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FINE, Oronce (1494-1555).

Published by Paris: Christianus Wechelus, 1541 (1541)

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

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About this Item: Paris: Christianus Wechelus, 1541, 1541. Single sheet, matted and framed (11 2/8 x 16 2/8 inches to the neat line; framed size 24 x 28 4/8 inches). Fine woodcut double-cordiform world map, the title within a ribbon banner along the top edge, Wechelis' imprint centre lower edge, showing the world in two hemispheres, the right being mostly "Terra Australis', 'recently discovered, but not yet explored' and South America, the left, Europe and North America, surrounded by an elaborate decorative border. Provenance: The Goodyear Collection, purchased September 1984, their sale Rachel Davis Fine Arts, September 21st, 2013, lot 477. First published the Paris edition of Huttich and Grynaeus' "Novus Orbis Regionum" in 1532, this the fourth impression from the same 1531 woodblock was issued in Pomponius Mela's "De Orbis Situ", Paris, 1541. Oronce Fine's double-cordiform map of the world is remarkable for several reasons. It was the most superior rendering of the world to-date, originally accompanying Johann Huttich's and Simon Grynaeus' collection of accounts of voyages entitled "Novus Orbis Regionum". The book was first published in Basel but reprinted in Paris during 1532 by Christian Wechel with this accompanying map. It is thought that Wechel also sold copies of the map separately, as here. Another world map, "Typus Cosmographicus Universalis," rendered by Sebastian Munster and Hans Holbein in 1532, accompanied the Basel editions. Geographically, Fine's map included the most advanced information available. The North American continent remains an extension of the Asian mainland much along the lines of the Contarini-Rosselli map of 1506 and Ruysch of 1507. However, the monumental discoveries made since the creation of these maps, which forever altering the coastlines, have also been included. Fine extended the eastern coast of North America southward beyond the discoveries of Gomes and Ayllon to a peninsular outline of Florida, which is named, and a reasonable depiction of the Gulf coast as described by Pineda in 1519. This is the earliest recognizable depiction of a continuous east coast of North America on a printed map. The South American continent is also admirably depicted, incorporating discoveries by the Portugese and by Ferdinand Magellan. Central America contains numerous place names reflecting conquests and explorations. The isthmus of Darian is shown and named, as well as the "Mare magellanicum" (Pacific Ocean), one of the first uses of the navigator's name in such a context. The west coast of Mexico, although continuous with Asia, is the earliest record on a printed map of the discoveries of Hernando Cortes."Terra Australis" (Australia) fills much of the right-hand (or southern) cordum and is marked as being 'recently discovered but not yet explored.' The north pole is indicated by four islands and the separate island of Greenland is named. A large promontory marked "Gaccalar" (supposedly Labrador) extends from North America into the Atlantic. This highly detailed woodcut is surrounded by floral embellishments, two mermaids, two muscular cherubs, the French royal coat of arms and, at the head of the map, the title in a flowing banner. It's cartographic findings were hugely influential to the history of mapping and were followed by Gerard Mercator for his important world map of 1538, and for the copies by Antonio Salamanca (ca. 1550) and Antonio Lafreri (ca. 1564). Oronce Fine was a French mathematician and cartographer. Born in Briançon, the son and grandson of physicians, he was educated in Paris (Collège de Navarre), and obtained a degree in medicine in 1522. In 1531, he was appointed to the chair of mathematics at the Collège Royal (the present Collège de France), founded by Francis I of France, where he taught until his death. As well as being a fortifications expert (he worked on the fortifications of Milan), Fine was a noted astronomer and cartographer. He invented the cordiform or heart-shaped map, frequently utilized by other cartographers, such as Peter A. Seller Inventory # 000108

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USE OF PARIS: A BEAUTIFUL ILLUMINATED

A BEAUTIFUL ILLUMINATED MANUSCRIPT BREVIARY ON VELLUM IN LATIN, WITH FINE HISTORIATED INITIALS AND MINIATURE

Published by after or in 1398, and before ca. 1405, Paris (1398)

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About this Item: after or in 1398, and before ca. 1405, Paris, 1398. 195 x 135 mm. (7 3/4 x 5 1/4"). 587 leaves, COMPLETE, double column, 32 lines in a lovely gothic script (by more than one hand). A full list of contents available upon request. Two volumes. HANDSOME DARK RED MOROCCO BY W. H. SMITH AND SON (stamp signed "WHS" in gilt on rear turn-ins), covers semé with gilt fleurs-de-lys tools, gilt Celtic-inspired knot centerpieces, raised bands, spine compartments with rows of fleurs-de-lys, gilt titling, plain morocco turn-ins, vellum doublures and endleaves, all edges gilt. In fleece-lined slipcases. Rubrics in red, line-enders in blue, gold, and red, numerous one- or two-line initials in gold with dark blue penwork or bright blue with red penwork, a total of 19 three-line initials painted blue and pink on gold ground with ivy leaf extenders, three six- or seven-line initials similarly decorated, and NINE SIX- OR SEVEN-LINE HISTORIATED INITIALS AND ONE 10-LINE MINIATURE, THREE OF THESE WITH FULL RINCEAUX BORDERS WITH DECORATIVE U-SHAPED BARS, each image with the figures portrayed against a tessellated background, the letter painted blue or pink on contrasting ground within a thin gold border. With a few contemporary and later notations and pen-trials; old bookseller's description tipped onto front free endpaper of volume I. Bernard Quaritch, "Illuminated and other Manuscripts," 1931, no. 21. Bindings with very trivial imperfections, but especially lustrous and very fine. The full borders just slightly trimmed, the six Calendar leaves with small modern marginal repairs (text not affected), trivial rubbing to paint in a few places, the silver tarnished (as usual), burnished gold worn away in a few places, occasional small smudges to ink and other minor, mostly marginal blemishes, but generally showing few signs of use, and, in all, A LOVELY MANUSCRIPT, VERY CLEAN AND ATTRACTIVE, AND THE HISTORIATED INITIALS ESPECIALLY WELL PRESERVED. This beautifully bound Breviary is both impressively voluminous and handsomely decorated, with an explosion of small gilt and painted initials, and ten figural scenes painted with remarkable skill. Although the historiated initials stand less than 30 mm. tall (or, in the case of the single miniature, 42 mm.) the level of detail--from the finely molded faces to the tessellated backgrounds that glisten like snakeskin-indicate they were executed by a highly competent atelier. All nine initials occur in volume I, with subjects that include five depictions of David in prayer or playing music (ff. 7r, 16v, 24r, 35r, and 42r); a fool with a staff (f. 29v); a scene with four tonsured clerics at a lectern (f. 49r); the Father and Son in matching robes and haloes, seated and facing each other (f. 56v); and a holy man censing an altar, as God looks down from a cloudburst (f. 77r). Volume I also contains a miniature of the Trinity, depicting God the Father, seated and supporting a crucified Christ, while a dove (the Holy Spirit) gracefully descends from the Father's mouth to the Son. The scene is adored by a kneeling cleric dressed in red-tinged robes, a white surplice, and a long amice. Dr. Patricia Stirnemann initially proposed the intriguing possibility that the cleric might be (pseudo) cardinal Pierre de Fétigny (d. 1392), apostolic protonotary and canon of Paris, who was named cardinal by the anti-pope Clement VII in 1383; however, his dress does not seem to indicate the rank of cardinal, and thus this identification remains uncertain. The excellence of the historiation and the fine quality of the hand alone make it likely to have originated in Paris, and the contents further connect it to the Benedictine abbey of St. Germain des Prés, particularly because of the presence in the Sanctorale of a major initial for the feast of St. Germain (or Germanus), the only initial of its type in the entire Sanctorale. The earliest proposed date for this manuscript is 1398, the year of the donation by Jean de Karoulay, canon of Notre-Dame, to the diocese of Paris for the celebration. Seller Inventory # ST15198a

