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DONOVAN R.E.

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Item Description: 1812.DONOVAN R.E. 1980 HUNTING WILD BEES. 184PP. ILLUSTRATED. HARD COVER WITH A DUST JACKET. GOOD CONDITION. (GNH-BASE-122). Bookseller Inventory # 0060996

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The Liesborn Gospels: Gospel Book; decorated medieval

Item Description: Hardcover. Book Condition: Fine. DECORATED MEDIEVAL MANUSCRIPT IN LATIN ON PARCHMENT, Northwestern Germany (Liesborn Abbey?), c. 980-1000. 304 x 242 mm. 169 folios, complete (collation, i8 [3 and 6 are single] ii8 iii6 iv-vi8 vii8 [-8, canceled with no loss of text] viii-x8 xi8 [-4, canceled with no loss of text] xii-xiii8 xiv6 xv-xxi8 xxii8 [-5 through 8, canceled with no loss of text] xxiii6 [-5 through 6, canceled with no loss of text] xxiv2), first seventeen quires signed, written in brown ink in caroline minuscule by two scribes in 24 long lines, with the capitulare evangeliorum copied by the second scribe in a smaller script in 37 long lines (justification, 268-250 x 175-170 mm.), ruled in hard point, rubrics and running titles in rustic capitals in red, THIRTEEN PAGES OF CANON TABLES IN ARCADES, columns with bases and foliate capitals, some shafts with simple interlace and other decoration, ruled in red and heightened with yellow, five pages with text in large square capitals, INCIPITS TO THE GOSPELS IN LARGE LETTERS DECORATED WITH LEAFY SCROLLS AND INTERLACE, drawn in red and heightened with yellow, references to the Ammonian sections in the margins of the Gospels. BINDING: Late fifteenth-century treasure binding, likely modeled on original binding, with thick wooden boards (flat with square edges and corners), upper board with recessed CARVED RECTANGULAR RELIEF OF THE CRUCIFIXION AND THE FOUR EVANGELISTS’ SYMBOLS in large roundels at the corners, gesso with polychrome and gilded decoration, back cover of blind-tooled and -stamped brown leather, with metal cornerpieces and central boss and two metal fasteners, spine rebacked, housed in blue leather vertical case. TEXT: Medieval Gospel Books are among the most famous and precious of all medieval manuscripts. Considered the physical embodiment of the Word of God throughout the Middle Ages, these books were kept in church treasuries and carried ceremoniously to the altar during Mass. Gospel Books include the complete biblical texts of each of the four Gospels, Matthew, Mark, Luke, and John, often accompanied by Canon Tables, as they are here. By the Middle Ages, public reading of the Gospels took place at each Mass. The final text in this Gospel Book is a list of the Mass readings for the liturgical year, a capitulary or capitulare evangeliorum. This is an expansively laid-out volume that would have been very easy to use for liturgical reading. Later evidence of use includes a Pater noster diagram now on the first page of the book. PROVENANCE: Written at the end of the tenth century in Westphalia in Northwestern Germany, as suggested by script and decoration, probably at Liesborn Abbey. The second scribe signed his name, Gerwardus, in a simple code. This is the only known manuscript to have belonged to Liesborn Abbey when it was a convent for female religious, before it was re-founded in 1130 as a community for Benedictine monks; a dedicatory poem on p. 2 dedicates the manuscript to Berthildis, who may have been abbess at the convent. This book remained at Liesborn when it became a Benedictine monastery; recorded in the 1219 and 1795 catalogues of Liesborn’s library. Acquired by the university library in Münster after the abbey was suppressed in 1803; recorded at the library in 1821. Belonged to Dr. Ludwig Tross, professor at Hamm, in Westphalia, in 1826; his note on the front pastedown. Belonged to Sir Thomas Phillipps, who purchased it in 1830 from Tross; his MS 4735. Sold by his heirs, the Fenwick family, to Dr. A. S. W. Rosenbach, Philadelphia. Belonged to Countess Estelle Doheny, one of the greatest female book collectors in the United States, who purchased it from Rosenbach in 1950. Belonged to Martin Schà yen, Oslo and London, whose collection has been described as one of the largest private manuscript collections of the twentieth century; his MS 40. Idda Collection, Switzerland. Full description and photographs available. Bookseller Inventory # ABE-15446171444

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Stevens, Wallace

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Item Description: The collection consists of twenty-seven works of art that Wallace Stevens purchased, starting in 1931, while living in Hartford, Connecticut, mostly through the Parisian bookdealers Anatole and Paule Vidal. Included are the still life by Tal-Coat that inspired "Angels Surrounded by Paysans" and Marchand's "Les Oliviers", alluded to in "Connoiseur of Chaos". The collection also contains a Georges Braque color lithograph "Nature Morte III: Verre et Fruit", pulled by Braque himself, an oil painting by Bombois, entitled "Le Loiret a Olivet", a Kandinsky lithograph, a pair of 19th century miniature jade-like carvings of Pekingese dogs, a Chinese woodcarved "Shouxing", and a Korean scroll "Flowers and Birds" and a "Portrait of Emperor Chenghua". In addition there are two portraits of Stevens. In addition to the original art belonging to Wallace Stevens, his very own over-sized walnut bed and matching armoire, his mahogany writing desk and chair, his ornate writing secretary, an exquisitely carved bedside stand, plus additional personal furnishings are included in this offering, including lamps with Asian motifs, Chinese tea tins and many other objects, including his pocket watch and pillbox. Our hope is that a research institution/museum will acquire this monumental collection and will dedicate an entire room for a permanent exhibition of the art that inspired his poetry, which in turn, inspired many great American artists of the mid-Twentieth Century. See references to Stevens' art purchases in "Letters of Wallace Stevens" edited by Holly Stevens. See "The Modernist Response to Chinese Art: Pound, Moore, Stevens" (Virginia, 2002) by Zhaoming Qian for Stevens' interest in Asian art in the article "Stevens as Art Collector" pp. 155-166 which includes photographs of the carving, the scroll, and the Portrait of Emperor Chenghua. Included, too, is a copy of nearly every book that Stevens wrote and the very rare "Stevens Family Portraits" and "Stevens Family" which he had commissioned to be done for him. Also refer to MacLeod's "Wallace Stevens and Modern Art: From the Armory Show to Abstract Expressionism" (Yale,1993). Provenance: Wallace Stevens-Elsie Stevens-Holly Stevens. IMPORTANT NOTE! ! The correct price for this collection is $2,200,000. Bookseller Inventory # 2556

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Cosmographia: PTOLEMAEUS, Claudius (after

PTOLEMAEUS, Claudius (after 83 - ca 168 AD).

Published by Ulm: Lienhart Holl, 1482. (1482)

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Item Description: Ulm: Lienhart Holl, 1482., 1482. Folio (16 x 11 2/8 inches). 133 leaves. 32 EXCEPTIONALLY FINE DOUBLE-PAGE WOODCUT MAPS, WITH MAGNIFICENT ORIGINAL COLOUR, including the deepest richest blue of lapis in the oceans, typically used in the earliest issues before the expense became a problem, woodcut historiated and Maiblumen initials, ornamental woodcut borderpieces, woodcut diagrams in the text, rubricated throughout with capital strokes and paragraph marks, and several missing initials supplied, with delicate yellow washes on text headings (one or two closed marginal tears). 17th-century Italian gold-panelled vellum, with small tooled supr-libros of Cardinal Altieri, the future Pope Clement X (hinges expertly strengthened); modern vellum backed cloth clamshell box. Provenance: Contemporary ownership inscription of Pietro dal Verme (?died 1485) at the head of the first page of text; insignia of Emilio Lorenzo, Cardinal Altieri (1590-1676) the future Pope Clement X (1670-1676); the library stamp of Prof. Victor Goldschmidt of Heidelberg; Robert L.B. Tobin (died 2000), Patron of the Arts, his sale Cartographic Collection Sotheby's 7th December 1999, lot 302 . THE FIRST ATLAS PRINTED IN GERMANY, THE FIRST ATLAS MADE FROM WOODCUT BLOCKS, THE FIRST TO CONTAIN HAND-COLORED MAPS AND THE FIRST MAPPING OF THE WORLD BY A NAMED CARTOGRAPHER The text of Claudius Ptolemy's "Cosmographia" was translated into Latin from the original Greek by Jacobus Angelus and was first published, in Renaissance times, at Vicenza (1475), Bologna (1477) and Rome (1478). The sumptuous edition published at Ulm in 1482, however, far surpassed all earlier efforts and remains one of the most important publications in the history of cartography. This is the first redaction of the 'Geography' to be printed outside of Italy, the earliest atlas printed in Germany, the first to depart from the classical prototype to reflect post-antique discoveries, the first to be illustrated with woodcuts rather than engravings, and the first to contain hand-colored maps, the design and execution of which were ascribed to a named cartographer, and the first to incorporate the five modern maps by Nicolaus Germanus. The Ulm edition, moreover, was the first to depart from the classical prototype by expanding the atlas to reflect post-antique discoveries about the size and shape of the earth. To the canonical twenty-seven Ptolemaic maps were added five "modern maps" of Spain, France, Italy, the Holy Land and northern Europe. The world map is of particular interest as it is the first to be signed, by Johannes Schnitzer of Armsheim, who in trade mark fashion has reversed every capital N, and inadvertently provided two Tropics of Cancer. This map is the first to be based on Ptolemy's second projection, in which both parallels and meridians are shown curved to convey the sphericity of the earth. Schnitzer, furthermore, updated the Ptolemaic world picture by incorporating improvements that were probably based on a manuscript of the 1470s by Nicolaus Germanus (ca 1420-1490), a Benedictine monk of Reichenbach Abbey in Bavaria, who is depicted in the first illuminated letter of the atlas presenting his book to the dedicatee Pope Paul II. One notable addition is a rudimentary depiction of Scandinavia to the north, within an extension of the map's top border. This is also the earliest printed map to show the northernmost reaches of the Atlantic Ocean. The world map, moreover, embodies what is perhaps the most readily apparent feature of the Ulm Ptolemy: its beauty. Though printed outside Italy, the paper this magnificent atlas was printed on was imported from Italy, and payment made in part by complete copies of the finished atlas. It is therefore not surprising that many copies known have an early Italian provenance: including this copy, which is from the distinguished library Pietro dal Verme, probably the Count dal Verme di Sanguinetto, Lord of Vigevano, and general of Milan under, and son-in-law to, Galeazza Maria Sforza, Duke. Bookseller Inventory # 000422

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Histoire de la Première Guerre Punique, in: BRUNI, Leonardo.

