the College Point station of the Long Island Railroad (the rubber baron acquired and consolidated the railroads which would become the LIRR) and the Poppenhusen Institute, a free educational center whose offerings included the first free kindergarten. Many of the residents of College Point were, like Poppenhusen, German immigrants; hence it is not surprising that the neighborhood should have become well known for its beer. Only one of the famous beer-gardens, the Boulevard Hotel, is labeled; but two breweries are marked and named. Schools, churches, lumberyards and other manufactories are labeled as well. The view is decorated with many sailboats, rowboats and a steamer sailing Flushing Bay and the East River. Reps, Views and Viewmakers 2489. Nº de ref. del artículo: 10019

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HOWELL, R./ VALLANCE, J.

Publicado por Philadelphia (1811)

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Descripción: Philadelphia, 1811. No Binding. Condición: Very Good. Deckled edges; centerfold reinforced, else excellent. Separately published¿very scarce. In 1792 Reading Howell published the first map of Pennsylvania to show the full extent of the state with accurate boundary lines. The present work is an amplified version of this work and the first edition of it published in the 19th century. Moreover, this edition was elegantly engraved by John Vallance, who also produced the first official plan of Washington, DC and the Griffith map of Maryland. Howell¿s excellent map was not superseded until 1822 when Melish¿s map of the state appeared. Ristow, pp. 108-109; cf. Rumsey 4181. Nº de ref. del artículo: 4940

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SCHAUS, W.

Publicado por New York (1861)

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Descripción: New York, 1861. No Binding. Condición: Very Good. Chromolithograph. Some scuffing, soiling, a mended tear, very good. Rare. A large, attractive, well-detailed map (not bird's-eye view, as it calls itself) of the key theatre of the early phase of the Civil War. The map includes street grids for Baltimore, Washington, Norfolk, Richmond, and Lynchburg. The map skillfully renders topography, in particular the Blue Ridge, Shenandoah, and Allegheny Mountain ranges. Town, courthouses, forts, road and railroads are shown throughout and, most notably, in the western regions as well. The map was drawn and lithographed by J. Schedler and printed by Sarony, Major & Knapp. Stephenson 17.3. Nº de ref. del artículo: 7426

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MITCHELL, S. A.

Publicado por Philadelphia (1837)

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Descripción: Philadelphia, 1837. No Binding. Condición: Near Fine. Lithograph with original wash color; fold reinforcements, else excellent. Rare, separately issued, folding map showing Missouri as a state, Arkansas as a territory, and the area of present-day Oklahoma as ¿Indian Territory Attached to Arkansas.¿ This is a significantly updated edition of the map ¿has many changes topographically and new borders¿There are many new counties in Missouri and Arkansas, and a table of Steam Boat Routes appears in the lower right corner of the map. The detail in the surrounding states is now filled in¿ (Rumsey). Rumsey 4102 (1836 edition); cf. Ristow, W. American Maps & Mapmakers, pp. 303-304. Nº de ref. del artículo: 7717

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VISSCHER, N.

Publicado por Amsterdam (1680)

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Descripción: Amsterdam, 1680. No Binding. Condición: Near Fine. Fine original color; excellent. A particuarly handsome map portraying all the Caribbean islands, part of Mexico, Central America, Florida (called "Tegesta Prov.") and part of South America. Strangely, the area of present day Georgia and part of South Carolina is called French Florida ("Florida Galli"); the French colonies in the area had been obliterated a century before this map appeared. The map extends as far north as Delaware Bay. Putti adorn the cartouche in the upper right, while two nereids and a merman make sport of a perplexed ichthyocentaur (with the body of a man, the front legs of a horse and the tail of a fish). The engraving of the figures is uncommon quality. Nº de ref. del artículo: 8053

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SCHIRMER, Johann Michael

Antiguo o usado Tapa dura

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Descripción: 1760. Hardcover. Condición: Very Good. (1) ff. engraved title-page with putti and calligraphy instruments, (3) ff., 54 engraved plates, (1) p. 'Nachricht.' Bound in early half-vellum with patterned paper over boards; faint damp mark to upper left corner of some leaves. Generally fresh. An unusually fresh example of the rare first edition of a Baroque German penmanship textbook self-published by this "Schul-, Schreib- und Rechnenmeister" from Frankfurt am Main, with 54 engraved plates. After assuring his readers that these methods have been honed throughout his tenure as a teacher of penmanship, Schirmer begins with simple morphological exercises-single ligatures and glyphs-that soon evolve into the writing of whole words, sentences, and finally paragraphs, a process that is repeated for each script: Kurrent, Kanzlei (chancellery), Fraktur, and Lateinische Cursiv (with a page on Rotunda and Quadrata). While this accretative method is not uncommon, Schirmer's use of dotted or unbroken lines to mark the angle, length, and space between typographical features is more unusual-as is a plate comprised exclusively of tails, loops and figure-eights, to be practiced as if they were capital letters. More visually striking are the 25 plates that follow, among which are a number of features rarely seen in contemporary Schreibmeisterbucher: entire plates devoted to a single word, exercises in trompe l'oeil, and the juxtaposition of detailed figurative engravings with their more decorative counterparts. In these plates, Schirmer first provides a broad selection of edifying quotes in each script, often with elaborately decorated headlines. The ornamentation reaches a pitch in two plates of single words-Wir and Ich-whose capitals blossom into elegant intertwining mazes of leaves, scrolls, and fasces. The volume also contains a plate in which the crosshatched and shaded figures of a horse, swan, soldier, etc., are mirrored in the looping command-of-hand drawings popularized by the 17th-century Italian masters. Yet Schirmer's last exercises, such as the trompe-l'oeil calling-cards, sample receipts and formal business letters, seem to suggest a uniquely German sense of calligraphy, not as fanciful (i.e. Italian) doodling, but as an artistic discipline of purpose and profit. OCLC: Library of Congress, Winterthur, Newberry, Metropolitan Museum. * Bonacini 1634, Doede 176; S.K.B. 4917. Not in Hofer (or Osley). New editions of the work appeared in 1772 and 1773; this is the earliest edition we have been able to locate. Nº de ref. del artículo: 4501