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Protomathesis: FINÉ, Oronce

FINÉ, Oronce

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First Edition

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About this Item: Architectural woodcut title border; a large woodcut of Urania & the author beneath a celestial sphere, repeated in the "Cosmographia" section; a large woodcut of a water-clock, repeated; 280 other woodcuts in the text; and numerous large initials & headpieces. 8 p.l., 207 (i.e. 209) leaves, one leaf of errata. Folio, most attractive early 18th-cent. mottled half-sheep & mottled boards (first two leaves a little discolored), spine gilt, pale brown & green morocco lettering pieces on spine. Paris: [G. Morrhe & J. Pierre], 1532. First collected edition, and a magnificent large copy of this beautiful book, containing the first printings of many of Finé's texts; this is his masterpiece of illustrated book production. The first two parts of the Protomathesis deal with arithmetic and geometry, the third with cosmography, and the fourth with gnomonics. Finé (1494-1555), "was Regius professor of mathematics and dedicated the volume to François I. Before Johnson's article and Brun's consideration of Finé, little attention had been paid to the statements made by Finé's contemporaries that he was considered as well versed in art as in the sciences. His work as a designer is closely related to his major fields of mathematics, astronomy, and geography, and his contribution to book production is particularly interesting in extending beyond the illustration to the ornamentation of scientific texts."-Mortimer 225. A fine and fresh copy, very crisp. With the blank leaves F8 and N6. Early 18th-century bookplate of "Co. Riccati." This was the noble Riccati family which held land near Venice. The family produced two prominent scientists: Jacopo Francesco (1676-1754) and his second son Vincenzo (1707-75). They both made important contributions to mathematics (see D.S.B., XI, pp. 399-402). There are a number of knowledgeable 18th-century annotations in this book which could well have been made by one of the Riccatis. ? Hoover 312. Lalande, p. 50-"on trouve les cadrans plans horizontaux, verticaux, équinoxiaux; les cadrans sur les cylindres, les anneaux et les quarts-de-cercle; les hémisphères concaves et convexes; le cadran rectiligne universel des hauteurs; les heures italiques; l'instrument pour trouver l'heure par les étoiles, l'anneau astronomique; un instrument propre à tracer les cadrans; c'est un cercle équinoxial traversé d'un axe, et un fil qu'on tend sur les heures.'' Smith, Rara Arithmetica, pp. 160-61. Stillwell, The Awakening Interest in Science during the First Century of Printing, 838. Seller Inventory # 3013

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About this Item: Verona Officina Bodoni 1973, 1973. 3 volumes. VERY RARE, LIMITED EDITION, number 26 of only 30 copies. With the Officina Bodoni prospectus laid-in. With 68 woodcuts after Liberale di Verona by Anna Bramanti, all hand-coloured by the Atelier Daniel Jacomet, Paris, coloured after a copy of the 1479 edition in the British library. 8vo, beautifully presented in fine bindings of full vellum decorated with Renaissance style gilt strap-work borders, the spines accomplished in green morocco lettered in gilt, top edges gilt, others untrimmed., in the original morocco-trimmed slipcase. 278, (1); 120, (1); 11, (ii, lxvi, (1) pp. An extremely fine set, as pristine, of this rare issue. THE VERY RARE ISSUE OF ONLY 30 COPIES, SPECIALLY BOUND AND PRESENTED. 'Aesop was born sometime around 620 B. C. in Greece, though the actual city is unknown. Many Grecian cities take credit for his birthright. None of his written fables are extant; but it is certain that his fables were popular in Athens during its most brilliant period of literary history. They were widely revered by such notables as Socrates and Plato.' One of the greatest of all classical works, presented by one of the greatest presses of the twentieth century. Will Carter, himself a fine printer, has said that Hans Marderstieg, the founder of the Officina Bodoni, was "probably the finest pressman the world has ever seen or is ever likely to see.". Seller Inventory # 24302

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ENGLISH BIBLE containing the Old Testament and: Doves Press] [The

About this Item: Hammersmith The Doves Press 1903-1905, 1905. 5 volumes. Limited edition of 500 copies printed on fine white paper with characteristic Doves Press watermark. With fine calligraphic initial letters executed in hand in red ink by Edward Johnstone. Each volume with title and colophon. Large 4to, bound by the Doves Bindery in original limp vellum, the spines lettered and numbered in gilt. Housed in a two piece morocco edged blue slipcase. 394; 518; (2), 15-391; (2), 15-301; 307 pp. A beautiful and very fine set, a very few gatherings lightly spotted as is usual. The vellum bindings in very beautiful condition, the leaves crisp and bright and clean. FIRST EDITION OF THE GREATEST BOOK OF THE DOVES PRESS, HIGHLY IMPORTANT AND VERY SCARCE. Considered the major book of this Press, the opening page to Genesis is critically acclaimed as one of the finest pages printed, certainly of modern production. Roderick Cave, in his THE PRIVATE PRESSES, has said, "Johnston's masterly calligraphic initials.were a perfect example of how to marry calligraphy and typography, and [the pressman] J. H. Mason's setting was full of those almost invisible refinements that only another printer can recognize" (p. 122). Ransom described the distinctive red initials by Edward Johnston as "a pattern for all time of complexity reduced to the minimum of simplicity." THE HOLY BIBLE was an all-together perfect choice to be the masterwork of this press. To again quote Roderick Cave, "[T]he Doves Press was a religious activity; its discipline one of prayer rather than of chorus girl.Books could reduce God to a page of visible type, as sunlight on a still morning showed the river in His form; and that was the reason for making a book with immense care, and making it beautiful." Thus the greatest of all books became the most splendid offered in the press wonderfully elegant format of clean, pure and understated simplicity. Seller Inventory # 29706

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TEXT FROM THE SANCTORALE: AN ILLUMINATED MANUSCRIPT

AN ILLUMINATED MANUSCRIPT LEAF WITH TWO FINE HISTORIATED INITIALS FROM THE LLANGATTOCK BREVIARY IN LATIN

Published by 1441-48, Italy [Ferrara] (1441)

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About this Item: 1441-48, Italy [Ferrara], 1441. 273 x 203 mm. (10 3/4 x 8"). Double column, 30 lines, written in two sizes of a very fine rounded gothic hand. Rubrics in red, one-line initials in red, blue, or burnished gold, FIVE FINE TWO-LINE INITIALS IN BURNISHED GOLD on a blue or pink ground with white tracery, THREE LOVELY ILLUMINATED BARS running the length of the leaf, sprouting clusters of flowers and leaves with frenzied penwork in upper and lower margins, the column without a bar border having an extended garland of flowers, leaves, and bezants in colors and gold running the length of the text, AND TWO FINE HISTORIATED INITIALS IN COLORS AND GOLD, ONE SHOWING A MALE MARTYR HOLDING A PALM LEAF, THE OTHER DEPICTING ST. ANICETUS IN PAPAL REGALIA. Faint soiling to edges, otherwise AN EXTREMELY FINE LEAF, smooth and bright, with paint and glittering gold intact. Executed with very great skill and delicacy and in sensitive Italianate colors, the present leaf not surprisingly comes from a manuscript intended for a powerful aristocrat--a breviary illuminated for the chapel of the Marquises of Este, rulers of Ferrara and Mantua, the work commissioned by Leonello d'Este (duke of Ferrara from 1441-50). Fortunately, the d'Este family kept excellent records, and this manuscript is believed to be the Breviary done for Leonello by Giorgio d'Alemagna, Bartolomeo de Benincà, Guglielmo Giraldi and Matteo de' Pasti (See F. Toniolo ed., "La miniatura a Ferrara dal tempo di Cosmè Tura all'eredità di Ercole de' Roberti," 1998, pp. 19, 20, 76-77). Leaves from this book show subtle variations in the style of the illuminations, a result of work done by a team of artists doing variations on a theme. At one time in a Spanish library, the manuscript was brought to Britain during the Peninsular War and came to be owned by the Rolls family, later Lords Llangattock, of Monmouth in Wales, from whom it takes its name. By the time the work reached Britain, most of the miniatures had already been cut out. The Breviary sold at Christie's on 8 December 1958 (lot #190) to Goodspeed's of Boston, who broke it up. The intact first quire of 10 leaves was purchased by Philip Hofer and given to Harvard (cf. Wieck, "Late Medieval and Renaissance Illuminated Manuscripts," p. 130 and fig. 74), and individual leaves appeared in 1967 in the catalogues of Folio Fine Art ("the quality of the leaves is extremely high"), Maggs Brothers ("of a very high quality"), and Alan Thomas ("of exquisite quality"). Regular leaves from the Llangattock Breviary come on the market with some frequency, but ones with historiation do not. Seller Inventory # ST12791a