BRUNI, Leonardo.

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Item Description: Hard cover. Illuminated manuscript on vellum. France, Paris, ca. 1450. 330 x 230 mm., 1, 72, 1 leaves, vellum. Collation: I-IX8, catchwords and text complete, possibly lacking an opening bifolium with table of contents. Ruled in red ink for two columns for 34 lines (written space: 205 x 105 mm.), written in black ink in Littera batarda, rubricated in red 32 small miniatures above large 3-4 line initials each with gold bar and delicate border decoration in gold and colors. Slight wear to border f. 1, a few original medieval repairs have come unstitched. Prickings visible, very wide, uncropped margins. Some slight smudges but otherwise in very fine condition. Binding: end of the 15th — early 16th-century, panelled leather, blind stamped (including a roll stamp, with fleur-de-lys, crowned fleur-de-lys, and a crowned dolphin), with metal corner & centerpieces, the two clasps engraved with the letter "A," 19th-century paper label with title on spine (upper joint split). Old label on spine: "Guerre Punique L.B. Aretino 1440 mss." Red morocco case. Paper paste-down and vellum fly-leaf, both front and back.PROVENANCE:1. The text originated in Paris in 1445, where Jean Lebègue (1368-1457) was greffier of the Chambre des Comptes from 1407; the style of the illumination is Parisian. At end, f. 72r: old provenance inscription erased.2. A loose 19th-century note in French gives a provenance from the library of the Comte Charles d’Oultremont (1753-1803), sold in Antwerp, April 26th, 1830, actually the sale of his widow Anne-Henriette, Comtesse d’Oultremont (1757-1830); P.H. Carpentiers, Catalogus van eene fraye verzameling historische, letterkundige, boeken, nagelaten door wylen mevrouwe de gravin douairière d’Oultremont, waer van de verkooping zal plaets hebben op maendag 26 April 1830). They remain one of the oldest noble families of Belgium. 3. Samuel Ashton Thompson-Yates: loose letter to "Dear Yates," datable to 1884 or later, with related British Museum request slips (Thompson and Bright: A Family of Bibliophiles, see also New York, PML, M 266).TEXT:Jean Lebègue, Histoire de la première guerre punique: ff. 1-2v: translator’s prologueff. 3-4: author’s prologueff. 4-50v: Book Iff. 51-72: Book II The Florentine humanist Leonardo Bruni (ca. 1370-1444) compiled his account of the First Punic War (264-241 B.C.) to replace the lost second decade of Livy’s great Roman history. Bruni’s text, written over a period of almost three years (1419-21), was translated some twenty years later from Latin into French by Jean Lebègue to supplement the translation of Livy made earlier by Pierre Bersuire. Bersuire dedicated his translation to Jean II le Bon, King of France and the revised edition to Charles V. King Charles had employed several translators to produce French versions of classical Latin texts and is often seen as having been responsible for the transformation of French into an "intellectual" language. Bersuire had translated all of Livy then known. In his prologue Lebègue wrote that he translated "conforming as best I could to the manner of frère Pierre Berchoire " (Hedeman 2006, p. 184). After he had finished his translation of the supplement, Lebègue continued to revise his work for independent circulation too. This version, finished in 1445, was dedicated to Charles VII of France (Pons 2002, pp. 95-125). Subsequently, Lebègue’s Histoire de la première guerre punique circulated both through its absorption into historical compilations (Arlima lists five mss.) and in its own right (Arlima lists ten manuscripts, plus five more in the Schoenberg database). Jean Lebègue was a humanist and functionary at the royal chancellery, and a bibliophile himself. Some fifty of the books in his library are still extant (Ouy 2006). In addition to his other activities, Lebègue was an amateur scribe and an employer of scribes (Ouy 2006, p. 145). Interestingly, he also devised an iconographical program for his translation of Sallust’s Conspiracy of Catiline and the Jugurthi. Bookseller Inventory # JHABES4788

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KEULEN, Joannes van (1654-1715) and Gerard van KEULEN.

Published by T'Amsterdam: Gerard van Keulen, 1706. (1706)

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Item Description: T'Amsterdam: Gerard van Keulen, 1706., 1706. 2 volumes. Folio (25 4/8 x 15 6/8 inches). 2 engraved allegorical frontispieces HEIGHTENED IN GOLD, and 175 EXCEPTIONALLY FINE double-page engraved charts ALL WITH ORIGINAL HAND-COLOUR IN FULL, including 19 folding ("Oost Indien" and first "West Indische Paskaert" cropped at upper edge, second "West Indische paskaert" cropped at lower edge, one or two maps backed on japan paper). Contemporary Dutch speckled calf gilt, each cover decorated with borders of gilt roll-tools with armillary sphere tools at each corner, and central medallion of Atlas carrying the world. Provenance: each chart with manuscript title in French. AN EXCEPTIONALLY RARE AND COMPLETE COPY, with only one other atlas with 160 charts to appear at auction in the last 30 years. With 175 charts, coastal profiles, and plates, and as such ONE OF THE LARGEST SEA ATLASES COMPILED BY THE HOUSE OF VAN KEULEN. An intermediate state between Koeman Keu 20B (dated 1695 and containing 160 charts) and Keu 28 (dated 1709 and containing 185 charts), of which this atlas shares 110 and 135 respectively. Johannes van Keulen established himself in Amsterdam in 1678 and in 1680 he obtained a privilege from the States General of Holland and West Friesland allowing him to print and publish maritime atlases and shipping guides. This privilege, which protected against the illegal copying of printed material, was especially important for the cartographer's atlases, which were produced with extensive initial costs. Van Keulen named his firm "In de Gekroonde Lootsman" (In the Crowned Pilot), and began collaborating with cartographers Claes Janz Vooght and Johannes van Luyken. The firm would go on to become one of the most successful publishing firms in Amsterdam; and produce "the largest and finest marine atlases in Holland" (Koeman). In this atlas the five navigational books are divided by large double-page folding maps rather than allegorical frontispieces. All of the 19 folding maps are rare, but of particular interest are the "West Indische Paskaert" (two copies) first issued by Willem Blaeu in ca 1630, and of landmark importance as the first "sea chart depicting North America on the Mercator projection" (Burden). The "Oost Indien" or chart of the East Indies is a particular rarity. It was first published by Pieter Goos in ca 1660, and extends from the Cape of Good Hope to Japan: "a complete survey of Dutch expansion in the East Indies and takes into account Tasman's two voyages of exploration" (Schilder). Van Keulen's first atlas was his "Zee Atlas" with about 40 charts. "The culmination in the development of Dutch pilot books was reached with the publication of "De Nieuwe Groote Lichtende Zee-Fackel " in 1681.The work was immediately recognized as superior to anything else on the market and enjoyed a considerable reputation for accuracy and detail" (Martin & Martin, 11). On the death of Joannes in 1704 the firm passed to his son, then his grandson, and on the death of Cornelis Buys van Keulen the name of the firm "was altered after much palaver into Gerard Hulsst van Keulen. The surviving son conducted the publishing business with more ambition than before. A considerable number of books appeared in the period 1778-1801. Greater activity was developed in the cartographic branch and new issues of the "Zee-Fakkel" again saw the light" (Koeman page IV 279). Truusje Goedings, renowned expert in Dutch colourits of the 17th-century, writes of this copy: "Though we have no documents, the Van Keulen firm must have offered its atlases coloured. They introduced a decorative but less detailed, more economic and functional style of colouring for their marine-atlases, favouring a broad approach with an overall or extra large border colouring for the land-regions in flat but often very bright hues of mainly rosa, pink, light yellow and green , without specifying details such as mountains, woods etc.; watersurfaces were generally left blank. This style of colouring was brought to its height around. Bookseller Inventory # 72lib385

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Here begynneth the prohemye upon the reducynge.: CICERO, Marcus Tullius

CICERO, Marcus Tullius

Published by Westminster William Caxton (1481)

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Item Description: Westminster William Caxton, 1481. The Caxton Cicero The Fine Berkeley - Sion College Copy [CICERO, Marcus Tullius.] [CAXTON, William, printer.] Here begynneth the prohemye upon the reducynge both out of latyn as of frensshe in to our englyssh tongue of the polytyque book named Tullius de senectute. ["Of Old Age" and "Of Friendship"] Westminster: William Caxton, 1481. Editio princeps in English. Two parts in one folio volume. Complete but for two blanks: 118 (of 120) leaves, lacking blanks 1 and 72, and retaining blank 11. Complex and ornate Flemish lettre batarde for the text (type 2*), a bold English black letter for some proper names (type 3); rubricated, capitals painted red, and red underscores and paragraph-marks. 271 x 192mm (11 x 8 inches). 29 to 32 lines plus directional lines. Modern blindtooled reddish goatskin to antique style, with clasps and catches, by Bernard Middleton. Old red edges. The translation of Cicero's "Of Old Age" was made anonymously for the historical Sir John Fastolf (1378?-1459, who became the model for Shakespeare's Falstaff). The other translations are by the learned and clever, but notoriously cruel, John Tiptoft, Earl of Worcester (1427?-1470). Caxton himself, as was often the case, supplied a prefatory note. An outstanding, textually complete, fully signed and dated book by England's first printer, printed in his most astonishingly beautiful and complicated type. This book is also the earliest printed translation of any Latin Classic into English. The text type in which this beautiful volume is printed was cut by Johann Veldener shortly before Caxton moved from Bruges to England, and appears here in a modified and fully developed state. It reflects the best scribal practices of the Burgundian court hands, and may have been modeled on the hand of the scribe Colard Mansion, who took over some of Caxton's equipment on the latter's departure from Bruges. The type possesses the unusually high total of 217 sorts, and is one of the most complex and remarkable of the fifteenth century. The copy at hand is the fine copy presented to Sion College by Lord Berkeley, and was rebound by the renowned British conservator Bernard Middleton in the late 1970s. It is one of the largest copies known. The first leaf is inlaid with trifling loss (restored) to four letters. A few marginal notes in a contemporary hand. A few marginal defects, nicely restored. A few pentrials, most notably on 2i1 where a few letters are affected. An excellent copy overall. [bound with:] BONACURSIUS de Montemagno. Declamation of Noblesse (De vera nobilitate). Hain-Coppinger 5311. Duff 103. De Ricci 31.10 (this copy). Oates 4875. GW 6992. Goff C-267. HBS 65287. $1,350,000. Bookseller Inventory # 65287

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AUDUBON, John (1785-1851) and Rev. John BACHMAN(1790-1874).