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TROILI, Guido

Publicado por Bologna gli H. H. del Peri 1672. (1672)

Antiguo o usado Original o primera edición

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Descripción: Bologna gli H. H. del Peri 1672., 1672. First edition and much scarcer than the second edition of 1683. "Troili, a pupil of the quadratura painter Michelangelo Colonna, became scene painter for the Farnese theater at Parma. Ferdinando Bibiena saw his work there (probably after the artist’s death) and absorbed its influence. This original edition of Troili’s exceptionally handsome book on perspective is one of the real milestones in the history of theatrical scenery: it describes the conscious use of visual deception, the creation of greater ‘depth’ by means of oblique positioning of the wings, as common practice twenty years before Pozzo" (Breman in Architectural Theory and Practice III-B-24).The third section treats shadows and fortifications. "Libro molto letto e stimato" (Schlosser-Magnino, p. 620). * Riccardi II.561; Cicognara 866 (mention of 1683 second ed.); Fowler, p. 277-278; J. Baltrusaitis, Anamorfosi, pp. 19, 21 and 23; Piantanida, Autori Italiani Del ‘600, 4424. Nº de ref. del artículo: 215

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CLARK, R.

Publicado por Philadelphia (1858)

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Descripción: Philadelphia, 1858. No Binding. Condición: Very Good. Attached to original wooden rollers; vibrant original color, refreshed; expertly conserved¿re-mounted on new linen, usual separations, minor losses, very good. Richly illustrated wall map of Fairfield County, Connecticut, with 23 inset city and town plans, including ones of Greenwich, Westport, New Canaan, Weston, Wilton, and Fairfield. Both the main map and the insets provide the names and locations of homes throughout the area. Flanking the map are 16 finely engraved views of mansions, factories and schools, such as the Winslow estate in Westport, the Augustus Mead home in Greenwich, and the Rockwell Boarding School for Boys in New Canaan. Thompson 176. Nº de ref. del artículo: 5548

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GAURICO, Pomponio

Publicado por Nuremberg Johannes Petreius 1542. (1542)

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Descripción: Nuremberg Johannes Petreius 1542., 1542. Hardcover. Condición: Very Good. 4to., (47) p.l. Bound in modern boards; minor repair on t-p, library stamp of the University of Jena on a2; generally excellent. Rare early edition of this famous work on the aesthetic theory of the plastic arts, which inaugurated a new conception of art historical criticism. Schlosser, who likens De sculptura to Lessing’s Laokoon, thought very highly of Gaurico and begins his treatment of 16th century aesthetic theory with this work. The first edition, published in 1504, is considered the earliest of all treatises on the history of art. Midway between Alberti and Vasari, Gaurico's treatise documents the tremendous increase in cultural prestige which painting enjoyed during the fifteenth century: the incomparable outpouring of masterpieces that century witnessed stilled the old debates about the dignity of painting and its status as one of the liberal arts. This prestige is here reflected in art criticism, in its evolution away from a derivative form of natural philosophy (optics and applied physics) into a broader discipline, more in accord with a humanistic concept of culture, with its emphasis on history and informed evaluative judgement. Gaurico's treatise, devoted to bronze sculpture, is very much the culmination of this cultural shift. Although treating for the most part traditional technical questions (line, perspective etc.), he does so in a wide-ranging way. Its most notable contributions include the creation of a system of descriptive categories and a more formal consideration of physiognomy as a topic of aesthetic consideration. The work is also the principal source for many important biographical facts in the lives of artists. Gaurico's standard of taste is basically that of the cultivated humanist of the day with a penchant for stylish classicizing (Mantegna). The work first appeared in 1504 (Florence), and again in 1528 (Antwerp); it proved particularly popular in German-speaking countries, as this imprint from the home of Dürer attests. All early editions are quite rare. The work became an instant "classic" in aesthetics and was often anthologized into the 17th century. Pomponio Gaurico (1482-1530) was Prof. of Philology at the University of Naples, poet and humanist par excellence. His brother Luca was a celebrated mathematician, and made an influential Latin translation of Peckham's treatise on perspective. In the best Renaissance tradition, Pomponio had a reputation as a lady's man, and is believed to a have been murdered by the family of some scorned innamorata! * Schlosser, 235-239; M. Kemp, The Science of Art, pp. 40-41; R. Klein, "Pomponius Gauricus on Perspective," The Art Bulletin 43 (1961) 211-30. Nº de ref. del artículo: 294

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DU LAURENS, André

Publicado por Paris for Raphael du Petit Val à Rouen 1613. (1613)