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A HANDSOME ILLUMINATED

A HANDSOME ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A PONTIFICAL IN LATIN, WITH TWO FINE HISTORIATED INITIALS

Published by ca. 1320s, Avignon (1320)

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About this Item: ca. 1320s, Avignon, 1320. 323 x 230 mm. (12 3/4 x 9"). Single column, 22 lines of text in an attractive semi-rotunda book hand. Rubrics in red, paragraph marks in blue, three one-line and two two-line initials in red or blue with penwork in the contrasting color, EACH SIDE WITH A BEAUTIFULLY REALIZED THREE-LINE HISTORIATED INITIAL WITH A BURNISHED GOLD BACKGROUND, that on the recto showing a bishop, accompanied by a tonsured monk, blessing an altar piled with grapes; that on the verso showing the bishop blessing vats of wine and loaves of bread, BOTH INITIALS WITH CURVING EXTENSIONS IN PINK, BLUE, AND BURNISHED GOLD THAT RUN THE LENGTH OF THE TEXT AND INTO THE MARGINS AT HEAD AND FOOT, TERMINATING IN PINK AND ORANGE IVY LEAVES ACCENTED WITH GOLD BEZANTS, THE EXTENSION ON THE RECTO WITH A SMALL BUT FIERCE ANIMAL HEAD PEERING AT THE INITIAL. Faint wrinkling to one edge, a few letters a bit faint, otherwise A VERY FINE LEAF, the vellum clean and bright, the margins generous, and THE RICH PAINT AND GLISTENING GOLD ENTIRELY INTACT. From an impressive liturgical book that may have been commissioned by a moneyed bishop, this is an excellent example of very high quality 14th century French illumination, with impressive provenance. The work was apparently done by someone in the circle of the celebrated Master Jean Pucelle, at an early date for illumination in the Avignon region. The gold is laid on thickly, and the spiky gothic embellishments provide an impressive emphasis. In both of the historiated initials we see an orange-robed bishop with miter and crozier, blessing an altar and also the bread and wine that would be used for the Eucharist. The text is from a benediction, and the rubrics add directions for the sprinkling of holy water ("aspergatum cum aqua benedicta"). The wide margins--which have fortunately survived over the centuries--add to the impact of the leaf as well as to the sense of the wealth lavished on the production of the manuscript from which it comes. The parent manuscript was probably owned by the bibilophile Fernando Colón, aka Ferdinand Columbus (son of Christopher Columbus and passanger on one of his father's voyages to the New World). Despite early efforts to preserve the Biblioteca Colombina, as it is now known, the present collection retains only about half of the original inventory, and many of its manuscripts were partially dismembered in the 19th century and sold. About 30 individual leaves from the present work are known, with sister leaves in Berlin at the Stiftung Preußischer Kulturbesitz (see "Katalog der Mittelalterlichen Handschriften und Einzelblätter in der Kunstbibliothek," no. 31, illustrated on p. 33), the Free Library of Philadelphia, the BNF, an the Museum of European Art, Tokyo. Another sister leaf, with one historiated initial, was item #63 in Sam Fogg's Catalogue 16 (1995, offered for £3,500). For a lengthier discussion of the parent manuscript, see François Avril, 'Quelques éléments nouveaux relatifs à la production avignonnaise du temps du pape Jean XXII: À propos d'un pontifical de Guillaume Durand dépecé', Cahiers de Fanjeux, 51, 2016. Seller Inventory # ST12991

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Comprehensive early treatise on naval warfare, shipbuilding and navigation with a list of nautical instruments. A fine copy bound for a Spanish admiral

Published by Rome, Egidio Spada (1614)

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Hardcover
First Edition

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About this Item: Rome, Egidio Spada, 1614. Hardcover. Condition: Fine. No Jacket. 1st Edition. Pantera, Pantero. L Armata Navale . divisa in doi libri. Ne i quali si ragiona del modo, che si ha à tenere per formare, ordinare, & conservare un armata maritima. Con molti avvertimenti necessarij alla navigatione, & alla battaglia. Con un vocabulario, nel quale si dichiarano i nomi, & le voci marineresche. Et con due tavole, l una de i capitoli, & l altra delle materie dell opera. Rome, Egidio Spada, 1614. Small 4to. [36]f + 408 p. Roman & italic type. Dedicatée s arms engraved on title. Numerous ornamental woodcut initials. Printer s woodcut device at end. Contemporary mottled sheep; gilt; with the arms of Admiral Luis Benavides Carrillo de Toledo, 3rd Marquess of Caracena (1608-68), gilt-stamped on sides within line border; original green silk ties intact; lightly rubbed. A comprehensive survey of all existing contemporary knowledge of naval warfare, shipbuilding and navigation (1) . Its author, Pantero Pantera (1568-1626), was a naval captain from Como, who excelled as a navigator and commander of the papal fleet. He wrote this remarkably detailed handbook on every aspect of naval warfare on his galley " Santa Lucia". Two parts, respectively arranged in 17 and 21 chapters, instruct on building and maintaining a fighting navy, and offer extensive advice on navigation. Among the wide range of subjects discussed are: vessels currently in use in the Mediterranean (I.4), quality of woods required for construction (I.5), provision of naval artillery for defence and attack (I.9), the importance of good and abundant food supply (I.10), naval ranks and offices (from the admiral down to the bursor, physician, barber-surgeon, and butcher) (I.II), the great importance of a good pilot (I.12), how to hone fast ships easy to navigate (I.7), selection and training of crews (I.15), marine infantry and their armaments (I.16), daily rationing of a galley; (I.17), sailing instructions for a squadron to leave and reunite with the fleet in order to join battle (II.2 & 3), the importance of regular exercises (II.4), the protection of vessels (II.7), the necessity of some fast and better armed ships for reconnoitring enemy movements (II.9), the quality of winds in different seas (II.13), how to lay siege to a port (II.16), naval regulations (II.18), the right conditions for joining battle and battle orders (II.19), how to give battle (II.20), and how the victor should conduct himself (II.21). Chapter XVII of part I comprises a 7-page list of nautical instruments (pp171-178). The preliminaries include a naval dictionary of 24 pages: Vocabulario Nautico , a subject index of 32 pages, and six poems in praise of the author. The dedication is to Count Francesco di Castro, Spanish ambassador in Rome. The volume has an interesting military provenance: its first owner was Captain General of the Spanish armies in Flanders (1646), Military Governor of Milan (1647), and Admiral of the Fleet of the Indies (1665). Occasional very light toning, but an excellent copy in its first binding. Riccardi VII, 66 (thought this book extremely rare and was only able to describe it in his 7th supplement. (1) cf. Vice Admiral Luigi Donolo & Dr.James J.Tritten, The History of Italian Naval Doctrine, 1995, p6; see references to this work in Julian S.Corbett, Drake and the Tudor Navy (1917), vol.I, Introduction 28. Seller Inventory # ABE-6244676947

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PEURBACH, Georg von. FINE Oronce

Published by Simon du Bois for Jean Pierre de Tours (1528)