Published by New York: J.J. Audubon (--V.G. Audubon), 1845-1848. (1848)

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Item Description: New York: J.J. Audubon (--V.G. Audubon), 1845-1848., 1848. 4 volumes, oblong folios of "elephant" broadsheets (555 x 712 mm). 3 lithographic title-pages and 3letterpress contents , 150 hand-colored lithographic plates after John James and John Woodhouse Audubon, with backgrounds after Victor Audubon, by J.T. Bowen. Contemporary French red morocco and marbled boards, spines gilt-paneled in six compartments, titled "Histoire Naturelle" in the second and numbered in the fourth compartments. Condition: plate CXXIX misnumbered CXXIV, plate XLVI spotted, XLVIII and XLIX with light oil spot to fore-edge margin, LXI with small light stain, LXII creased along gutter with short tear to upper edge, moderate soot-staining to LXXVI, most plates with faint line of soot spotting to extreme edges, titles and contents faintly browned, old newspaper clipping pasted to one contents leaf; joints rubbed with some minor exposure along board edges. Provenance: J. R. Welsh (old stamp to titles and contents); with Nico Isreal, 1978, $29,000. FIRST EDITION OF ONE OF THE GREATEST AMERICAN COLOR PLATE WORKS, bound for a French client. In the 1830s, as the final plates were being completed for John James Audubon's monumental "Birds of America" series, the artist began to gather material for his second and equally ambitious undertaking. Planning to complete the definitive study of American wildlife, Audubon set out to document the animals of North America, and to present them in a format as impressive and sweeping as that he used for his birds. The result of the artist/naturalist's years of field research, travel, and seemingly endless study was the "Viviparous Quadrupeds of North America", the outstanding work on American animals produced in the 19th-century. The artist's enthusiasm for "The Quadrupeds" was unbounded. In 1840, Audubon wrote to his friend and collaborator John Bachman, "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs fully able to carry my body for ten years to come. Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman." Despite his newly acquired wealth and celebrity, Audubon insisted on executing many of the preparatory drawings and watercolors personally, enlisting a select few to help. The contributors to the project included Bachman, a Lutheran minister who had been the artist's closest friend and supporter for many years, who wrote all of the descriptions and acted as a scientific editor for the work. Audubon's two sons, John Woodhouse and Victor, also took critical roles. With his sons, Audubon traveled through the Eastern woodlands, and through Missouri to the Rocky Mountains. Together they collected and drew specimens along the Mississippi, as well as in coastal regions of Florida and the East Coast. As Audubon's health and eyesight began to fail, the help of John Woodhouse and Victor became increasingly crucial to "The Quadrupeds", now a family project. Audubon managed to complete seventy seven drawings before failing health kept him from his work. Before he died in 1851, Audubon's sons managed to solicit some three hundred subscriptions for "The Quadrupeds". Together, the three men, along with John Bachman, produced an unequaled record of American wildlife, matching the great combination of art and science attained in the "Birds of America". Like that series, "The Quadrupeds" are wonderfully animated, superbly rendered, and beautifully printed in large format.Reese, Stamped with a National Character 36; Sabin 2367. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. Bookseller Inventory # 72BBA3

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The Birds of Australia - The Birds: GOULD, John (1804-1881).

GOULD, John (1804-1881).

Published by London: published for the author, printed by Richard and John E. Taylor, [1840-] 1848. - London: published by the author, [1851]-1869. (1869)

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Item Description: London: published for the author, printed by Richard and John E. Taylor, [1840-] 1848. - London: published by the author, [1851]-1869., 1869. 8 volumes. Folio (22 4/8 x 14 4/8 inches). 681 hand-colored lithographs, including three double-page, after John and Elizabeth Gould and H.C. Richter (intermittently and occasionally heavily spotted throughout volumes I-VII. Contemporary green morocco gilt, all edges gilt, by Bicker & Son; "Supplement" in half green morocco to style, original wrappers bound in at the end. Provenance: From the library of Sir John Franklin (1786-1847), FRGS, British Royal Naval Officer, Arctic Explorer, and Governor of Tasmania (1836-1843); gifted to Henry Elliot, Franklin's aide-de-camp; the bookplate of the University of Michigan on the front paste-down of each volume and their ink library stamps on the recto of the first blank, and the foot of the dedication leaf in volume I and the foot of the contents leaf in all other volumes; the bookplate of Albert May Todd (1850-1931) known as "the peppermint king" on the front paste-down of each volume; George M. Pflaumer, American bibliophile, his sale Sotheby's New York, June 3, 1997, lot 92. First editions. ORIGINAL SUBSCRIBER SIR JOHN FRANKLIN'S COPY. Gould collected the material for his magnum opus "The Birds of Australia" on journeys through Australia in 1838-1840: "I was naturally desirous of turning my attention to the Ornithology of some other region; and a variety of opportune and concurring circumstances induced me to select that of Australia, the birds of which, although invested with the highest degree of interest, had been almost entirely neglected In the absence, then, of any general work on the Birds of Australia, the field was comparatively a new one, and of no ordinary degree of interest, from the circumstance of its being one of the finest possessions of the British Crown, and from its natural productions being as remarkable for the anomalous nature of their forms, as for their beauty, and the singularity of their habits." (Gould "Preface" to his "introduction to the Birds of Australia"). Arguably John Gould's largest and most important work, in part due to the time Gould spent in the field making his own observations: the text that accompanies the illustrations is by far the most accurate and detailed of all his works. In September 1838, the author and his artist wife, Elizabeth, arrived in Australia and spent the following eighteen months exploring Tasmania and the adjacent islands, South Australia, and new South Wales. Upon the discovery that she was pregnant, Elizabeth Gould resolved to remain in Tasmania while her husband set about discovering the birds of Australia's interior. She was to stay with the Governor of Van Diemen's land (Tasmania), John Franklin, during this time and became fast friends with the Governor's wife Jane, who had a reputation among the locals for being an unusually forthright and intrepid individual. She and her husband went on frequent expeditions by themselves, often 'roughing it', and on one occasion managed to get themselves lost. She helped to found the local University, Museum and Botanical Gardens. It is therefore not surprising that Captain Franklin should become a subscriber to the "Birds of Australia". With an AUTOGRAPH LETTER SIGNED BY HENRY ELLIOT, FRANKLIN'S AIDE-DE-CAMP, dated April 1877, inserted in the first volume: "This copy of Gould's Birds of Australia belonged to Sir John Franklin to whom I was aide de camp, and in whose house, while Governor of Tasmania, Gould lived many months while making his collection. I had myself made a collection of the Birds of Tasmania, and gave many of the specimens to Gould. After the death of Sir J. Franklin's widow in 1876 this copy of the work was given to me by his niece . . ." Gould acknowledges the assistance of both Elliot and Franklin in his "Preface" to "The Birds of Australia". AN EXCEPTIONALLY FINE SET WITH A DISTINGUISHED PROVENANCE. Anker 174, 179; "Fine Bird Books" p. 78; Nissen 370; Sauer 9, 18; Zimmer pp. 225-259. For more information about this book, or a warm welcome to see it and other. Bookseller Inventory # 000124

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Su[m]ma de arithmetica geometria proportioni et proportionalità.: PACIOLI, Luca [Lucas

PACIOLI, Luca [Lucas de Burgo S. Sepulchri]

Published by [colophon:] Venice, Paganinus de Paganinis, 10-20 November, 1494 (1494)