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Descripción: Paris for Raphael du Petit Val à Rouen 1613., 1613. Folio [23 x 34.5 cm], (10) ff., including engraved allegorical title & portrait of Du Laurens, 353 (1) pp., (10) ff.; (1)f., 53, (3) ff.; 43, (3) ff.; 57, (3) ff.; 30, (2) ff. Bound in contemporary French calf, gilt-ruled covers with gilt wreath in center, spine with raised bands, rebacked with author-title gilt on spine. Ex Libris of Pierre Americ on front-end pastedown, early ownership inscription of Michaux . De la Burtieve / Praecevitor S. Capellae Dune.sis (?) on title. Soiling to engraved title with extreme right margin in partial facsimile; preliminary & final leaves remargined without loss; light waterstain in upper margin of scattered leaves; some other leaves soiled or spotted in margin. Scarce, French-language edition of Du Laurens’ works, with a set of 26 anatomical engravings derived from Vesalius and others. "This is the second edition of the French translation of Du Laurens’ collected works. which preceded the publication of the Latin text. In addition to the author's textbook of anatomy and his account of scrofula, the volume contains works on geriatrics, melancholy and other mental afflictions, and an early opthalmological work which describes the anatomy and diseases of the eye. The volume has an exceptionally well-engraved title page, the author's engraved portrait, and numerous historical and ornamental woodcut initials." — Heirs of Hippocrates, p. 144. According to Krivatsy, the French translation of Du Laurens’ Opera Omnia was first published by P. Mettayer in Paris in 1613, and was reprinted by Raphael Du Petit Val in Rouen in 1621. Our copy has an engraved title signed by du Petit Val in Rouen but dated 1613; the Rouen librairie presumably recycled some of the original Paris-printed titles, modifying the original engraving with a cancel. Du Laurens (1558-1609) was the court physician to Marie de Medicis and Henry IV and previously had been professor at the University of Montpellier. * Wellcome I, 1942; Krivatsy, 3506, 3507; Heirs of Hippocrates, 389. Nº de ref. del artículo: 2072

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FETES / MALLORCA IMPRINTS]

Publicado por 0.

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Descripción: 0. 4to. (10) ff., with two folding plates. Bound in contemporary patterned wrappers, in turn bound in modern quarter calf and marbled papers over boards. Ownership inscription of the Marquesa Axiany (?). Some bleeding of ownership inscription onto title but otherwise very good, with good strikes of the plates. Extremely rare first and sole edition of this Mallorcan festival book commemorating the festivities held in Palma on the occasion of Charles IV’s accession to the throne. The description, with its careful lists of the noblemen involved, constitutes a snapshot of Mallorcan society at the end of the eighteenth century. The work is illustrated with two plates, one a plan of the central square with the arrangement of ephemeral architecture and decorations, the other a very large plate (49.5 x 33 cm overall, 42.5 x 32 cm to platemark) depicting the triumphal arc erected in honor of the new sovereign, with his arms above those of Palma de Mallorca.The author estimates that between 34,000 and 38,000 citizens took part in the celebration, with gentlemen on horseback dressed à la española antigua and ladies in such splendid finery that it "filled the spirit with extasty." (B2r) The central square was festively decorated with and portraits of the king and queen to which the assembled paid solemn respects.Mallorca had seen a growth in trade and prosperity under Charles III thanks to his policies of liberalizing trade with America. Churches and monasteries were brought under the aegis of the Spanish crown, and the first postal service was created. The accession of his famously weak son at the very time of revolutionary unrest in France would have been a source of worry.Although printing began on Mallorca in the late sixteenth century, work with the Palma imprint are rarely seen on the market.OCLC lists a single copy, University of Connecticut*Palau II.35,402;. Nº de ref. del artículo: 3867

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PINO, Paolo

Publicado por Venice Paolo Gerardo 1548. (1548)

Antiguo o usado Tapa dura Original o primera edición

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Descripción: Venice Paolo Gerardo 1548., 1548. Hardcover. Condición: Very Good. 1st Edition. 8vo., 34 ff. Bound in modern morocco, raised bands on spine with gilt title; worming to corners and upper (blank) margin of a few leaves repaired, title page repaired at inner margin just touching text on verso; otherwise good. Rare first edition of this Venetian ‘take’ on the painting of the middle of the Cinquecento, when according to the conventional periodizing view, Venetian painting hovered between High Renaissance and Mannerism: Titian was in the process of altering his style in the direction of emotionalism, the younger generation (Tintoretto, Paris Bordone and Bassani) were declaring for Mannerism, and Veronese was adhering to the earlier tradition.On the question of Mannerism, Pino is mixed:He has the proper Humanist feeling that the painter must be born with a natural talent for his art; and on his attitude on the matter of facility, to which the Mannerists attributed such importance, he is still on the side of the Renaissance, maintaining that great speed and great slowness are both to be avoided. On the other hand, he speaks more as a Mannerist when he demands that the artist shall display his virtuosity by ingenious foreshortening in his paintings. In another passage he hints at the theory of Eclecticism, when he says that if Titian and Michelangelo could have combined their talents they would have made the perfect artist. This is a maxim which constantly recurs in later Mannerist writings, and it is also reported as a maxim of Tintoretto."—Blunt, Artistic Theory pp. 84-85.* Cicognara 185; Houghton FA 3140.6*; Blunt, Artistic Theory in Italy, pp. 82-85; Schlosser Magnino pp. 239. Nº de ref. del artículo: 1786

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CARAVAGIO, Petro Paolo

Publicado por Ludovici Montiae, Milan (1650)