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About this Item: Simon du Bois for Jean Pierre de Tours, 1528. Soft cover. Condition: Good. FIRST EDITION thus. Folio. ff. xlv [i]. [a-g6, h4. (h4 blank)] Lettre bâtard. Title in large Gothic letter with calligraphic initial. Forty-seven woodcuts by the author including a number of diagrams of motions of the planets similar to those designed by Finé for the Peurbach of 1515. A large cut of an armillary sphere on leaf g6v is signed with Finé s monogram, another version of the concentric O and F used by the artist on the full page cut in the Puerbach. The last page of text and colophon are arranged in decorative forms. Mortimer. Fine historiated white on black criblé initials, finely calligraphed purchase note signed Longe bought from the bookseller François Pomard (bookseller and publisher at Chambéry), on 5 October 1582 on front fly, early monogram ML on title (possibly Longe s), Gerard in a later hand below. Light age yellowing, t-p fractionally dusty, the odd thumb mark or mostly marginal stain, a few lower outer corners creased. A very good, crisp copy with good margins in early vellum over thin boards, covered with a fine C13th manuscript bifolium leaf, in double column, decorated initials in red and blue with penwork flourishes and trails, beautiful and unusual grotesques of birds and monsters in lower margins, rebacked a little soiled and rubbed, all edges yellow. First edition of the first treatise on Astronomy in French, beautifully illustrated by the author. Although the book appeared anonymously, Oronce Finé's device ('virescit vulnere virtus') appears on two leaves (a1v and h1r). Moreover, the woodcut with the armillary sphere on g6 is signed with his monogram OF . Oronce Finé was regarded as one of the greatest scholars in France. François I took him to Piedmont and consulted him about the fortifications of Milan and the siege of Pavia. He occupied the first chair of natural science at the royal college, founded only one year earlier, from 1531 until his death. He also promoted modern cartography and participated in the construction of the astronomical clock of the library of Sainte-Geneviève, where it can still be viewed today. The text is an adaptation of the treatise of Georg Peurbach (Theoricae novae planetarum), to whom we owe, together with his pupil Regiomontanus, the renaissance of the study of astronomy. The illustration-cycle comprises 47 woodcuts, all designed by Finé himself, presenting diagrams as well as astronomical figures and planetary constellations. Fine was as well versed in the arts as in the sciences "His work as a designer is closely related to his major fields of mathematics, astronomy and geography, and his contribution to book production is particularly interesting in extending beyond the illustration to the ornamentation of scientific texts" (Mortimer 225). The work is beautifully printed and typeset by Dubois working with Jean Pierre de Tour. Dubois .also worked with Jean Pierre de Tour, with whom he produced two books: Orance Fine s La Théorique des cielz, mouvemens et termes practiques des sept planètes' and Jean Parmentier s translation of Sallust s Catline Conspiracy. There is little information available on Jean Pierre de Tours other than after working on these two books with Dubois he began working with Gérard Morrhy Michael Wintroub The Voyage of Thought: Navigating Knowledge across the Sixteenth-Century World . Dubois was forced to flee Paris for his religious views shortly after the publication of this work. The typography is remarkable. The lettres bâtardes font used for the text affords a finer balance between the type area and the solid black portions of the diagrams than would be possible with a Roman or Italic letter. Mortimer. A very good copy of this rare and important work. BM STC Fr. C16th Bechtel F-106. Brun p. 188. Brunet II, 1260. USTC 14703. Mortimer French, 224. Houzeau and Lancaster 2252. Hot in Honeyman L2657b. Seller Inventory # L2657b

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Binding, Fine- Doves Bindery] Three Volumes: Early: Binding, Fine] Arnold,

Binding, Fine] Arnold, Matthew

Published by Macmillan and Co, London (1895)

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About this Item: Macmillan and Co, London, 1895. First Thus. First Thus. Three uniform volumes of similar size, similarly bound by the Doves Bindery, designed by Cobden-Sanderson and bound at his bindery, all signed in rear dentelles, "The Doves Bindery, 18 C-S 97." Exquisite, finely wrought in the most classic Doves Bindery style in wonderful crimson crushed morocco, with five raised bands on spine, and three of the six compartments lavishly gilt-stamped with ornate petal and leaf motif, each volume with lettering in the 2nd and 4th compartment, each with the volume number in the 3rd compartment, and the date, 1895 at the bottom. Both covers with attractive single rectilinear border, containing gilt dots along the inside edge. Gilt ruling on edges of boards. Inner dentelles with classic Doves triple filet borders and floral motifs at each corner. All edges finely gilt. Provenance: direct descent from Leonard Mouteney, through his daughter, then a collector, thence to us. Housed in linen backed felt-lined folders, fitting into exquisite box matching crimson morocco spines stretching over nearly half of boards, gilt lettering to nearly match that of the book. About as fine as one could hope for, certainly a truly representative Doves Binding on this this three-volume Matthew Arnold. Seller Inventory # 4438

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TEXT FROM THE END OF 2 TIMOTHY: AN ILLUMINATED VELLUM

AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH TWO FINE INITIALS, FROM AN OUTSTANDING MONUMENTAL BIBLE IN LATIN

Published by ca. 1300, Southern France, perhaps Bordeaux (1300)

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About this Item: ca. 1300, Southern France, perhaps Bordeaux, 1300. Leaf: 330 x 230 mm. (13 x 9"); frame: 485 x 370 mm. (19 x 14 1/2"). Double column, 40 lines of text in an extraordinarily fine gothic book hand. Framed in gold and attractively matted, with glass on both sides. Rubrics in red, capitals struck with red, headlines and chapter numbers in red and blue, two two-line initials in blue with elaborate red and blue penwork extending the full length of the leaf, verso WITH TWO STRIKING INITIALS, ONE INHABITED WITH A BEAST AND THE OTHER HISTORIATED, SHOWING ST. PAUL WITH A SWORD, the first resembling a bird, painted blue, pink, and orange on a gold ground, St. Paul depicted against a blue-tiled background, the initial painted blue on a pink ground with white tracery, both initials with long extenders terminating in the upper and lower margins (the upper extender terminating in a human head), accentuated by gold dots. A bit of wrinkling to the vellum and a touch of soiling around the edges, but BEAUTIFULLY PRESERVED, ESPECIALLY BRIGHT, CLEAN AND FRESH, WITH THE INITIALS IN PRISTINE CONDITION. This leaf comes from one of the most beautiful Bibles ever illuminated, and, not surprisingly, comes with distinguished provenance. The condition is extraordinarily fine, and the artistic accomplishment here is difficult to overpraise. The painter, who has obviously done his work with great care and confidence, has produced initials characterized by sharply defined figures, impressive precision in the application of paint, and an intelligent design, all of which add up to an unusually high level of aesthetic achievement. St. Paul is particularly well articulated, standing prominently against an azure background. Our leaf was once part of a spectacular Bible in the collection of Sir Thomas Phillipps (his MS 2506) and later owned by Sir Alfred Chester Beatty (his MS W. 173). Phillipps bought the manuscript in the 1820s from Thomas Thorpe, who had purchased it in Spain. The Bordeaux origin is suggested by the presence in the original volume of two 16th century inscriptions by monks from that city. Phillipps' heirs sold the Bible privately to Beatty in 1921, and it was auctioned in his sale at Sotheby's on 24 June 1969 to Alan Thomas, then bought by Duschnes of New York and broken up. The heir to a large estate, Phillipps (1792-1872) made collecting the chief business of his life, eventually becoming simply the greatest collector of manuscripts in history. The American (later British and then Irish) engineer Beatty (1875-1968) started at the bottom and, by the time he was 35, had made a fortune in copper mining. He began a serious career in collecting manuscripts, at first Islamic and then Western, accumulating in the end enough material to fill a catalogue of some 38 volumes. According to George Edwards' article in "Grolier 2000," Beatty "had the highest standards of quality and condition" as a collector, a claim that is validated by the present leaf. Seller Inventory # ST14278

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About this Item: 1542. Couverture rigide. Condition: Très bon. Paris, Simon de Colines, 1542. Paris, Simon de Colines, 1542. Cum amplissimo Regis privilegio. In-folio de (1) f.bl., (6) ff. dont le titre-frontispice et une gravure à pleine page, 112 ff., (2) ff.bl., 92 gravures et vignettes dans le texte. Longue note manuscrite au verso du dernier f. Vélin souple, dos lisse. Reliure de l'époque. 316 x 212 mm. / Paris, Simon de Colines, 1542. Paris, Simon de Colines, 1542. Cum amplissimo Regis privilegio. Folio [316 x 212 mm] of (1) bl.l., (6) ll. including the frontispiece-title and a full-page engraving, 112 ll., (2) bl.ll., 92 engravings and vignettes in the text. Long handwritten note on the verso of the last l. Limp vellum, flat spine. Contemporary binding. Seller Inventory # LCS-16146

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About this Item: Paris, Guillaume Cavellat, 1557, 1557. In-12 de 102, (2) ff. et de 31 ff., vélin de l'époque. Seconde édition de ce qui fut le premier traité astronomique publié en français. Dans la dédicace, Claude Finé, fils d'Oronce Finé, précise que c'est Antoine Mizauld qui l'a incité à faire imprimer le livre. Il s'agit autant d'une traduction que d'une adaptation du Theoricæ Novæ planetarum de Georg Peurbach., publié pour la première fois par Simon Du Bois pour Jehan Pierre en 1528. L'illustration comprend 47 gravures astronomiques sur bois, la plupart à pleine page. Exemplaire remarquable avec la dernière figure intacte : elle était destinée à être découpée par le lecteur et insérée entre les feuillets D2 et D3. Guillaume Cavellat, A l?enseigne de la poule grasse, est l?un des libraires de sciences importants à Paris au milieu du XVIe siècle : Pierre Belon, Ambroise Paré, Apian, Gemme Frisius, Jacob Köbel, Joannes de Sacrobosco, Guillaume Postel, Stöffler, figurent notamment à son catalogue. Très bel exemplaire en vélin de l'époque. Brunet, Manuel de l'amateur, II, 1260. - Renouard, Imprimeurs et libraires parisiens du XVIe siècle, fascicule Cavellat, n° 15 et 118. - Hillard et Poulle, Bibliographie des travaux d'Oronce Fine, p. 341, n° 41. Seller Inventory # 8072

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Les Statuts de l'Ordre du Saint-Esprit Estably: FINE BINDING.