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Item Description: [colophon:] Venice, Paganinus de Paganinis, 10-20 November, 1494, 1494. 2 vols in one, folio (320 x 215 mm), ff [8] 224; 76, with large white-on-black woodcut initials, full-page woodcut 'tree of proportion' printed in red and black, full-page woodcut showing finger symbolism for numbering, numerous woodcut mathematical and geometrical diagrams, and illustrations showing instruments and methods of measuring; margins of initial leaves a bit frayed and worn, some occasional light marginal waterstaining, overall a remarkably fresh, bright, unsophisticated, and large copy, with numerous leaves with deckle intact, in its original Italian limp vellum binding, manuscript title on paper label on spine, lettered 'Suma d Arithmet' on lower fore-edge, 'B A L.' on upper cover, the vellum wrinkled and outer edge of lower cover frayed. £750,000First edition, a remarkable copy in entirely original condition, of the first mathematical encyclopedia of the Renaissance and 'the first great general work on mathematics printed' (Smith, Rara arithmetica). It is amongst other things famous for first publishing the ideas of Fibonacci; the first published exposition of double-entry bookkeeping; and the perspective theories of Pacioli's friend and colleague Piero della Francesca, who died two years before the Summa was published.Rare in any condition, the example offered here retains its original Italian vellum binding, and the copy is free from restorations or sophisticaions.The Summa is famous for spreading the mathematical ideas of the author's predecessors (especially those who did not get into print) to generations of mathematicians to follow. Of special note is Pacioli's role in disseminating the ideas of the great thirteenth-century mathematician Fibonacci, whose 1202 Liber Abaci famously introduced Arabic numbers to the West. Fibonacci's work only circulated in manuscript, however, and in a Latin suited for academics, but Pacioli had these concepts printed in Italian for introduction to the wider commercial world, and thereby transformed how Europe conducted business. Pacioli even observes that the term for the modern mathematics of merchants, 'abbaco', was likely derived from the phrase 'in modo Arabico' ('In the Arab manner') (see f 19r), not from the abacus counting device (see Sangster, p 116). The Summa is also the first printed book to treat algebra comprehensively and the first printed vernacular text on geometry. It gives the first examples of calculus and of a calculated logarithm, the first printed text on the mathematics of linear perspective, and the earliest printed representation of computation, in its iconic full-page woodcut of finger counting (see Sitwell, Smith, Clarke, and Gleeson-White, pp 91-131). The Summa contains, famously, the first presentation in print of the theories of Leonardo Fibonacci of Pisa (1170-1250) 'whose works [in manuscript] transmitted Hindu-Arabic numerals and theories to the West and thus marked the beginning of the mathematical renaissance' (Stillwell). Pacioli's treatise on bookkeeping, De computis et scripturis, contained in the Summa, is the first printed work to set out the method of double-entry bookkeeping, a system which has stood the test of centuries. The author's treatment of geometry is drawn from the manuscript of Piero della Francesca's Libellus de Quinque Corporibus Regularibus which Pacioli studied in the ducal library of Urbino. It is the earliest treatment of Piero's work in print and principal fount (via his publications) for Piero's geometrical and perspective theories (see Ciocci, 2009). Luca Pacioli was also friend, teacher, and collaborator of Leonardo Da Vinci, who wrote in his notebook a list of 'things to do' (ca 1495) including a reminder to himself to 'learn multiplication from the root from Maestro Luca' (Sitwell et al., p 91).Born in 1447 in Borgo Sansepolcro, Pacioli was first schooled in the abbaco system, an applied, commercial education focusing on mercantile mathematics. He became a Franciscan friar in the early 1470s and shortly thereaft. Bookseller Inventory # 3914

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Audubon, John James.

Published by New York, John James Audubon, 1845-1848. (1848)

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Item Description: New York, John James Audubon, 1845-1848., 1848. 3 vols. Large folio (70 x 55 cm). With 150 striking coloured plates, all lithographed on stone, printed and coloured by J. T. Bowen of Philadelphia, after drawings by John James and John Woodhouse Audubon, and the backgrounds after Victor Audubon. Each volume also with a title-page and a list of contents. Late 19th-century black morocco, with gold-tooled spine, red cloth sides and marbled endpapers. First edition of the extraordinary coloured plates of quadrupeds by the world-famous French-American naturalist and painter John James Audubon (1785-1851), whose "Birds of America" was purchased at a Christie's auction for $11.5 million in March 2000, setting a world record for the most expensive book ever sold (surpassed only by the 1640 "Psalm Bay Book", sold for $14.2 million in November 2013). The plates in the present work are considered the finest animal prints ever published in America. Unlike the "Birds", it was produced entirely in the United States, making it the "largest successful color plate book project of 19th-century America" (Reese). - After the publication of his highly acclaimed "Birds of America", Audubon settled on the Hudson River and began working on the present series to document the animal life of North America. The plates were first published in 30 parts of 5 plates each, and three separately published accompanying text volumes, written by John Bachman, appeared between 1846 and 1854. A second edition was published in 1856, but "the first edition is by far the best" (Sabin). - Title pages show some small scuff marks, a few plates with minor, unobtrusively repaired tears along the edges. Binding skillfully restored. A complete set, with most plates in fine condition. Nissen, ZBI 162. Buchanan, pp. 147-154. Reese 36. Sabin 2367. Cf. Howgego II, A19 (p. 15, 1846-54). Bookseller Inventory # 32089

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Martin, Thomas Commerford

Published by The Electrical Engineer (1894)

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From: Antiquarian Bookstore (Portsmouth, NH, U.S.A.)

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Item Description: The Electrical Engineer, 1894. Hardcover. Book Condition: Good. 1st Edition. "With Special Reference To His Work In Polyphrase Currents and High Potential Lighting" by Thomas Commerford Martin, Editor: The Electrical Engineer; Past-President American Institute Electrical Engineers 1894 The Electrical Engineer, New York. 1st Edition. Frontis Portrait. 496 pp incl. 3-pp Index. Numerous black/white text illustrations. Prominently SIGNED in ink by Tesla on halftitle page: fully guaranteed. Early owner signature of V.G. Converse on 1st blank & same name in stamp on upper right corner of title page. Original light orange cloth binding worn. Contents clean, tight, complete. Original edges un-trimmed. Format 6"x10" Research has found no other copies of the 1st Edition, even un-signed. $1,000,000 (One Million Dollars). Bookseller Inventory # 000102

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Life Application Study Bible, New Living Translation

Published by Tyndale House Publishers

ISBN 10: 0842332677 ISBN 13: 9780842332675

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Item Description: Tyndale House Publishers. Hardcover. Book Condition: Good. 0842332677 May have some wear to cover or dust jacket. May have some writing and or high-lighting. Book is in good overall general condition. Bookseller Inventory # SKU1014460

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The Once and Future Goddess: A Symbol: Gadon, Elinor W.

Gadon, Elinor W.

Published by Harper San Francisco, New York, New York, U.S.A. (1989)

ISBN 10: 0062503545 ISBN 13: 9780062503541

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Item Description: Harper San Francisco, New York, New York, U.S.A., 1989. Soft cover. Book Condition: New. Bk Country (illustrator). NEW perfect condition, completely pristine. No physical flaws. FREE TRACKING within the US, and email notice when shipped. Normally, books are shipped twice a day, with afternoon USPS pickup, or next morning drop-off at the Post Office. We package on Sunday for shipment first thing Monday morning. Your satisfaction guaranteed. We have multiple copies of most books. Email inquiries are welcomed. Thanks for reading all of our boilerplate. Bookseller Inventory # 008979

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Wild Amazon: A Photogapher's Incredible Journey: Gordon, Nick

Gordon, Nick

Published by Evans Mitchell Books, U.S.A. (2007)

ISBN 10: 1901268306 ISBN 13: 9781901268300

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Item Description: Evans Mitchell Books, U.S.A., 2007. Hardcover. Book Condition: New. NEW Book, perfect condition, cover/text completely pristine. No physical flaws. FREE TRACKING within the US, and email notice when shipped. Normally, books are shipped twice a day, with afternoon USPS pickup, or next morning drop-off at the Post Office. We package on Sunday for shipment first thing Monday morning. Your satisfaction guaranteed. We have multiple copies of most books. Email inquiries are welcomed. Thanks for reading all of our boilerplate. Bookseller Inventory # 011621

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De Civitate Dei.: AUGUSTINE, Saint, Bishop

AUGUSTINE, Saint, Bishop of Hippo.

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Item Description: Hard cover. 271 (of 274 leaves, without the blank leaves 1, 16, & 274). 50 lines. Roman types. First text page illuminated with elaborate three-sided border in blue, green, red & gold, incorporating two large capitals "I" & "C", Christ’s symbol, a hare, and a coat-of-arms (see below). 21 eight-line illuminated initials with floral decoration & extensions in color & pen-work, 2-line initials alternating in red & blue. Chapter numbers supplied in red for the first 6 leaves of the table, chapter headings supplied in red throughout, chapter numbers in upper margin in red. Royal folio (370 x 242 mm.), 18th-cent. English red morocco (well-rebacked), sides panelled in gilt with border of alternating thistle, coronet, flower & crown, spine gilt, green morocco lettering piece on spine, a.e.g. Venice: Johannes & Vindelinus de Spira, 1470.Third or fourth edition (see below) of the most important work of St. Augustine; this is a magnificent copy printed throughout on vellum and finely illuminated for Leonardo Loredano (1436-1521), doge of Venice from 1501 until his death, with his family’s coat-of-arms at the foot of the first text page. This is one of nine recorded copies printed on vellum of the fourth book printed in Venice. It was begun by the city’s first printer Johannes de Spira, who had possibly learned the art in Mainz and was completed by his brother Vindelinus. The colophon gives a brief and fascinating history of the press and of this edition, stating that Johannes had already produced two editions of Cicero and one hundred copies of Pliny within three months and that he had died during the printing of De Civitate Dei. His death caused Vindelinus to take over the printing of the book. Based on the number of other works printed by Vindelinus in 1470 it has been argued by Ferdinand Geldner in his Die deutschen Inkunabeldrucker, pp. 62-64 that this Venetian edition appeared early in 1470 and thus pre-dates the Sweynheym and Pannartz Roman edition of the same year, making it the third, not the fourth, edition of De Civitate Dei.Saint Augustine (354-430), one of the four great Fathers of the Latin Church, designed this text as a great apologetic treatise in vindication of Christianity and the Christian Church. The City of God was written between 413 and 426 and represents the first Christian philosophy of history. "The impulse to the writing of the 22 books of the ‘City of God’, which was spread over several years, arose out of the fall of Rome to Alaric in 410. The event had caused consternation throughout the civilized world, and Augustine, who himself was profoundly moved, conceived the book as a reply to pagans who maintained that the fall of the city was due to the abolition of the heathen worship. It led him to deal with the fundamental contrast between Christianity and the world, and has made it the supreme exposition of a Christian philosophy of history."–Cross, F.L., The Oxford Dictionary of the Christian Church, p. 107. "The first five books deal with the polytheism of Rome, the second five with Greek philosophy, particularly Platonism and Neo-Platonism (which are seen as leading inevitably to Christianity in which their problems are finally resolved), and the last twelve books with the history of time and eternity as set out in the Bible. History is conceived as the struggle between two communities — the Civitas coelestis of those inspired by the love of God, leading to contempt of self, and the Civitas terrena or diaboli of those living according to man, which may lead to contempt of God. This struggle of the two conceptions of life had dominated Augustine’s personal life and is here transferred to the wider field of world history. Both these powers fighting for the allegiance of the human soul are inextricably intermingled in society’s earthly institutions; but history is understood as a continuous evolution of the divine purpose and all forces work towards redemption of man by God’s grace, the central feature of St Augustine’s th. Bookseller Inventory # JHABES3277