Antiguo o usado Soft cover

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Descripción: Ludovici Montiae, Milan, 1650. Soft cover. Condición: Very Good. 4to. [23 x 16.5 cm], (4) ff., 79 pp., 1 folded plate. Bound in contemporary limp vellum; faint waterstain at upper corner of first 8 leaves, small inkstain on one preliminary leaf; otherwise excellent. Extremely rare first and only edition of this polemical volume of Italian geometry, responding to recent appropriations of the work of great French mathematician François Viète. In 1644 and 1648, respectively, the Venetian amateur astronomer Antonio Santini had published Supplementi Francisci Vietae and Inclinationum Appendix, which utilized Viète¿s algebra to solve the geometric mean, as well as such celebrated problems as the multisection of the angle and duplication of the cube. In this fierce attack on the ¿bad renewal¿ of Viète¿s work, Caravagio presents point-by-point replies to the supposed ¿solutions¿ of Santini, which he buttresses with his own solutions to solvable problems. The volume also contains a large folding engraved plate with 54 geometrical diagrams. Antonio Santini (1577-1661) is best known for his early corroboration of Galileo regarding the observation of Jupiter¿s moons. In June 1610, three months after the publication of Siderius Nuncius, Santini wrote to Galileo announcing that he had confirmed the presence of satellites around Jupiter. Renn speculates that Santini might have also conducted observations with Galileo in Padua or Venice, where he then lived. Petro Paolo Caravagio (1617-1688) was a Milanese mathematician. OCLC: NYPL and Michigan. *Riccardi I.242-3; Renn, Galileo in Context, p. 283. Nº de ref. del artículo: 3638

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SOEMMERRING, Samuel Thomas von

Publicado por Varrentrapp & Wenner, Frankfurt (1799)

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Descripción: Varrentrapp & Wenner, Frankfurt, 1799. Hardcover. Condición: Good. Large folio. [63.5 x 43.5 cm], title with engraved vignette, 2 full-page engravings with 20 illustrations, 10 pp. Bound in contemporary publishers boards with original printed label on front cover. Covers soiled. Large uncut copy. Rare first edition of Soemmering's masterpiece and ¿one of the best illustrated¿ (Garrison & Morton) of his works, Icones Embryonum Humanorum served to awaken renewed interest in embryology and was followed by the researches of Michel, Burdach, Tiedemann, Carus, etc. The work ¿had been planned as an appendix to William Hunter's Anatomia uteri humani gravidi and therefore presents the illustrations, there missing, of a succession of the embryos in the earlier period of pregnancy and the embryo with its coverings in the later period. This ranks among the most valuable works of Soemmerring and is even today useful and highly appreciated. Both the drawing and the engraving show admirable execution¿ (Choulant). Soemmering (1755-1830), physician, anatomist and professor of medicine, is best known for his series of incomparable anatomical illustrations. * Garrison-Morton 473; Heirs of Hippocrates 704; Choulant, Anatomic Illustration, p. 307. Nº de ref. del artículo: 458

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EMBLEMATICS] / OPPELT, Joannis

Publicado por Jakob Schweiger, Prague (1749)

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Descripción: Jakob Schweiger, Prague, 1749. Hardcover. Condición: Very Good. 4to. [22 x 18], 47, 80, 70 pp., (1) f., 92 pp., (2) ff., including title printed in red and black, 58 nearly full-page engraved emblems. Bound in contemporary calf, head and tail of spine chipped and a puncture to front cover. Some toning and foxing to text leaves of parts 1-3, but plates are clean; final musical section very good. Very rare first edition of this German language emblem book printed in Prague, unusual if not singular in that the emblems are intended to be set to music. Each of the 58 large emblems in roundels is accompanied by odes, madrigals, and arias. The subject matter of the emblems is generally secular, variously depicting scenes from mythology¿the torture of Tantalus, the perilous Scylla, the Trojan horse, Jason and the Argonaut¿s golden fleece, Atlas supporting the world; animals ranging from sinister snakes, bats and owls to elegant swans and active bees; and an array of dramatic landscapes full of thunderbolts and jagged mountains. A final section, evoking more religious themes, consists of the libretti for four oratorios: I. Tobias, II. Magdalena, III. Die obsiegende Liebe (a Passion oratorio), and IV. Der verlohrne Sohn. Johann Georg Ernst Cajetan Lösel composed music for ¿Die obsiegende Liebe¿, but no copy is extant (Grove). Oppelt¿s interpretation of the ¿spiritual thoughts¿ promised in the title is therefore not about fostering Christian virtue so much as noble sentiments of a more general nature. In this scheme, music and visual drama are used to stir the senses and emotions, in line with the work of rising contemporaries such as poets Friedrich Klopstock and Christoph Wieland. The work thus participates in the mid 18th century trajectory towards the culture of sentiment and sublime that is the signature of the Pre-Romantic period. OCLC lists Princeton and Trinity (Hartford) for the first edition; the 1766 is held by Northwestern. * Landwehr 462; Praz (1766) p. 439 (identical collation); Nº de ref. del artículo: 4759

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GAMBLING / PROBABILITY] CODRONCHI, Niccola

Publicado por Cambiagi, Florence (1783)