FINE BINDING.

Published by Paris: Imprimerie Royale, 1724. (1724)

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About this Item: Paris: Imprimerie Royale, 1724., 1724. Full-Leather. Condition: Fine. 1st Edition. 4to (11 x 7 7/8 inches):engraved title-page surrounded by a red-ruled border, as are all the text leaves, for presentation, 5 engraved vignette head-pieces and 4 engraved vignette tail-pieces, 5 of which are signed by S. le Clerc, and with 3 engraved initials of varying sizes (one page with marginal crease, one or two spots in the margins). EXCEPTIONALLY FINE BINDING of 18th-century red morocco, each cover elaborately decorated in gilt, with a border of palmette and dentelles roll tools, with large cornerpieces incorporating the dove of the Holy Spirit in a Rococo aureole, surrounding the central gilt arms of Louis XV (Olivier 2494.12), the spine in six compartments, with five raised bands, of which 5 semé with fleur-de-lys and Pentecostal flames and one lettered, extraordinary gilt floral endpapers, all edges gilt, by Tiger (small tear at foot of spine, extremities a little rubbed); preserved in a 20th-century maroon cloth slipcase. Provenance: From the library of Louis XV of France (1710-1774), known as Louis the Beloved (Louis le bien aimé), of the House of Bourbon, he ruled as King of France and Navarre from 1715 until his death in 1774; by descent to Henri of Artois, the Comte de Chambord, Henri V de France, duc de Bordeaux (1820-1883), with his printed book label, supplied by Maggs Bros., Ltd., on the verso of the front free endpaper, and signs that his bookplate may have been removed from the front paste-down too; by descent to his cousin Don Jaime de Bourbon, Duc de Madrid, the Carlist claimant to the throne of Spain, and the Legitimist claimant to the throne of France (1870-1931) at Frohsdorff, with his ink library stamp on the title-page and in the margin of page 125; by descent to his neice, Princess Messina-Bourbon, from whom it was purchased by Maggs Bros., Ltd. in 1935, with their description and accompanying letter detailing all provenance, signed by Clifford Maggs, loosely inserted; addressed to Linda L. Beinecke, wife of Edwin John Beinecke (1886-1970) with her gilt-lettered leather library label on the front paste-down. DELUXE EDITION PROBABLY FOR PRESENTATION TO LOUIS XV, THE FIRST OWNER OF THIS COPY. Printed on thick paper, this is the book of statutes of the most prestigious chivalric order under the Ancien Regime, and A FINE ROYAL ASSOCIATION COPY, as three owners of this book, Louis XV, the Comte de Chambord and his successor as Legitimist Pretender to the throne of France, the Duc de Madrid, were all members of the order, although Chambord and Madrid, unofficially so, who wore the order's insignia, even though they and their king were in exile at the time, and could not confer the order upon themselves. The beautiful official binding is decorated with stamps created for the edition of 1703, representing the emblems of the Order and the royal arms. These stamps were used in subsequent editions to 1788. The Tiger workshop was, along with Du Seuil, one of the two royal binders in charge of these editions. During his reign, whose ineffectual rule contributed to the decline of royal authority that led to the outbreak of the Revolution in 1789, Louis XV most importantly ceded New France in North America at the conclusion of the Seven Years' War in 1763. While his minsters fought over policy Louis isolated himself at court and occupied himself with a succession of mistresses, most famous of which was Jeanne-Antoinette Poisson, Marquise de Pompadour, whose political influence lasted until her death in 1764. Henri III created the Ordre du Saint-Esprit (Order of the Holy Ghost), on December 31st, 1578, in memory of his accession to the throne of Poland in 1573, and of France in 1574, both on a Whitsunday. "The order had strict nobiliary requirements and a membership limited at 100 (for French nationals). Four cardinals and four other prelates were members and were called commandeurs, the other members were called chevaliers. There were no other ranks or distinctions among members. The order also had a number of o. Book. Seller Inventory # 72lib1253

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Binding, Fine- The Monastery Hill Bindery] A: Binding, Fine]

About this Item: Folio size. A striking and very early 20h Century Monastery Hill Binding in wonderful turquoise blue fine crushed morocco with four superb large onlay design motifs at each corner, surrounded by intricate gilt ruling, and vine and leaf groupings, each connected through rectilinear gilt framing, repeated on both covers. Spine with five raised bands, each with gilt ruling and five compartments with elaborate gilt rectangular designs, each with central maroon blossom only. Singe gilt ruling along each side edge of boards. Elaborate gilt-tooled wide dentelles with two sets of border designs, gorgeous watered silk blue moire doublures and endsheets. Manuscript title page with calligraphic lettering and floret weaving, in black and light blue watercolor, highlighted in gold. A wonderful concept book, with each engraving mounted on its own page, in chronological order based on the publication issue of the engraving, and, in most cases, the date is printed text or caption credit of the engraving, so that the book proceeds from plate 1, for example, "Morning Dress for August, 1800," onward 100 plates to the final, "The Delineator," October, 1899. A wonderful and extremely pleasing and historically informative blend of binding and book. Very fine, with no signs of wear. House in the original silk blue folders, lined with smooth marbled paper, which neatly fits over the book, and together, the book and jacket fit into a matching custom slipcase with large black morocco spine, with five raised bands, gilt lettering in second compartment. Seller Inventory # 4509

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FINE BINDING FRANCE, Anatole (1844-1924).

Published by Paris: Edouard Pelletan, 1911. (1911)

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About this Item: Paris: Edouard Pelletan, 1911., 1911. 4to., (10 2/8 x 7 1/8 inches). Half-title, title-page printed in red and black, 8-page prospectus bound-in at end including an example of the title-page, a coloured wood-engraving, text leaves with one uncoloured engraving. 176 wood engravings by Duplessis, Ernest Florian, les deux Froment, Gusman and Perrichon after d'Auguste Leroux, including 17 full-page engravings of which 15 are printed in colour. EXCEPTIONALLY FINE BINDING of full burgundy morocco, decorated with an elaborate and intricate design of different coloured onlays, and depicting on the front cover, vignettes from the story surrounding a deep-cut window frame beyond which sits a writer at his desk in his library, gilt, with burgundy and rose morocco doublures decorated with different coloured onlays, gilt, burgundy silk moiree lined endpapers, all edges gilt, by Georges Levitzky, signed by him at the foot of the front doublure; preserved in original burgundy morocco lined slipcase and chemise (quite fragile, backstrip stengthened on the verso with Japanese tissue). AN EXCEPTIONALLY FINE COPY IN A MAGNIFICENTLY EXTRAVAGANT BINDING. First published in 1893. Limited issue, number 376 of 410 copies with numbered with Arabic numerals, of a total edition of 444. Catalogued by Kate Hunter. Seller Inventory # 72lib1102

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Berne. Museum of Fine Arts, Paul Klee Foundatio;

Published by 1998 (1998)

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About this Item: 1998, 1998. Berne. Museum of Fine Arts, Paul Klee Foundation. PAUL KLEE Catalogue Raisonné: Volumes 1 - 9. 9 volumes, 4tos, cloth. London and New York, Thames & Hudson, 1998-2004. A landmark publication in Klee scholarship, this catalogue raisonné documents the artist's 9,600 drawings, prints, watercolors, and oil paintings, presented in chronological order. The catalogue includes Klee's own record of his production, which he maintained meticulously from 1911 until his death in 1940. All books new. Volume 3 has remainder mark, Volume 7 has a dinged corner. Text in English. Seller Inventory # 107300

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Fables]; Dryden, John [and] Bürger Gottfried Augustus; [Fine Binding]