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E. B. O' Callaghan

Published by J. Munsell, Albany, NY (1867)

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Item Description: J. Munsell, Albany, NY, 1867. Hardcover. Book Condition: Poor. Dust Jacket Condition: Fair. 1st Edition. 8vo - over 7¾ - 9¾" tall. Only 100 copies were printed. This book is an original and was part of a private collection. The spine has a title pasted on it edge. The cloth is worn away in some spots on the spine. The cloth spine has black stripes. There is partial label on the bottom of the spine with what appears to be a call number. The boards are brown and cream colored in a marble pattern. The front board has detached from the hinge, but is present with the book. The end papers are maroon. The front maroon FEP is loosely attached. There are no visible remainder marks on the moroon end papers. One FEP has some penciled numbers at the bottom. Another has the words only 100 copies or something to that effect written in the top left hand corner. There is a imprinted stamp on the title page, but it is difficult to discern name. The top of the text block is colored in gold. The book is written in old English. Due to the book's age, I am reluctant to inspect all pages for defects. The boards are in solid shape save from the front board being detached from the binding. There is some flecking of the marbled covering on the rear board. The book details the number of slaves transported on various voyages of the ships Arms of Amsterdam and St. John. Pictures are available on request. Bookseller Inventory # 001722

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recueil des histoires de troyes: LEFEVRE, Raoul

LEFEVRE, Raoul

Published by Bruges William Caxton (1473)

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Item Description: Bruges William Caxton, 1473. The Caxton Recueil Des Histoires De Troyes The Duke of Roxburghe- John Pierpont Morgan Copy LEFEVRE, Raoul. Le recueil des histoires de troyes. Bruges: William Caxton, 1473. First edition of the French text of Raoul Lefevre, which, in Caxton's English version was the first book printed in English and the first book printed by Caxton. This is generally acknowledged as the first literary work printed in the French language: Caxton left Bruges for England in 1477, the first works in French printed in Paris were in 1477 and the French printing by Le Roy at Lyons are thought to be later. Small folio (267 x 196 mm). Lettre batarde. 31 lines. 252 [of 286] ff., lacking 32 printed leaves and two blanks: d-f10, C1, C10, and blanks a1 and m10. Early nineteen-century brown straight grain morocco by Charles Lewis: gilt- and blind-ruled in geometric patterns, gilt inner dentelles, gilt edges. Fine condition, unrestored. This copy is notable in that the missing leaves are internal, and the first and last printed leaves are present. Only seven copies of this book are extant and only three are complete. With an extraordinary provenance befitting the greatness of this book: Library of the Duke of Roxburghe (sale 1812); of the third Earl Spencer (sale 1823); John Dent, with his notes (sale 1827); P.A. Hanrott (sale 1834); the Earl of Ashburnham (sale 1897); Richard Bennett, with his bookplate; John Pierpont Morgan, with his bookplate and his shelfmark. BMC IX, 131. Goff L-113. Duff 243. De Ricci (C) 3b.4. Pollard no. 637 (this copy). HBS 66439. $950,000. Bookseller Inventory # 66439

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Montalboddo, Fracanzano da.

Published by [Milan, J. A. Scinzenzeler], 1508. (1508)

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Item Description: [Milan, J. A. Scinzenzeler], 1508., 1508. Folio (248 x 197 mm). 10, 88 ff. (the two index leaves bound before text). Title with full-page woodcut map (second issue, with "Arabicus" replacing "P[er]sicus"). Early 20th century red morocco with title gilt to spine, boards and dentelles ruled in gilt, all edges gilt. First Latin edition of the most important and "earliest printed collection of voyages and discoveries" (PMM). Also the only edition of this collection of travel reports to include the map showing Africa, Arabia and part of Europe, illustrating for the first time the new discoveries in the eastern hemisphere. This map, not included in the original 1507 Italian edition or any subsequent edition, is the earliest to show Africa completely surrounded by seas and, as one of the first non-Ptolemaic maps to include Arabia, definitely the earliest "modern" printed map to show Mecca. Published in 1508, it raises a controversy still with us more than 500 years later: it labels the Red Sea and the Gulf as a single body of water and calls it the Gulf, but in the first state of the block it was called the "Persian Gulf" ("Sinus Persicus"). For reasons unknown, the editor revised the block with a patch to rename it the "Arabian Gulf" ("Sinus Arabicus"). The map therefore exists in two different states in copies of this edition. Ours is the rarer second one, with "Sinus Arabicus". Considered a "vehicle for the dissemination throughout Renaissance Europe of the news of the great discoveries both in the east and the west" (PMM), the present collection contains reports of the voyages of Columbus, Vespucci, Cabral (Brazil), Cadamos (Africa) and, perhaps most importantly, "the earliest printed account of the voyage of Vasco da Gama" to India (PMM). This voyage to the eastern hemisphere is comparable in importance only to Columbus's in the west, as it "opened the way for the maritime invasion of the East by Europe" (PMM). - Da Gama's pioneering sea voyage ranks amongst the greatest historic events of the second millennium and as "one of the defining moments in the history of exploration" (BBC History, online). It is also considered the turning point in the political history of the Arabian Gulf region, followed as it was by a prolonged period of east-west commerce, conquest and conflict. For better or worse, the discovery of the first all-water trade route between Europe and India catalyzed a series of events that forever changed the political history and geography of the world. Portugal was the first European power to take an active interest in the Gulf region: "Vasco da Gama made the first known reference to this area when he traveled through the Strait of Hormuz to the sheikhdom of Julfar" (Romano). In Julfar, today known as Ras al-Khaimah and part of the United Arab Emirates, Da Gama made contact with the Islamic navigator Ahmed ibn Majid, still remembered as the "first Arabic seaman". On the basis of Portuguese and Arabic records, it has now been established that it was Ibn Majid who finally piloted Vasco da Gama's ship to India using an Arabian map then unknown to European sailors, who previously had been unable to cross the Arabian sea. By gaining trading access to Arabia and India, the Portuguese seized control of the whole region within a few years after Da Gama's discovery and were to dominate the Gulf area for centuries: "In less than two decades, Portuguese forces occupied Julfar and controlled the lower Gulf region. Eventually, the Portuguese extended their presence as far north as the island nation of Bahrein" (Romano). - Engraved bookplate of Dr. Samuel X. Radbill (1901-87) on pastedown. Radbill bought the volume at Sotheby's on 24 July 1939 (lot 176); it remained in his famous collection until it was acquired by us from his descendants in 2014. Foot of map creased as folded for binding, head of first 3 leaves with a stain and last 5 leaves with corner stains, binding slightly rubbed. Overall a very bright and clean copy. Of extraordinary rarity: our copy is one of o. Bookseller Inventory # 34081

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Item Description: Baltimore: 1833-1837., 1837. 11 individual maps, of varying sizes, including 9 original manuscript maps drawn in pen and ink, pencil and ink wash on wove paper, of the State of Maryland, and of the existing 20 counties, and the Western Shore of Chesapeake Bay, and two lithographed maps of the proposed creations of Howard and Carroll Counties in 1837 and 1838 respectively. ALL IN EXCEPTIONALLY FINE NEAR ORIGINAL CONDITION. Provenance: Probable gift of Mrs Phillip T. Tyson to the Maryland Academy of Sciences in January of 1878; deposited at the Enoch Pratt Free Library, Baltimore from 1937, with their ink stamp in the lower corner and their 20th-century shelfmarks. John Alexander was only 21, and newly graduated from St. John's College in Annapolis when he was commissioned by the General Assembly of Maryland to "examine and collect information, and report to the next General Assembly a plan and drawing for a complete Map of Maryland and to make such surveys as may be required for the purpose of exhibiting the prominent geographical and topographical features of the country, and also to collect such statistical information as will be useful". ALEXANDER'S ACHIEVEMENT IN THE FOUR SHORT YEARS THAT HE WORKED ON THIS COMMISSION IS IMMENSE. HIS IS THE FIRST CENTRALISED, COMPREHENSIVE, CO-ORDINATED AND SCIENTIFIC SURVEY OF THE STATE OF MARYLAND Although Alexander and his colleague Prof. Julius T. Ducatel set about their task with enthusiasm, financial support was minimal, and progress slow. Nevertheless successive annual reports of the General Assembly were illustrated by the individual county maps, even though Alexander's general map of the whole state of Maryland, while accurate and detailed, ultimately remained unfinished. In addition to disappointing lack of official support, which eventually dried up completely by 1841, Alexander soon found that his talents were in demand from local wealthy landowners and prospective investors in canal and railroad routes. In 1837, after locating and acquiring a major coal deposit in the Allegheny region of the state, Alexander resigned his commission. Although he remained the official State Engineer until 1841, he refused to draw the salary attached. And so "ended all co-ordinated state efforts at comprehensive mapping of Maryland until the close of the century" (Papenfuse). Alexander's achievements lay unrecognised until 1861, when the U.S. Army needed a good map of the area surrounding Washington to mount defenses during the Civil War. Kate Hunter 2011. Bookseller Inventory # 72lib121

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The Viviparous Quadrupeds of North America.: AUDUBON, John James

AUDUBON, John James (1785-1851) - John BACHMAN (1790-1875).