Antiguo o usado Tapa dura

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Descripción: Cambiagi, Florence, 1783. Hardcover. Condición: Very Good. 8vo. [21 x 14 cm], (3) ff. 123 pp. Bound in contemporary vellum-backed patterned boards with matching page edges, title gilt label-style on spine. Armorial bookplate of Julian Monaldini on verso of title-page. Boards slightly worn, otherwise a very fresh, genuine copy. Very rare first and sole edition of this work on the underlying principles of insurance contracts and business ventures, focusing in particular on the psychological, ethical, and mathematical dimensions of gambling and risk-taking. Beginning with the premise that man¿s most fundamental urge is to gain wealth, Codronchi discusses the effects of hope on decision-making, as well as the difficulties involved in calculating probabilities. The second half of the 18th century marked an important turning point in the development of modern insurance and risk-taking. Prior to the creation of the first insurance company¿Lloyd¿s of London¿in 1688, insurance had been a relatively simple business chiefly limited to guarding against the loss of cargo on maritime trade voyages. Five years after Lloyd¿s formation, the astronomer Edmund Halley created a basis for underwriting life insurance by combining the statistical laws of mortality with the principle of compound interest, but his table was limited by using the same rate for all ages. This shortcoming was corrected in 1756 by Joseph Dodson, who scaled premiums to age, launching a new era of insurance theory and risk-assessment. It is such refinements, their basis in probability, and their impact on behavior, which the present work explores. Harvard, Nevada * Kress Italian 512; not in Goldsmith. Nº de ref. del artículo: 4777

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SICILIAN IMPRINTS/CALLIGRAPHY] CAPODIECI, Giuseppe Maria

Publicado por Nelle Regie stampe del Pulejo, Impressore del Vescovo, Siracusa (1794)

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Descripción: Nelle Regie stampe del Pulejo, Impressore del Vescovo, Siracusa, 1794. Hardcover. Condición: Very Good. 8vo. [19.5 x 14.5 cm], (4) ff. 192 pp., 4 pp., 3 plates. Final 4 pages before the plates, titled Saggio dell¿ Effemeridi di Napoli sopra il libro della Calligrafia¿ are dated 1797. Bound in contemporary patterned paper wrappers. Pale waterstaining to cover, title and preliminary pages, minor worming in bottom gutter of second half. Otherwise a fresh, clean copy. Very rare first and sole edition of this book on the history and practice of writing, including three plates illustrating a full upper and lower case script as well as the individual components and correct proportions of each letter. Capodieci not only instructs the reader how to make, space, and join letters, but also provides a rather whimsical history of writing, a chapter on tachygraphy and other forms of shorthand, an overview of proposals for a universal language, and a discussion of the many uses of writing, including forgery. He also includes chapters on the tools of modern writing¿quills, ink, inkwells, and paper¿and a history of writing implements beginning with stone inscription and wax tablets. In addition to instructions and information, the work is replete with practical advice¿and colorful opinions. If your ink bleeds through the paper, Capodieci advises, rub the paper with gum powder placed in a piece of cloth, use thicker ink, and find a quill with a thinner tip. His descriptions of other nations and periods, however, is rather more contentious. ¿The art of uniting letters to form words¿ is a secret unknown to the Chinese,¿ he notes, adding, ¿and the source of and reason for their ignorance is that they spend their whole lives learning to write¿ (!) That said, La Calligrafia is in fact a learned work, with discussions of a very broad range of cultures and writing systems, and informed references to the likes of Locke, Leibnitz, and Kircher, as well as important but lesser known figures such as John Wilkins in the field of linguistic philosophy and Thomas Shelton in the field of tachygraphy. Capodieci wrote a number of titles on local history, all published in Siracuse or Messina. OCLC lists Newberry, Washington U. ICCU lists two copies in Ascoli, both evidently without the plates. * ICCU IT\ICCU\FOGE\020833; not in Mirra. Nº de ref. del artículo: 4778

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Descripción: Vienna, 1666. Soft cover. Condición: Very Good. Folio [28.5 x 19.5 cm], (5) ff., including engraved frontispiece signed Melchior Küsell. (3) ff. of double-leaf folded plates also signed Küsell. Bound in patterned green wrappers. A fresh copy with excellent strikes of the plates. Very rare first and sole edition of the official festival program illustrating the firework display that marked the start of the month-long celebration of Leopold I¿s marriage to the Spanish Infanta Margaret Theresa, held in Vienna in the gardens of the Imperial Palace in December 1666. As the frontispiece and 3 double plates illustrate, and the accompanying text explains, the fireworks were arranged into an elaborate symbolic narrative, with fire representing the ardent love of the wedded pair, as well as the monarch¿s love for his subjects (¿the Phoenix¿ consumes itself out of love for its people as the model of His Majesty¿), their love for him (¿ignit[ing] the flames of their most humble submission¿) etc. A re-creation of Mount Etna with the forge of Vulcan stands on one side, Mount Parnassus with the nine muses on the other, framing, in the foreground, two arches bearing hearts inscribed with the pair¿s initials, and set ablaze by the god of marriage. In our experience, firework displays accompanied by human figures forming tableaux are unusual. The text provides not only a very detailed description of each different kind of firework¿including ¿star fireworks¿, ¿fire pumps¿, ¿star grenades¿, and ¿rockets¿¿but also describes the display in such a way that it reproduces the mounting tension of the event. Even this, however, reflects the careful staging of everything associated with the festivities; on the second page, the date in December 1666 on which the fireworks took place has been left blank, suggesting that the present work was prepared before the event. OCLC: Getty. * Kevin Salatino, Incendiary Art; p.86 ¿87, illustrated p.89. Nº de ref. del artículo: 4779