Published by London By T. Bensley for J. Edwards and E. Harding 1797, 1796 (1797)

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About this Item: London By T. Bensley for J. Edwards and E. Harding 1797, 1796, 1797. First edition thus of each title and a very early edition of LEONORA (Lenore), with fine provenance being from Condover Hall, the grandest manor house in Shropshire, and with at least two generations of lineage at Condover. First, with the manuscript ownership notation of Owen Smyth Owen, whose family owned the hall beginning with its construction circa 1598 and later with the fine engraved bookplate of Reginald Chomondeley, who owned Condover Hall when he was host to American writer Mark Twain in 1873. Both works ornamented with very fine engravings from the pencil of the Right Hon. Lady Diana Beauclerc, being nine plates engraved by Vandenburg, Bartolozzi, Chessman and others and with 15 engraved head and tail vignettes engraved by Bartolozzi and others within the FABLES, and 5 plates engraved by Bartolozzi and others and 4 very fine engraved vignette head pieces within LEONORA. The text of Lenore/Leonora given in both German and English, English on one page, German on the facing page. Folio, in a superb contemporary full Regency binding of red crushed morocco, both boards with a wide and elaborate gilt tooled frame in a chain-like pattern with inner frame of a rolled thistle device, the board edges gilt rolled and the turn-ins gilt tooled in Greek key. The spine elegantly decorated with six wide compartments between gilt stippled raised bands, each compartment beautifully gilt tooled around a large central gilt device, three compartments with large morocco gilt lettered and tooled labels in contrasting blue and green, one smaller gilt lettered label at the foot, marbled endpapers, a.e.g. xviii, 241; [v], 35 pp. The finest copy we have ever seen. A beautiful copy, the superb Regency binding fully original, unrestored and unsophisticated, the paper very fresh and clean, extremely minor and occasional scattered foxing only, much less then is typically seen on this title, in all very handsome and fine with excellent provenance. A BEAUTIFUL EDITION OF THESE GREAT WORKS, ILLUSTRATED WITH FINE ENGRAVINGS BY LADY DIANA BEAUCLERC AND IN AN EXCEPTIONALLY HANDSOME BINDING WITH THE PROVENANCE OF THE GRANDEST MANOR HOUSE IN SHROPSHIRE. The "Fables" are Dryden's rather free but very popular translations of portions of Chaucer, Boccaccio, the first book of the ILIAD, and parts of Ovid's METAMORPHOSES, as well as some original poems. The Preface, reprinted in this edition from the original can be considered some of Dryden s most lively and unconstrained prose work. "I have endeavored to chose such fables, both ancient and modern, as contain in each of them some instructive moral, which I could prove by induction." Bürger s Poem LENORE is generally characterized as a Gothic ballad, and although the character that returns from its grave in the poem is not considered to be a vampire, the poem has been very influential on two centuries of vampire literature. William Taylor, who published the first English translation of the ballad in 1790 for Monthly Magazine, would later claim that "no German poem has been so repeatedly translated into English as Ellenore". Percy Bysshe Shelley treasured a copy of the poem which he had handwritten himself. Samuel Taylor Coleridge s Christabel was influenced by Bürger's Lenore. Influences of Bürger's poem on Keats and Wordsworth have also been noted and Lenore is also particularly famous for being cited by Bram Stoker in the early chapters of his novel Dracula. A Royal manor in Anglo Saxon times, until the 16th century Condover Manor was in and out of Crown Tenure until, in 1586, Elizabeth I made a grant of the current Manor to Thomas Owen, a Member of Parliament and Recorder of Shrewsbury. Built out of pink sandstone, quarried at nearby Berriewood, Condover Hall has the typical Elizabethan two storey high ground floor rooms lit by tall windows with their regular mullions and double transoms. There are fine chimneys, gables and a good example of a strapwork frieze. The grounds are laid out in formal 17th cent. Seller Inventory # 24476

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Picturesque Tour through Spain. Embellished with Twenty: SWINBURNE, HENRY. -

SWINBURNE, HENRY. - [IN FINE CONTEMPORARY HANDCOLOURING]

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From: Lynge & Søn ILAB-ABF (Copenhagen, Denmark)

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About this Item: London, T. Bensley, for John Stockdale, 1810. Large folio-oblong. (44x58 cm.). Fine later full calf. 6 raised bands, richly gilt compartments. Titlelabel with gilt lettering. Broad gilt borders on covers. Engraved handcoloured frontispiece. (28),22 pp., 20 fine handcoloured engraved plates and 1 engraved handcoloured map. All plates with tissue-guards. Frontispiece with a repaired tear in lower left corner far from image. A closed tear in one plate, only marginal, not effecting image. A small piece of cornerpaper on one plate gone, far from image. Clean and fine. On heavy paper, and with broad margins. Second edition but in a contemporary HANDCOLOURING. Swinburne's "Travels through Spain" were issued in a quarto volume by Peter Elmsly of London in 1779, then reprinted in a pirate edition in Dublin the same year; a second edition in two octavo volumes came out in 1787. The title was then turned into a picturesque set of engravings entitled Views in Spain, from the drawings of Henry Swinburne (1794), in turn recycled as the Picturesque Tour through Spain in 1806, 1810 and 1823, with brief texts in French and English facing the plates followed by a 22-page abridged version of the Travels. These edition are normally published uncoloured. Seller Inventory # 51255

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A FINE MINIATURE PAINTING OF A FUNERAL SCENE, FROM A BOOK OF HOURS IN LATIN

Published by early 15th century, Paris

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About this Item: early 15th century, Paris. 178 x 125 mm. (7 x 5"). Text in single column (four lines on recto, 15 lines on verso) in an excellent gothic book hand. A FINE SQUARE MINIATURE SHOWING A FUNERAL SERVICE, two priests reciting from an elevated lectern and next to a large draped coffin, mourners in black seated to the left, the activity taking place inside a space enclosed by elegant columns and under a vaulted ceiling, a lovely four-line initial beneath it in burnished gold and several colors, infilled with ivy leaves in white and orange, other one- or two-line initials in blue with red penwork or (on the verso) in burnished gold and colors, THE MINIATURE SURROUNDED BY AN EXQUISITE FULL BORDER OF IVY LEAVES in colors or gold on painted and hairline stems. Remains of mounting hinge at top, a few speckles, a bit of yellowing, and slight wrinkling in margins, but the leaf very well preserved in general, with no significant flaking of paint and with the gold still bright. Apart from those relatively few copies with illustrated calendars, the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of funeral scene at the beginning of the Office of the Dead that we can see a contemporaneous rendering of a scene from the daily life of the Middle Ages. Miniatures that begin the Office of the Dead vary more in iconographic terms than any of the others that recur in the Book of Hours, and while our painting is typical in subject matter and design, it is noteworthy in at least a couple of ways. The frame and border here are beautifully executed in the style of the Boucicaut Master, with much delicate and very elaborate painting, all of which is shown to good advantage inside unusually comfortable margins. And although the miniature itself shows in general a relatively primitive attempt at perspective (for example, the pews and the altar are steeply raked), the presence of the lovely slender column in the foreground, in concert with the darkened vaulting behind the altar, gives the painting a convincing sense of depth.The work here was done by an artist under Parisian influence, and the developed architecture suggests that the painter was familiar with the Burial Services compositions created by Parisian illuminators in the 1410s. (see Millard Meiss, "French Painting in the Time of Jean de Berry: Boucicaut Master," London, 1968, figs. 135-50 and 172-74). Seller Inventory # ST12829

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A VERY FINE ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS IN LATIN, WITH A MINIATURE OF THE PRESENTATION IN THE TEMPLE

Published by ca. 1500, Paris (1500)