Published by New York: J.J. Audubon - [V.G. Audubon], 1845-1848. (1848)

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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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Item Description: New York: J.J. Audubon - [V.G. Audubon], 1845-1848., 1848. 3 volumes Imperial folio (27 x 21 inches). 3 lithographed title-pages, 150 fine hand-colored lithographed plates by J. J. Audubon and J. W. Audubon, backgrounds after Victor Audubon, lithography by J. T. Bowen (title-pages of volumes I and III and contents leaves in all 3 volumes lightly spotted, scattered spotting on plate 46, plates 8, 51 and 101 browned, light marginal finger soiling on about 4 plates, plates 1-3 and 101 slightly creased at center, light streak along right margin of plate 56). Volume I bound in publisher's brown half morocco over browned ribbed cloth, volumes II and III in publisher's half black morocco over ribbed purple cloth, yellow coated endpapers, spines lettered gilt (a bit worn at extremities, covers scuffed). Provenance: with the engraved armorial bookplate of Edward Sands Litchfield (1891-1984) on the front paste-down of each volume, his sale 29th November 2001, lot 14. First edition, "the largest successful color plate book project of 19th-century America" (Reese). A bright and brilliantly colored set of Audubon's magnificent final work, The Viviparous Quadrupeds. Audubon's enthusiasm at the start of the project was unbridled. Around 1840 he wrote to his collaborator, the Rev. James Bachman, "I am growing old, but what of this? My spirits are as enthusiastical as ever, my legs full able to carry my body for ten years to come, and in about two of these I expect the illustrations out, and ere the following twelve months have elapsed, their histories studied, their descriptions carefully prepared and the book printed! Only think of the quadrupeds of America being presented to the World of Science by Audubon and Bachman" (Streshinsky, Audubon, p. 331). The artist managed to complete seventy-seven drawings before failing health kept him from his work. The remainder were completed by John Woodhouse Audubon. The dauntingly massive enterprise was a commercial success, owing chiefly to Victor's careful management. Before Audubon's death in 1851, his sons succeeded in soliciting some three hundred subscriptions for the work. From the distinguished sporting library of Edward Sands Litchfield. Litchfield 28; McGill/Wood 208; Nissen ZBI 162; Reese American Color Plate Books 36; Sabin 2367. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. Bookseller Inventory # 72nhr48

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Collectanea Rerum Memorabilium.: SOLINUS, Caius Julius.

SOLINUS, Caius Julius.

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Item Description: Hard cover. In Latin. Illuminated manuscript on vellum. Italy, Naples, ca.1475. 243 x 165mm., 188 leaves, vellum, complete, catchwords and illuminator’s instructions survive, ruled page: 145 x 75mm. 51 white vine initials, 180 small decorated initials, two foliate borders, one full-page interlaced with peacocks and rabbits with putti holding the coat-of-arms of Ferdinand I of Aragon, King of Naples (some trivial oxidization to putti in full-page border, otherwise in pristine condition). Binding of 19th-century red velvet over boards by Charles Lewis (spine lightly rubbed). Red slipcase.PROVENANCE:1. Illuminated by Cola Rapicano and likely written by Giovanni Marco Cinico for Ferdinand I of Aragon, King of Naples (1423-94); his coat of arms and emblems in the margins. Two copies of this Solinus text are listed in De Marinis: one, "Solinus de mirabilibus mundi, cubierto de pergamino" is no. 510 in a list of codices left in 1550 to the convent of San Miguel de los Reyes in Valencia by Ferdinand of Aragon, Prince of Taranto, eldest son of the last Aragonese king of Naples Ferdinand III; in all likelihood this is Valencia, Biblioteca Històrica BH Ms. 614 (T. De Marinis, La Biblioteca Napoletana dei rRe d’Aragona, Milan, 1952, II, p.207). The second and most probable match with the present manuscript — "Solinus de mirabilibus mundi" — is no. 198 in an inventory from ca.1508-13 by Fabio Vigile of Spoleto found in codex Vaticanus lat. 7134, ff.255-259v, itself a copy of the lost original inventory of Aragonese codices sent to Lorenzo de’ Medici from Naples (T. De Marinis, II, p.197).2. Henry Gee Barnard (1789-1858) of South Cave, with his bookplate. 3. Allan Haywood Bright, letter addressed to him. It may be that Bright was given the present manuscript by Henry Yates Thompson (1838-1928); a Book of Hours now at the British Library and illuminated by Cola Rapicano (Yates Thompson 6) also belonged to Henry Gee Barnard before passing to Yates Thompson. The previous documented owner of Yates Thompson 6 was Gioacchino Guasconi (1438-1521), a Florentine representative of Lorenzo de’ Medici in the Kingdom of Naples. It seems possible, therefore, that the present manuscript may also have followed the same line of provenance from the Aragonese court to Florence and perhaps Guasconi and Lorenzo de’ Medici, and then, several centuries later, to Henry Gee Barnard and Yates Thompson.TEXT:Solinus, Collectanea rerum memorabilium: dedication to Aventinus and list of chapters ff. 1-6v, Chapters I-L, ff. 7-188. The text of the manuscript is the Collectanea rerum memorabilium (also known as the De mirabilibus mundi or Polyhistor) of Caius Iulius Solinus. It is a geographical catalogue of curiosities in the form of a history of the ancient world, borrowing from Pliny’s Naturalis Historia and Pomponius Mela’s De Situ Orbis, the work proved extremely popular throughout the Middle Ages and the Renaissance.ILLUMINATION: The illumination of this striking manuscript of the 3rd-century Latin grammarian and compiler Solinus’s Collectanea rerum memorabilium is attributable to Cola Rapicano, the official illuminator to the Aragon court in Naples from 1451 to 1488. His earliest securely identified and documented work is the copy of Andrea Contario’s Obiurgatio in Platonis calumniatorum of 1471 (Paris, BnF, Ms lat.12947), written by Giovanni Marco Cinico, with whom he collaborated on more than one occasion. Each chapter of the present manuscript is preceded by intricate white-vine initials of Florentine inspiration but Neapolitan execution so characteristic of Cola’s style, and the hooded-eyed, angular-buttocked little putti in the borders of the opening leaf of the text are clearly related to the lively protagonists in the BnF manuscript (or indeed to those in a Breviary in Valencia, Biblioteca Universitaria Ms. 890-726). From the mid-15th century, Cola led a thriving workshop that produced numerous manuscripts for the Aragonese court, and his engaging and modernizing blend of. Bookseller Inventory # JHABES4800

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REDOUTE, Pierre Joseph (1759-1840) and Claude Antoine THORY (1759-1827).

Published by Paris: Firmin Didot, 1817-1824. (1824)

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Item Description: Paris: Firmin Didot, 1817-1824., 1824. Folio (21 x 14 inches). Half-titles, engraved portrait of Redouté by C. S. Pradier after Gerard printed in black on white and on ochre paper, stippled engraved wreath and 169 stipple-engraved plates after Redouté by Bessa, Bessin, Chapuy, Langlois, Victor and others, the plates in 2 states, printed in colors and finished by hand, and in black on ochre paper (some light mostly marginal spotting). Contemporary French quarter green morocco gilt, green mottled boards by Tessier (extremities a bit scuffed, spine of volume one restored at the head and foot). ONE OF A VERY FEW LARGE-PAPER COPIES WITH THE PLATES IN TWO STATES First edition, bound from the original 30 parts between March 1817 and March 1824, each part containing six plates (except no. 10, which had one plate, and no. 30, which had none). "Les Roses" was issued in four formats: a large-paper folio with colored plates; a "special issue" of each work with the extra suite of black impressions on ochre paper was apparently bound in very small quantities (Hunt, "Printmaking") (as here); folio with colored plates; and folio with the plates in two states. Commemorating the rose garden of the Empress Josephine, many of the roses having been painted in her garden at Malmaison. The subtle gradations of tone found in Redouté's original watercolors are shown to perfection by the technique of the stipple engraving used to produce these exquisite plates. Redoute met the renowned and talented engraver Francesco Bartolozzi, on a trip to London and learned that the most successful impressions of stipple engravings came from well-used plates. A number of initial black plates were struck to take the edge off the plate before printing in colors began. Redouté's printers struck black impressions-always on paper with a distinct ochre tint-from the plates for both "Les Roses" and "Les Liliacées". The botanical descriptions were by Claude Antoine Thory (1759-1827), a civil servant by profession, and an enthusiastic gardener who cultivated his own collection of roses. He and Redouté regularly traded cuttings and seeds. The roses depicted in the work included examples from Thory's own collection as well as from Malmaison. "Redouté and Thory knew, described, and figured almost all the important roses in their day. Included were many of the key ancestors of our present-day roses. The plates in Les Roses have artistic value, and botanical and documentary value, both for the species and cultivars still surviving and for those that have disappeared" [Sir George Taylor quoting Gisèle de la Roche in the Schutter facsimile, (Antwerp, 1974-78)]. Dunthorne 232; "Great Flower Books" p. 71; Hunt "Redoutéana" 19; Hunt "Printmaking in the Service of Botany" 25; Johnston Cleveland "Herbal" 807; Nisen BBI 1599; Pritzel 7455; Ray "French" 89; Stafleu TL2 9748. For more information about this book, or a warm welcome to see it and other books in our library at 72nd Street, NYC, please contact Kate Hunter, M.A. Oxon, in the Rare Book Department. Bookseller Inventory # 000155

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MITCHELL, John (1711-1768).