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VOC] BOR, Levinus

Publicado por Arnold Bon, Delft (1663)

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Descripción: Arnold Bon, Delft, 1663. Hardcover. Condición: Very Good. [12] ff including engraved frontispiece and letter press title, 369 pp, [7] ff including 1 blank, and with 6 double-page engraved plates. Bound in contemporary stiff vellum, repair to upper corner of front cover, some nicking and repairs to upper margin of first few leaves including engraved title page; plate 1 a little toned, pages and plates otherwise fresh and in crisp impression. Very rare first and only edition of this contemporary illustrated account of the Ambon Wars in the Moluccas¿ ¿one of the bloodiest series of campaigns in VOC history¿ - written by the eyewitness Levinus Bor, private secretary to Superintendent Arnold de Vlaming during the conflict. De Vlaming used the war as an excuse to gain a monopoly on the spice trade, destroying plantations throughout the islands as well as brutally suppressing the native uprising. Until the late 18th century, the Moluccas remained the sole source of cloves, mace, and nutmeg, forming a lucrative trade for the European powers who controlled them. When the island of Hoamoal rebelled, Arnold de Vlaming was quick to take advantage of the situation by ordering the destruction of its clove plantations, securing the Dutch monopoly. ¿Then de Vlaming moved against the Ternaten opponents based on Hoamoal and their Makasarese and Malay allies in one of the bloodiest series of campaigns in VOC history. With the VOC sailed the Ambonese Christians in their war-prauws¿In 1656 the population that remained was deported to Ambon. All spice trees on Hoamoal were destroyed, and thereafter it was devoid of human habitation except for passing hongi (war-fleet) expeditions looking for any wild cloves requiring destruction.¿ (Ricklefs, A History of Modern Indonesia, p. 75) The present work, the only account of the episode noted in Landwehr¿s bibliography of the VOC, is a necessarily obsequious portrayal of Dutch actions during the conflict. However, the engraved plates make no attempt to hide the bloodthirsty nature of the affair ¿ ¿resolved martially¿, as the title suggests. The engraved titlepage, for example, is flanked by figures of a Dutch soldier opposite a black native carrying shield and sword, while the vignette at the foot of the page shows the Dutch firing rifles at native forces who return fire with spears. The first engraved double-paged plate depicts smiling, clothed natives greeting Dutch soldiers upon their arrival; the next shows the execution [?] of one native by blowpipe; a third shows natives in war canoes engaging in a naval battle alongside Dutch men-of-war; post-defeat, the fifth plate presents natives in poses of extreme supplication approaching a Dutch official who carries a severed black head in a basket; and a final engraving shows natives and Dutchmen burning a large idol upon a pyre. Arnold de Vlaming van Oudshoorn was Governor of Ambon from 1647 to 1650 and Superintendent of the region from 1652 to 1656. A controversial figure due to the professed Catholicism of his parents, it was his tenure during the Ambon Wars which saw the ¿strenuous military measures that earned him both fame and notoriety¿ (Ricklefs, p. 75). Two American copies of the work are listed on OCLC, at Cornell and the NYPL. Oddly, Landwehr #233 fails to mention any plates in this work. * Landwehr VOC 233; see also Du Perron, De Muze van Jan Companjie (1939) pp. 20-23; Ricklefs, A history of modern Indonesia. Nº de ref. del artículo: 4885

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SIAMESE AMBASSADORS IN PARIS]

Publicado por Chez Jean Boude, Toulouse (1686)

Antiguo o usado Soft cover

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Descripción: Chez Jean Boude, Toulouse, 1686. Soft cover. Condición: Very Good. 8 pp. Bound in marbled wrappers and housed in a fine red morocco case. $3850 Extremely rare first and only edition of this detailed popular newsletter concerning the contemporary reception of three Siamese ambassadors in Paris in September of 1686. The report gives a full description of their entrance, their itinerary, and the names and qualities of the individual ambassadors ¿ whose 9-month stay in northern France between 1686 and 1687 must have provoked enormous interest. Providing the reader with some background, the work notes that the King of Siam, having been only recently convinced of the greatness of Louis XIV and the French nation, has decided to send three more mandarins as envoys. ¿Ces Mandarins sont tres-honnestes, les meilleures gens du monde, doux, civils, & complaisans, de tres-bonne & agreeable humeur ¿¿. According to this account, they arrived at Brest on the 18th of June and reached Paris only on the 12th August. On the ¿first day of this month of September¿, the delegation was officially presented to Louis XIV. Its centerpiece was the King of Siam¿s letter to Louis, written on a blade of gold encased in a golden boëte (bottle?) and poised atop a golden chalice, all of which was carried aloft on a machine by 12 Swiss guards. The ambassadors themselves, it is recorded, took care to cover the machine with their parasols. Upon meeting the king, ¿ils firent une profonde reverence en leur maniere, se prosterant, & mettant leurs mains sur leur vissage¿. The gifts presented by the envoys are notable for their overwhelming Japanese provenance (a closed center of trade to the French), and are accompanied here by occasional offhand remarks. Two vases of tombac (a flexible alloy similar to brass) are thought ¿presque aussi précieux que l¿or¿, and are imputed to be ¿what the ancients called electrum¿; two samurai swords presented by the King of Japan to the King of Siam are accompanied by the remark ¿they say that those who know how to handle these swords properly can cut a man¿s body in half; it¿s this that makes them beyond price¿; etc. An antique marble sculpture apparently depicts a Chinese man whom the Siamese call To inghoing; ¿we belivee that this is the same as he whom we call Confuscius¿. The writer of the newsletter seems surprisingly well-informed, and is certainly aware of the plans of the official retinue, suggesting a source perhaps close to the court. ¿They are presently busy seeing the beauties and the riches of the Capital of our Kingdom¿ Around February after they have had their final royal audience, they will return and recount all that they have seen, and assuredly they will not forget what they have learned, and understood of the suprising reunion of Protestants to the Roman religion, for the King of Siam having proposed Louis le Grand as a model in all things, and desiring to be able to make his entire kingdom French¿has demanded that the King send him missionaries, persons experienced in warfare, wise men, and men learned in many arts.¿ Following this account of the ambassadors¿ visit is a brief ¿Description du Royaume de Siam¿ ¿ with much reference to Arab and Moorish settlements, to the Siamese love of music, to their ¿superbly-dressed women¿, etc. Thanks to royal decree, Siam enjoys public schools in which laws and religion are taught in the vernacular, but the sciences are reserved for a learned tongue. Inspired no doubt by the Chinese rites controversty, the commentator notes that despite their plural deities the Siamese do believe in one Creator of the Earth and the Heavens, and they do maintain that the world will end in fire. The final leaf of the work is occupied with a discussion of the ¿names and qualities¿ of the amabassadors. OCLC records only the copy at Cornell. * OCLC 64004509. Nº de ref. del artículo: 4982