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About this Item: ca. 1500, Paris, 1500. 165 x 113 mm. (6 1/2 x 4 1/2"). Recto with 16 lines of text in a fine gothic script. Matted. Rubrics in blue, line fillers, one one-line initial and two two-line initials in gold on pink and blue ground, one three-line initial in blue with pink and blue trefoils on a burnished gold ground, and WITH A HALF-PAGE MINIATURE IN THE STYLE OF JEAN PICHORE framed by a golden arch and columns, SURROUNDED BY A FULL BORDER featuring a hybrid creature, fruit, acanthus leaves, and brushed gold diamonds; the text side with a similarly styled border on fore-edge only. Text ink slightly faded on hair side, one or two negligible marginal blemishes, otherwise IN PRISTINE CONDITION. This very skillfully painted and wonderfully well-preserved miniature closely resembles the work of Jean Pichore, a major figure among illuminators of the period. The painting depicts the traditional scene associated with the hour of None, in which Mary and Joseph bring their Child to the temple, to be inducted into the Jewish faith. Both the Virgin and Joseph are present in this scene, as is Simeon the high priest, who cradles the Christ Child in a white sheet. Mary kneels before the altar while Joseph stands slightly back (he is, rather conspicuously, the only member of the scene without a nimbus). The careful rendering of features, the rosiness of the child's flesh, and the fully realized interior space are done with very considerable skill and point to, at the very least, a talented follower of Pichore or member or his workshop. The Pichore style was often imitated by his contemporaries, but the quality of the painting here deserves special mention. Everything is clean and quiet, and magnification, rather than exposing inadequacy, emphasizes the deftness of the artist--this can be seen especially in the faces and in the shaded contours of the Christ Child's body. Seller Inventory # ST14734

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De Solaribus horologiis & Quadrantibus, Libri quatuor: FINE, Oronce

FINE, Oronce

Published by Guillaume Cavellat, (1560), Paris (1560)

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From: Hugues de Latude (Villefranche de Lauragais, France)

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About this Item: Guillaume Cavellat, (1560), Paris, 1560. ______ Format : In-4. [223 x 165 mm] Collation : (16), 224 pp. et 1 planche dépl. h.-t. Reliure : Veau brun, dos orné, fleuron doré sur le premier plat, encadrements à froid avec fleurons dorés aux angles. (Reliure de l'époque.). ____ Première édition séparée de cet ouvrage. Ce beau traité décrit de nombreuses horloges solaires et hydrauliques. La fin de l'ouvrage traite du planisphère ou astrolable et du quadrant. Un cadran en ivoire, signé par Oronce Fine, en forme de bateau (navicula) est conservé dans un musée de Milan. Illustré par 57 bois gravés dans le texte. Exemplaire complet de la grande planche repliée après la page 204. Très nombreuses initiales gravées. Titre dans un bel encadrement orné avec la marque de Cavellat au centre, que l'on retrouve agrandie au verso du dernier feuillet. Exemplaire de premier état, sans date sur le titre. Ce texte avait été publié dans la 'Protomathesis' du même auteur, mais pour cette édition, préparée par son fils Jean, les bois ont été regravés. La dédicace présente une description émouvante de la misère où sont tombés les enfants d'Oronce Fine après la mort de leurs parents. Jean Fine y précise que c'est sur les conseils d'Antoine Mizauld qu'il a entrepris de faire rééditer le travail de son père pour l'offrir au cardinal de Châtillon. Dans l'avis au lecteur, Cavellat expose pour quelles raisons peu d'imprimeurs et de libraires éditent des livres scientifiques : l'impression des ouvrages de ce type entraîne de grands frais car ils doivent être illustrés de figures complexes et exigent un travail d'une grande précision. Le dos a été soigneusement refait. Bel exemplaire. Renouard, Cavellat 193. Harvard 232. Fairfax-Murray 165. Lalande 84. *-------* First separate edition. This beautiful textbook describes many sundials and water clocks. Illustrated by 57 woodcuts in text. Seller Inventory # 11973

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Published by Printed for R. Phillips, by J. Rider 1799-1801, London (1799)

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From: Payson Hall Books (Watertown, MA, U.S.A.)

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About this Item: Printed for R. Phillips, by J. Rider 1799-1801, London, 1799. Condition: Very good. publisher. Collated and found complete. Fine condition (illustrator). Very good. 1799-1801. Original half calf gilt with marbled boards and red leather title labels. . 2 volumes. Complete, all published, [vol. 1, no. 1 (October 1798)- vol. 2, no. 30 March 1801)] Signed and dated by Edmund Netterville , 1801. He was Anglo-Irish gentry of Longmeath, Galway. Weak at upper hinges and leather dry on spines, otherwise beautiful condition, no foxing, crisp and clean including maps and plates. The fine folding map of the United States shows Franklinia, a state geographically between Tennessee and North Carolina. This map has a clean tear where it is attached, but with no loss. There are 30 plates and maps in volume I and 45 plates and maps in volume II. Very rare. Colas 450; Ogilby 134; Tooley 112. (2 . Original half calf gilt with marbled boards and red leather title labels. Seller Inventory # PHBOOKSBR74682

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FINE BINDINGS] HOUSMAN, LAURENCE (DESIGNER).

Published by London: Rivingtons, 1903 (1903)

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About this Item: London: Rivingtons, 1903, 1903. Printed by Constable in red and black; initial letters and designs by Housman; folio; some scattered foxing; trivial edge rubbing; spine very slightly faded. Bound in full brown morocco; all edges gilt; signed '19 L.G.W. 06 [Lucy G. Wrightson]'. An exceptional binding with a complex geometric patterned cross on the front board, surrounded by small square designs, repeated in the spine compartments, separated by raised bands. Titled in one compartment, 'The English Liturgy' and with the date '1903' at the foot of the spine. The rear board features the same design as the front, but with just a gilt border, lacking the small gilt squares. The center of the doublures reveals the plain japan vellum endpapers, and the morocco border repeats the small squares used on the spine and front cover. All books described as first editions are first printings unless otherwise noted. Seller Inventory # 23897

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Berne. Museum of Fine Arts, Paul Klee Foundation;

ISBN 10: 3716511129 ISBN 13: 9783716511121

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From: Ursus Books, Ltd. (New York, NY, U.S.A.)

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About this Item: Berne. Museum of Fine Arts, Paul Klee Foundation. PAUL KLEE Catalogue Raisonné: Band 1 - 9. 9 volumes, 4tos, cloth. Basel, Benteli Verlag, 1998-2004. A landmark publication in Klee scholarship, this catalogue raisonne documents the artist's 9,600 drawings, prints, watercolors, and oil paintings, presented in chronological order. The catalogue includes Klee's own record of his production, which he maintained meticulously from 1911 until his death in 1940. Seller Inventory # 156262

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Paul Klee: Catalogue Raisonne (Complete in 9: Edited by the

Edited by the Paul Klee Foundation, Museum of Fine Arts, Berne

Published by Thames and Hudson, London (2004)

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First Edition

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From: APPLEDORE BOOKS, ABAA (WACCABUC, NY, U.S.A.)

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About this Item: Thames and Hudson, London, 2004. Cloth. Condition: Fine. Dust Jacket Condition: Fine. A remarkable undertaking, the sweeping, full catalogue raisonne of Paul Klee, complete in 9 massive quarto volumes. This is the 1st English language edition, published out of London by Thames and Hudson between 1998 and 2004. All 9 volumes are tight and very sharp and Near Fine to Fine, with no writing or markings of any kind internally. And all 9 are in crisp, Near Fine to Fine dustjackets. Vol. 8 alone is the German edition, published in Berne, Switzerland by Bentelli. The text of course is in German, otherwise this is identical to the Thames and Hudson edition, with exactly the same reproductions and the same formatting. The 9 volumes of the catalogue raisone are constituted as follows: Vol. I) 1883-1912: Berne, Munich and 'Der blaue Reiter'; Vol. 2) 1913-1918: 'Der Sturm', Tunisia and military service; Vol. 3) 1919-1922: Illustrations to Candide published; the Weimar Bauhaus; Vol. 4) 1923-1926: The Bauhaus in Weimar and Dessau; Vol. 5) 1927-1930: The Bauhaus in Dessau; exhibition in New York; Vol. 6) 1931-1933: The Kunstakademie, Dusselforf; dismissal by Nazi regime; Vol. 7) 1934-1938: Return to Berne; Vol. 8) 1939: Berne, the 'Angel series and premonitions of death; Vol. 9) 1940: Berne, last works. (From the rear dustjacket flap: This first ever authoritative Catalogue raisonne of the complete oeuvre of Paul Klee includes 9,600 fully documented entries arranged chronologically.". Seller Inventory # 17719

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L'Office De La Semaine Sainte, a L'Usage: Fine Royal Armorial

Fine Royal Armorial Binding of Louis XV of France)

Published by Jacques Collombat (1743)

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From: Chaco 4ever Books (CABA, CABA, Argentina)