Published by [London:] Publish'd by the Author Feb.ry 13th. 1755, and Sold by And: Miller opposite Katherine Street in the Strand. (1755)

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Item Description: [London:] Publish'd by the Author Feb.ry 13th. 1755, and Sold by And: Miller opposite Katherine Street in the Strand., 1755. 8 EXCEPTIONALLY FINE SHEETS, each separately float-mounted and framed (each sheet size: 26 x 18 4/8 inches; each framed size: 31 x 23 inches). A MONUMENTAL engraved map of North America, by Thomas Kitchen after Mitchell, the title within a magnificent asymmetrical allegorical cartouche lower right, with original hand colour in outline. VERY RARE FIRST EDITION, FIRST ISSUE, with the imprint reading 'Publish'd by the Author Feb.ry 13th. 1755, and Sold by And: Miller opposite Katherine Street in the Strand'. The primary political treaty map in American history. Regarded by many authorities as the most important map in the history of American cartography, twenty-one editions and impressions of the map appeared between 1755 and 1781. John Jay used a copy of the third edition during the negotiations of what would become the Treaty of Paris (1783). It continued to be consulted in boundary disputes throughout the eighteenth and nineteenth centuries, and even into the twentieth. It was used in the Webster-Ashburton Treaty of 1842, the Quebec boundary definition of 1871, the Canada-Labrador case (1926) and the Delaware-New Jersey dispute (1932), among others. During the middle years of the eighteenth century, numerous maps were created as tensions over dominance in North America were leading up to the French and Indian War. "During those years, British and French cartographers were each claiming large, overlapping territories for their respective colonies in America. Cartographic warfare reached its peak in 1755, when several of the most enduring maps of North America were published. It was during 'the year of the great maps' that Dr. John Mitchell published his "Map of the British and French Dominions in North America" . the next year, Britain was fighting a war with France that many historians consider to be the most decisive in history. At the conclusion of the French and Indian War in 1763, France surrendered more territory to the British than has changed hands in any other conflict before or since. For five years, Dr. Mitchell collected every available scrap of geographical information to create the most comprehensive and up-to-date colonial map of North America. He sought out so many geographers and historians that he told Cadwallader Colden 'there are none I believe but what I have consulted'. Some of his other resources were the many printed maps available in the 1740s and 1750s; through the good offices of his friend George Montague Dunk, Earl of Halifax, he was given access to the repository of official manuscript maps and geographical materials on file in the archives of the Board of Trade in London. The resulting map, dedicated to Dunk, is so detailed and accurate that it has been used to resolve border disputes in the twentieth century. Nevertheless its original concern was the division of North America between the British and the French. "On the western extremities of the map, Mitchell cites charters dated May 23, 1609, and November 3, 1620, that stated that the western boundaries of Virginia and New England stretched 'from Sea to Sea, out of which our other colonies were granted'. In these few words, Mitchell cavalierly claimed for the British all of the vast, unexplored lands in North America reaching to the Pacific Ocean" (Cohen "Mapping the West" pages 59-60). Pritchard & Taliaferro, Degrees of Latitude 21; Stevens & Tree 54. Bookseller Inventory # 72map257

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George Heap and Nicholas Scull

Published by Gerard Vandergucht, London (1754)

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Item Description: Gerard Vandergucht, London, 1754. N/A. Book Condition: Very Good. An East Prospect of the City of Philadelphia taken by George Heap from the Jersey Shore Published, London, 1754 Engraving by Gerard Vandergucht Set of 4 Size: 20 1/8 x 80 1/8" References: Martin P. Snyder, City of Independence: Views of Philadelphia Before 1800, 42-44; E. McSherry Fowble, Two Centuries of Prints in America: 1680-1880, A Selective Catalogue of the Winterthur Museum Collection, 23; Gloria G. Deak, Picturing America, 1497-1899, 99 ("largest and most important of the early engraved views of Philadelphia"); Nicholas B. Wainwright, "The Scull-Heap East trospect of Philadelphia," in Pennsylvania Magazine of History and Biography, vol. 73, pp.16, 22-25; Stokes 6k Haskell, American Historical Prints, p. 18. Founded in 1680 on a site between the Delaware and the Schuylkill Rivers, Philadelphia was ideally situated for trade and by the mid 18th century, it had become the principal port on the Atlantic coast as well as the commercial and administrative hub of William Penn's province of Pennsylvania. In 1750, Thomas Penn, son of the founder, requested "a perspective view of the city," as a dramatic advertisement to attract more entrepreneurs, merchants and settlers to the city. George Heap, an accomplished local artist, undertook a detailed rendering, from the perspective of the New Jersey side of the Delaware. In 1752, he and the surveyor of the province, Nicholas Scull, advertised for advance subscribers to an engraving after Heap's drawing. But as he was about to sail for London to have his rendering engraved on copper, Heap suddenly died. Scull took over the project and, in London, entrusted the drawing to the highly regarded Flemish-born engraver, Gerard Vandergucht (1696-1766). The completed engraving was on a monumental scale, requiring four large folio sheets, when joined measuring 82 x 20 inches. It accurately depicts the bustling waterfront of Philadelphia, a windmill on an island and many sailing vessels, pennants flying, plying the broad river. The Penn family coat-of-arms is shown at the bottom of sheet 3, along with dedication to proprietors Thomas and Richard Penn. Sheet 4 features a detailed key, identifying streets, the Courthouse, the Statehouse (Independence Hall), a large number of steepled churches and the recently founded Academy (later the University of Pennsylvania). As Martin Snyder has written, "the use of almost seven feet of paper to portray less than a mile of waterfront, from present-day South Street to Vine Street permitted the details that is its great feature." The Scull-Heap print provides a unique view of the city that would become, a few years later, the seat of the Continental Congress and later, the capital of the newly independent nation. The grand image-the largest and most artistically significant view of any American city of its period-proved tremendously popular, and an initial press run of 500 copies was soon followed by a second of 250 copies (these with the corrected "Scull reading). Clearly, as Snyder writes, "the ravages of time upon such a giant and indeed unwieldy picture readily ; '"count for its extreme rarity today." The Scull-Heap engraving was not held in many important collections (Thomas W. Streeter, the Hon. J. William Middendorf, Laird Park, Pflaumer, Jay T. Snider) and we have located only six copies in American institutions: Colonial Williamsburg; Historical Society of Pennsylvania (2 copies, one in poor condition); Independence National Historic Park; New York Public Library (the I.N. Stokes copy); Winterthur Museum. Bookseller Inventory # 002410

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Quaestiones de Potentia Dei. Quaestiones de Malo.: THOMAS AQUINAS, Saint.

THOMAS AQUINAS, Saint.

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Item Description: Hard cover. Manuscript on vellum, attributed to Venceslaus Crispus as copyist and Matteo Felice as illuminator. Italy, Naples, 30 December 1480. 378 x 260 mm., 2 paper leaves, 378 vellum leaves, one paper leaf, collation: I-V8, VI6, VII10, VIII-XLVII8, XLVIII2 (complete); vertical catchwords. Justification 243 x 160 mm., two vertical and 46 horizontal rules in pale brown ink, written in dark brown ink in a regular and very elegant rotunda, a round semi-humanistic script, by Venceslaus Crispus. Running titles and headings in red, colophon (fol. 376r) in red, paragraph marks alternately blue and red, opening words of each Quaestio in burnished gold capitals. Illumination: two opening leaves (fols. 1 and 177) illuminated each with a large thirteen-line initial extending into a full-length bar border with knots and leaves sprouting in the margins into elaborate sprays of leaves and flowers in blue, purple, and green, with burnished gold bezants on penwork stems and tendrils, the lower margin of the first leaf with the royal arms of the Kings of Aragon and Naples emblazoned in a wreath supported by two winged putti and surmounted by a crown; 179 very fine illuminated initials, seven to eight lines high, containing highly finished designs of variously colored flowers and leaves with delicate white penwork on burnished gold grounds, some with short extenders. Very occasional tiny chips to initials. Overall condition: vertical creases in ff. 2, 8, 26, 50 and 375, old crease mark to fol. 1, partial crease in fol. 38; fol. 1 slightly soiled and with small area of damp-stain at top near hinge affecting the uppermost portion of the illuminated border, chipping to the large initial on that page; some fading or rubbing to ink of the creased leaves and a few faded areas in fewer than 10 other pages; a few wormholes in first 10 leaves, one or two marginal wormholes in last few leaves; small stain to 84v; apart from these minor flaws in very fine, pristine condition. Bound in early 19th-century diced Russia leather over wooden boards, sides with blind roll-tooled borders, spine with olive morocco lettering-piece, edges gilt and gauffred at an earlier date. Worn, joints split; in a modern morocco-backed folding case. A magnificent royal manuscript of exquisite quality in material, calligraphy, and illumination, containing two key philosophical treatises of Thomas Aquinas, the most important Christian philosopher of the Middle Ages. Written for Ferdinand I of Aragon, King of Naples, one of the great art patrons and bibliophiles of the Italian Renaissance, as part of an extraordinary project to assemble a complete set with definitive text of the works of St. Thomas for the royal library of Naples, the manuscript is of well-documented provenance: it has passed through the libraries of three kings, three cardinals, a prince and an earl.PROVENANCE:1. Dated in colophon (30 December 1480, fol. 376v). Written and illuminated for Ferdinand I of Aragon, King of Naples (1456-85), with his royal arms on first leaf. 2. By descent to his son, Federico of Aragon (d. 1504), King of Naples (1496-1501), when he was forced to yield his kingdom to Louis XII of France. 3. Georges d’Amboise (1460-1510), Cardinal, Archbishop of Rouen, prime minister of the Kings of France, bibliophile and patron of the arts; this manuscript described in the inventory of his Château de Gaillon in 1508, his library bequeathed to subsequent archbishops of Rouen. Destrez-Chenu 1953 list 22 manuscripts, and later two more were found but not listed in the inventory, making a total of 24.4. Cardinal Charles II de Bourbon-Vendôme (1550-90) and Cardinal Charles III de Bourbon-Vendôme (1562-94). The latter left part of the archiepiscopal library to the Jesuits of the Collège de Clermont, and the other part to his nephew, the king of France (cf. Delisle, pp. 259-60, and Guigard I, pp. 243-44).5. Henri IV, King of France (1589-1610), who took possession of the entire library, and transferred it to the Cabin. Bookseller Inventory # JHABES4798

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Dragonology : Field Guide to Dragons: Drake, Ernest

Drake, Ernest

Published by Candlewick Press, Somerville, MA, U.S.A. (2007)

ISBN 10: 076363686X ISBN 13: 9780763636869

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Item Description: Candlewick Press, Somerville, MA, U.S.A., 2007. No Binding. Book Condition: Like New. NEW Book, no wear w/ tiny printing flaw on back cover, cover/text completely pristine. No physical flaws. FREE TRACKING within the US, and email notice when shipped. Normally, books are shipped twice a day, with afternoon USPS pickup, or next morning drop-off at the Post Office. We package on Sunday for shipment first thing Monday morning. Your satisfaction guaranteed. We have multiple copies of most books. Email inquiries are welcomed. Thanks for reading all of our boilerplate ;-). Bookseller Inventory # 009456

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Beethoven, Ludwig van , composer (1770–1827).