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PUBLIC TRANSPORTATION]

Publicado por Chez Godet (1828)

Antiguo o usado Soft cover

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Descripción: Chez Godet, 1828. Soft cover. Condición: Near Fine. Folding brochure, with 4 engravings of carriage models in use. Bound with: Tarif des Nouvelles et Anciennes Voitures. Folded brochure, 34.5 cm x 19 cm. Bound in contemporary (original?) grey card covers with manuscript title label on cover. Extremely rare illustrated brochure announcing the introduction of mass public transport to Paris, the second city to adopt the ¿omnibus¿ after its invention in Nantes by Stanislas Baudry in 1826. As the present work makes it clear, however, the original purpose of such carriages was hardly to transport workers to and from their jobs, but rather to make sightseeing day-trips and everyday voyages from one neighborhood to the next both accessible and affordable to middle-class Parisians. Evidently intended as a promotional brochure, and presumably published at Baudry¿s behest, the present work announces the introduction of ¿new carriages from 25 centimes per station, now operating in Paris¿. Four different types of public transport carriage are described: first the newly-established Omnibus (which fits at least a dozen passengers, judging by the illustration), followed by the Batignolaise, the Dame Blanche (a large vehicle distinguished by its white color and elegant trim), the Favorite, the Diligente, the Tricycle, the Béarnaise, the Écossais (with its distinctive Tartan lining), and the Caroline. Four of these (the Omnibus, the Dame Blanche, the Tricycle and the Écossais) are illustrated with fine engravings depicting the vehicle in action on the cobbled streets of Paris. The brochure offers timetables and station stops for the carriages, each of which evidently ran a different route through the city. All advertised fares begin at 25 centimes, more than affordable to the average bourgeois in the first quarter of the 19th century. For the passenger wishing for a more private ride, the second brochure in the present work provides details of personal carriages for hire, much the same as modern day taxis. A list of passengers¿ and drivers¿ rights is given (rates vary depending on time of day; coachmen are prohibited from riding their horses too vigorously; each station is attended by an ¿inspecteur permanent¿; fares must be paid in advance for conveyance to spectacles, balls, and public amusements; etc). Sample rates from popular destinations are given: taking a Courageux from Rue J. J. Rousseau to Belleville will cost just 40 centimes, while a standard Cabriolet in the city centre charges 60 centimes for the first 15 minutes of its hire, 2.5 centimes for every minute thereafter. The omnibus ¿ expressly designed to carry a large number of passengers in a municipal setting, with frequent stops ¿ was pioneered and introduced by Stanislas Baudry in Nantes in 1826. His idea of a highly-organized public transportation system quickly proved successful, and some 2.5 million passengers were estimated to have ridden his omnibuses during the first 6 months of their operation in Paris. The first British omnibus commenced its route in July, 1829, and the vehicle reached New York the same year. The present work was probably issued by an operator of Baudry¿s own company, or by one of the numerous rival companies which quickly arose to take advantage of this new demand. We have located one US copy of the illustrated brochure, held by the Met. * cf Manuel de l'amateur d'estampes, p. 498 (under Boutray). Nº de ref. del artículo: 5140

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PISANI, Giovanni Battista

Publicado por Milan (1646)

Antiguo o usado Tapa dura

Cantidad disponible: 1

Vendedor: Martayan Lan (New York, NY, Estados Unidos de America)