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About this Item: Jacques Collombat, 1743. Encuadernación de tapa dura. Condition: Muy bien. In-8 (220 x 150 mm). Contemporary red morocco, covers gilt tooled at top and bottom with 19 mm wide dentelle and at left and right with 13 mm wide dentelle. The area inside the dentelle is gilt tooled with interlacing quadruple filet, and inside the filet are leaves, sprays and flowers en pointelle. The arms of Louis XV (1710-1774) are gilt embossed in the center of the covers, with his chiffre above and below the arms. Raised bands on spines with a small fleur-de-lis in the center of each compartment, surrounded by a circle and flanked by single and double filet in diamond and circular designs. Each compartment is bordered by double filet. Alternating fleur-de-lis are gilt tooled in one row at the top of spine and in two rows at the bottom of spine. Cover edges and turn-ins are gilt tooled, marbled endpapers, gilt page edges. Two frontispiece, one representing the King and Queen in prayer, and a title frontispiece. Five engravings in taille-douce (all without text) by Humblot, one at the beginning of each office. Printed on luxury Holland paper. Some minor rubbing to covers and spine. This volume was published by the Premier Imprimeur Order du Roy et de la Maison, by express command of His Majesty, conforming to the Breviaires and Missels Roman and Parisian, with the ceremonies of the church. References: Olivier 2495-9 and 2495-31. Seller Inventory # 24010253

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TEXT FROM THE OPENING OF NONE: AN ILLUMINATED VELLUM

AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A FINE, VERY LARGE MINIATURE OF THE PRESENTATION IN THE TEMPLE, FROM A BOOK OF HOURS IN LATIN

Published by early 16th century, Central or Northern France, probably Bourges

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From: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, U.S.A.)

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About this Item: early 16th century, Central or Northern France, probably Bourges. 191 x 133 mm. (7 1/2 x 5 1/4"). Single column, 23 lines of text on one side, five lines below the miniature on the other, in a fine, large bâtarde hand. Rubrics in red, several initials, line fillers, and a paragraph mark in brushed gold on a red or blue ground, two two-line initials with floral decoration in colors on a brushed gold ground, one four-line initial in gray and maroon with white tracery on a brushed gold ground, its center with a spray of red berries, and A LARGE MINIATURE OF THE PRESENTATION IN THE TEMPLE (measuring 112 x 91 mm.), with the Virgin kneeling before an altar and handing the Christ Child to the priest's waiting arms, Joseph and a young woman with the basket of sacrificial doves standing behind the Virgin at the head of a large crowd, the text and miniature enclosed by a simple gilt frame. Small faint brown stain to lower margin, two trivial patches of loss to paint of the priest's cloak, a touch of wrinkling to side margins, remnants of mounting to verso (not affecting text), otherwise A VERY FINE LEAF, clean and fresh, with ample margins and unusually rich colors. This handsome leaf from a Book of Hours with large dimensions features an expressive miniature that beautifully conveys the drama of this moment in the life of the Virgin. Mary, dressed in somber gray covered by her customary blue cloak, kneels at the center of the scene, holding her son out in a gesture that is both offering and supplication to the priest (who may or may not be Simeon, with Luke 2:25-35 seeming to come down in favor of this). Her face displays the concern that would be expected in one who has just been told, in Simeon's prophecy, that a sword would pierce her soul--that is, that she will suffer along with her son as he does God's redemptive work. Simeon, in contrast, wears the gratified expression of one whose prayers to see the salvation of Israel have been fulfilled, as expressed in his canticle, the "Nunc dimittis" ("Now I can depart in peace"). A pretty, fashionably dressed young woman stands on the left holding a basket with two turtledoves brought as an offering (for those people not in a position to provide a lamb). Her green dress and crimson cloak mirror Simeon's vestments and the canopy above him, and, like the priest, she is wearing a striking hat. Everything is carefully detailed from the facial expressions to the folds of clothing to the decorative designs on the altar and dark gray walls. The scene is artfully composed and balanced, with a trio of somber blue and gray figures at center and vibrant red and green on either side, anxiety offset by faith and hope. Seller Inventory # ST12557

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Fine Binding]; [Rodin Auguste]

Published by London Phaidon Press LTD 1956 (1956)

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From: Buddenbrooks, Inc. (Newburyport, MA, U.S.A.)

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About this Item: London Phaidon Press LTD 1956, 1956. First edition. With the engraved bookplate of J.R. Abbey, whose book collection was one of the largest and one of the most remarkable of his generation. He is perhaps best known for his collection of fine bindings and travel books. Two Arts Council exhibitions of bindings from his collection show that he was attracted by the strong geometric pattern designs and vibrant colour use of contemporary English and French binders. With 92 black and white plates of sculptures by Rodin plus two portraits of the artist and a drawing by him. 4to, in a very fine signed modernist binding by master binder Arthur Johnson, dated 1958. The binding is of full black morocco, each board with two large and deeply recessed conecle shaped areas boldly dashed in a mirrored design of gilt lines and curves, the spine with simple yet bold gilt lettering, gilt triple-ruled turn-ins and blue endpapers. t.e.g., housed in a navy blue slipcase with a felt lined, cloth covered chemise. 13, plates, [2] pp. Very fine, the binding pristine and as new. A SUPERB COPY, IN A VERY IMPRESSIVE AND EARLY SIGNED BINDING BY ARTHUR JOHNSON, AND FROM A HIGHLY NOTED COLLECTION OF FINE BINDINGS OWNED BY J.R. ABBEY. Arthur Johnson was a leading designer bookbinder and teacher. Johnson's own designs were bold, with a keen sense of colour and contrast. While he studied at colleges of art in Hornsey, Hammersmith and Camberwell, Johnson had begun to teach bookbinding at Hammersmith. Most instructors in bookbinding, he saw, were journeymen from the best trade workshops. While he recognised and admired their achievements in forwarding and finishing, he thought their design work deplorable - "their covers were reminiscent of carpets and chocolate boxes". Feeling the need to exchange ideas with like-minded people, in 1950, the year Johnson gained his Art Teacher's Diploma, he became a founder member of the Hampstead Guild of Scribes and Bookbinders. Bernard Middleton was another member and is still active in the field, as were Sally Lou Smith, Elizabeth Greenhill, Edgar Mansfield, Trevor Jones, Ivor Robinson and Philip Smith. The name of the group was changed first, to The Guild of Contemporary Bookbinders, and then to Designer Bookbinders. Johnson wrote a number of books on the subject. These include The Thames and Hudson Manual of Bookbinding (1978), The Practical Guide to Craft Bookbinding (1985), The Practical Guide to Book Repair and Conservation (1988), Lettering on Books (1993) and The Repair of Cloth Bindings (2002). Seller Inventory # 24337

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About this Item: Hardcover. Condition: Fine. Translated into Italian by Cosimo Bartoli. Illustrated with hundreds of woodcuts and diagrams in various sizes. 4to. Full vellum binding with hand written title on spine. Venetia, presso Francesco Franceschi Senese, 1587. First Italian Edition of the Protomathesis and De speculo ustorio, and the only appearance of all five texts together in a vernacular language. Oronce Fine was a French mathematician and cartographer. One of the most prolific authors of mathematical books of his age, he worked in a wide range of mathematical fields, including practical geometry, arithmetic, optics, gnomonics, astronomy, and instrumentalism. The Protomathesis is Fines most important work. It was first published in Latin in 1532. Thereafter only individual parts were published. The short work on parabolic mirrors was first published in Latin in 1551, and only appears again in this Italian translation. The text, on sundials and quadrants, is renowned for the quality of the illustration in the original edition. Although re-cut for the smaller format of this edition, the woodcuts remain impressive. Like many mathematicians of his time Fine was an expert on fortifications and he worked on the fortifications of Milan. His suggestion that eclipses of the moon could be used to determine the longitude of places was an important idea which was relevant to his other major contribution, namely cartography. Fine invented a map projection and, ca. 1519, he produced a map of the world using his heart-shaped projection. This was about the time that Magellan was sailing round the tip of South America. In 1531 he produced a world map with a double heart-shaped projection on which the name Terra Australis appears for the first time. Title page soiled and with two small restorations; restored wormholes in the first ten leaves; some additional wormholes; some damp staining and browning; o/w, a very good copy of an illustrated Italian Renaissance science book. Scarce. Seller Inventory # 6129

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