Published by no date, but circa 1820–21. (1820)

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From: Kotte Autographs GmbH (Roßhaupten, Germany)

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Item Description: no date, but circa 1820–21., 1820. 2 pages. Oblong folio. Notated in brown ink and pencil on 16-stave paper. Extraordinarily important autograph sketchleaf for Beethoven’s Missa Solemnis. In ink and pencil, Beethoven pens his ideas for the Sanctus, Benedictus, and Gloria sections of the Missa Solemnis. The earliest material, written on both sides in ink, is for the Sanctus and consists of modulatory material in D major in 3/4 time—a notable difference from the finished work, which is in 2/4. Beethoven added the pencil portions of the manuscript later—likely after he began carrying this page as a pocket leaf, as evidenced by the central fold—with the passages on staves three through six on the front being part of the Gloria, and a section of the Benedictus on the lower half of the reverse, identified in Beethoven's own hand as "2te Theil Benedict." In very good condition, with a central vertical fold, various edge chips and small tears, and two small toned tape remnants to edges of the front. Unknown until 1996, this manuscript was discovered among the papers of Anton Schindler, Beethoven's private secretary and earliest biographer. Schindler added a few ink and pencil marginal notations, labeling the piece along the bottom of the front (translated): "Sketch for the Sanctus of the Second Mass in 3/4 meter." He also identifies the sketches on the reverse in the left border (translated): "Idea for the Benedictus of the Second Mass." Respected musicologist and Beethoven scholar William Kinderman describes this sketchleaf as 'a noteworthy source that documents the genesis of the Sanctus as well as aspects of the genesis of the Benedictus and the Gloria.' This manuscript represents a stage in the development of the Missa Solemnis where the opening section and tonal balance begin to resemble the completed composition, despite the disparity in meter. A remarkable, once-in-a-lifetime piece, rarely does an item arise that offers such great insight into the creative process of genius—essentially unmatched in magnificence, this Beethoven manuscript is a true historical treasure. Bookseller Inventory # 25103

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WRIGHT, Edward (1561 -1615).

Published by London: Joseph Moxon, 1657. (1657)

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Item Description: London: Joseph Moxon, 1657., 1657. 4to., (7 6/8 x 5 6/8 inches). Engraved title-page with fine border of navigational instruments and a map of the world showing the east coast of North America, South America and a partial coastline of "Nova Holandia" and "Nova Zelandia", EXCEPTIONALLY FINE large engraved folding map on two sheets "A Platt of all the World" by Joseph Moxon, fine folding map "A Particular Platt, for Sailing to the Azores" four folding plates tipped-in, four engraved plates in the text, and numerous woodcut diagrams and letterpress tables throughout. Early eighteenth-century (ca 1710-1720) English panelled calf, blind-tooled tulips at outer corners of central panel (rebacked to style). Provenance: 19th-century South Library bookplate of the Earls of Macclesfield on the front paste-down dated 1860, discreet blind-stamp on title-page. First edition thus, first published by Wright in 1599, then with emendations including: "The Division of the Whole Art of Navigation" by Roderigo Zamorano" in 1610, and then as here with Moxon's extensive additions and improvements including his own "The Haven-finding Art, or the way to find any Haven or place appoynted at Sea". This last edition is exceptionally important for Moxon's map "a Plat of all the World. First set forth by Mr. Edw. Wright and now. by Jos. Moxon and sold at his shop in Cornhill at the sign of Atlas. 1655". Based on Mercator's projection, Moxon made several significant revisions to Wright's original plate which had been engraved by William Kip, the most important of which is the entirely new depiction of Australia (noted as "Discoverere 1655") and a relatively accurate rendering of Hudson's Bay. Moxon has erased Wright's large royal coat-of-arms in the top left-hand corner f the map, and has re-hatched all of Wright's original coastline markings. However, Moxon retained Wright's rendering of California as an island. In spite of his Puritan upbringing Moxon was appointed Hydrographer to the King following the Reformation. Born in 1627 to a printer father, Moxon spent 40 years selling books, maps, gloves and mathematical instruments. He also produced the first English language dictionary devoted to mathematics, and in November 1678 became the first tradesman to be elected as a Fellow of the Royal Society. Moxon's theory about the probable location of the Northwest passage also heavily influenced the cours of Capatin Cook's third voyage in search of the elusive passage. "In 1589, while still a fellow of his Cambridge college, Wright temporarily forsook the life of a scholar, and with dispensations from the crown and college, he shipped, as Captain Edward Carelesse, on a boat of a fleet commanded by George, earl of Cumberland, on a raiding voyage to the Azores, confiscating 'lawful' prizes from the French, Portuguese, and Spanish there and en route. The account of this expedition, referring to Wright in the third person, is appended to his treatise "Certaine Errors of Navigation" (1599) and is presumed to have been written by him. In the same sentence in which Wright introduces himself, he says that he was captain of the "Hope" in Sir Francis Drake's West Indian voyage of 1585-6, which evacuated Sir Walter Ralegh's Virginia colony and took the settlers back to England. Wright probably had ample opportunity on the return voyage to make the acquaintance of and to discuss navigational mathematics with Thomas Harriot, one of the colonists and his near contemporary. The Azores expedition was successful in its accumulation of captured goods and ships, but the return voyage, which ran short of fresh water, was harrowing. There is no evidence of Wright's ever having put to sea again. The impetus for Wright's publication of the first edition of "Certaine Errors" came from his outrage at two apparent cases of plagiarism. A well-regarded navigator, Abraham Kendall, died at sea (1596) in possession of a manuscript copy of Wright's work, and this text, retrieved and brought to London, was taken to be Kendall's. Bookseller Inventory # 000211

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REDOUTÉ, Pierre-Joseph (1759-1840) - CANDOLLE, Augustin-Pyramus de (1778-1841) - DELAROCHE, Francois (1780-1813) - RAFFENEAU-DELILE, Alire (1778-1850).

Published by Paris: Imprimerie de Didot jeune, for the author. 1802-1816. (1816)

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Item Description: Paris: Imprimerie de Didot jeune, for the author. 1802-1816., 1816. 8 volumes. Folio (21 x 14 2/8 inches). Half-titles, printed dedication to Chaptal, letterpress title-pages, and French-Latin index to each volume. Engraved portrait frontispiece of Redoute by C.S. Pradier after Gerard. 486 numbered STIPPLE-ENGRAVED PLATES PRINTED IN COLORS, plate 370-371 a single folding plate, plate 372 uncolored as usual, by Bessin, Chapuy, and others after Redoute (some light browning and some spotting to plates in volumes V-VIII, particularly affecting plates 295 and 385, some occasional spotting and browning to text, particularly in the later volumes, and to the preliminaries of volume VII, one or two pale marginal stains, some pages loose). Fine contemporary French half crimson morocco, scarlet paper boards, each cover decorated with a broad gilt border of fillets of scrolling flower roll tools, each smooth spine decorated in seven compartments with exquisite alternating lily tools, gilt-lettered in two, uncut (extremities a bit scuffed, corners bumped). Provenance: Contemporary engraved bookplate of "De Cres" on the front paste-down of volumes I - V. "Art can capture and record the impact and the varied nuances that we admire in these flowers" (Redoute "Introduction") First edition, early issue of arguably Redoute's most beautiful work, plate 95 "Tradescantia Virginica" in the first state labelled "Commelina erecta", plate 428 "Narcissus laetus" is present in two states engraved by Bessin and Langlois, and plate 429 "Narcissus dubius" is engraved by Chapuy. Originally published in 80 parts, each comprising six plates with accompanying text, except for the last part which had twelve plates. Redoute was first brought to Royal patronage by Marie-Antoinette in 1788 when she appointed him Dessinatteur du Cabinet de la Reine and granted him access to the Petit Trianon. From then until the end of his long life Redoute weathered the political storms of France with remarkable ease "he survived the difficult years of the Revolution and the Restoration and found approval with all the rulers who changed in quick succession" (Hinz). However it was ten years later that his most creative period began under the patronage of the Empress Josephine when she acquired the Malmaison Chateau in Rueil, south of Paris: "she was passionately interested in botany and horticulture, and the design and layout of the Malmaison chateau garden became her personal concern. She went to great efforts to collect beautiful and rare plants from all over the world and to cultivate them in her gardens " (Hinz). Redoute's first work inspired by his association with the Empress was Vententat's "Jardin de Malmaison" for which he painted 120 watercolors, but their greatest achievement is "Les Liliacees". Although Josephine did not officially sponsor the work, she did pay Redoute a large salary to enable him to complete his monumental work at leisure. Josephine herself ordered several sets and the Interior Minister Chaptal, to whom the work is dedicated, ordered eighty sets to be distributed to museums around France or used by the Foreign Minister, Talleyrand, as "Imperial gifts offered to artists, scholars, and other notables all over Europe to advertised the excellence of French arts and sciences. Beyond the two hundred or so 'ordinary' sets of the work, an additional eighteen special copies were printed on large paper and hand finished by Redoute himself" (Mallary). "Les Liliacees" is Redoute's largest work, depicting often for the first time, specimens from the varied examples of the liliacae family as well as irises, orchids, amaryllis, heliconias, strelitzias, and agaves. All of these plants have their beauty and their fragility in common, not only was "Les Liliacees" "the first work to be devoted exclusively to this group of plants; it also had special value to botanists in providing accurate drawings and descriptions of plants that would not otherwise be easily obtained for study" (Mallary). "Les Liliacees" represents the culmination of Red. Bookseller Inventory # 32-3-1

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