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Descripción: Milan, 1646. Hardcover. Condición: Near Fine. (5) ff., 214 pp. (final page erroneously numbered 114). Bound in contemporary vellum, title in ink on spine; minor staining to upper cover, lower cover slightly cockled. Internally very fresh. Very rare first and only edition of a practical handbook of business mathematics by Giovanni Battista Pisani (born circa 1606), who promises on the work's title page to help readers "solve the intricate Labyrinth of mercantile accounting." Pisani - who has an unusual literary touch - dedicates his Giardino aritmetico not to some grand Padrone, but to his brother Francesco, remarking that whereas the Garden of Hesperides had been guarded by a fearsome dragon, his Arithmetical Garden would be open to all who wish to take of its fruits. The small-format volume seems clearly to have been intended as a vademecum for Milanese merchants, and its practicality and portability in the marketplace perhaps account for its low survival rate today. Pisani begins by introducing more than 40 basic mathematical operations (various ways to multiply, divide, and work with fractions) before moving on to more practical matters of currency conversion and exchange, with special emphasis given to the monies of Venice, Naples, Palermo, Rome, and Frankfurt, and to the weights and measures of Milan and Genua. He then provides a list of tariffs relating to Milan trade and some 50 short examples concerning basic monetary operations. The greater part of the volume is given over to more than 250 examples and word problems of increasing complexity, treating matters such as converting between monies of differing base units, working with commodities, calculating profits and loss through interest, credits and debits, companies, partnerships, barter, rents, etc. Pisani's word problems paint a vivid picture of seventeenth-century mercantile life in Italy, with examples discussing the bottling of wine and olive oil, the storage of pepper, the stacking of silks, the measurement of carpets, the construction of houses and walls, the feeding of horses, and the handling of rice, saffron, brocades, wool, sugar, pearls, and soap, as well as the importing and exporting of goods among every major town on the peninsula and in Europe from Amsterdam, to Lisbon, to Lyon. Even Pisani's less-than-practical examples tend to be as amusing as they are instructive (e.g., how quickly would a lion, bear, leopard, and wolf, each of whom eats at a different rate, devour a single sheep together?). The easy, middle-class appeal of the work is further enhanced by the aphorisms - entirely unrelated to math - which appear at the foot of every page ("It's bad not to know, but worse not to want to learn," "The memory of a dead father is always strong in a virtuous son"). Giovanni Battista Pisani is perhaps best known for another practical publication, his writing manual Il primo libro di lettere corsiue (1641). His brother Francesco, a writing master in Rome, published the famous Tratteggiato da Penna in 1640. OCLC locates only two copies of the Giardino aritmetico, those at Columbia and Michigan. * Riccardi, Biblioteca Matematica Italiana, vol. 1, p. 282; G. Massa, Trattato Completo di Ragioneria, p. 225, no. 1646. Nº de ref. del artículo: 5438

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BARBÉ, Jean-Baptiste / VAN LOON, Theodoor

Publicado por Jean-Baptiste Barbé, [Antwerp?] (1620)

Antiguo o usado

Cantidad disponible: 1

Vendedor: Martayan Lan (New York, NY, Estados Unidos de America)

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Descripción: Jean-Baptiste Barbé, [Antwerp?], 1620. No Binding. Condición: Very Good. Single-sided engravings, (1) engraved title, (20) engravings. Unbound, fixed with small staples at top edge. Minor marginal handsoiling and spotting, small marginal holes to a few leaves, minor edge wear, light browning to a few leaves. Generally very good. Very rare first edition of a set of engravings by the Antwerp printmaker Jean-Baptiste Barbé (1578-1649) after the designs of Theodoor van Loon (c.1581-1649), a Flemish painter noted as an early stylistic follower of Caravaggio (1571-1610). The work presents bust-length portraits of the Holy Family, the Four Evangelists, and the Twelve Apostles, each set within a fancifully designed sculptural frame, with the wording of the collection¿s title ¿ Icons with their Frames (¿parergis¿)¿ emphasizing the importance of the relationship between painted image and its enclosing frame. While the strong shading of some plates recalls Caravaggio¿s tenebrism, facial types, which gaze sweetly into the distance, are perhaps more indebted to those of Guido Reni (1575-1642), who was working in Rome and at the height of his popularity around the time these engravings were produced. Each ¿icon¿ is depicted with his attribute or an instrument of martyrdom (e.g., Peter¿s keys, Luke¿s ox, Andrew¿s cross), and the frames often echo these iconographic connections (e.g., herms flanking the portrait of James the Major are dressed as pilgrims). The emphasis on framing devices here is likely related to the rise in an interest in Christian archeology that began around 1600 and greatly influenced the way venerable images were treated in the remodeling of major churches and their altarpieces: For example, Theodoor van Loon certainly would have known his countryman and exact contemporary Peter Paul Rubens¿ (1577-1640) early Roman commission to enclose the ancient Santa Maria in Vallicella icon at Chiesa Nuova in an elaborate, pictorial altar frame (1606-08). This suite of engravings by Barbé should not, therefore, be seen only as a collection of images suitable for personal devotion, but also as a thoughtful visual treatise concerning the way artists were asked to confront and re-present early Christian art and iconography in the first half of the seventeenth century. Interestingly, these engravings are prominently dedicated on their title page to Wenceslas Cobergher (1560-1634), a painter, architect, engineer, theorist of institutional pawn shops (monti di pietà), numismatist, and collaborator of van Loon who was deeply interested in Roman and early Christian antiquities and their use by contemporary artists. * Hollstein, Dutch and Flemish, vol. 1, p. 100, nos. 45-64; M. Funck, Livres belge à gravures, p. 356; I. Baldriga, et al., Theodoor van Loon: ¿Pictor ingenius¿ et contemporain de Rubens, 2011; T. Meganack, De kerkelijke architectuur van Vensel Cobergher in het light van zijn verblijf te Rome, 1998. OCLC and KVK locate copies at the National Gallery (D.C.), Clark Art Institute, BnF, and Vlaamse Erfgedbibliotheek (Antwerp). Nº de ref. del artículo: 5440

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