Antiquarian Books & Modern First Editions

Total Page:16

File Type:pdf, Size:1020Kb

Antiquarian Books & Modern First Editions Blackwell’s Rare Books Blackwell’S rare books ’ ANTIQUARIAN BOOKS & MODERN FIRST EDITIONS CATALOGUE B169 Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale). Please mention Catalogue B169 when ordering. Front cover illustrations: Item 389 Rear cover illustrations: Item 51 SectionOne AntiquarianBooks 1. Adams (Thomas) TheBlackeDevillortheApostate.TogetherwithLycanthropyortheWolfe WorryingtheLambes.AndTheSpirituallNavigator,boundfortheHolyLand.Inthreesermons. WilliamJaggard.1615,FIRSTEDITION,preliminaryleafwithlargesignatureAandtwofleurons, andblankspresent,browned,occasionalwaterstain,smallrepairtoblankbottomoutercorner A4,fore-marginD2,&topoutercornerD3,pp.[viii],78,[2](blank),[iv],34,[2](blank),[iv],58, sm.4to,modernparchmentpaperwrappers,good(STC107;ESTCS100391) £300 Threeparts,separatelypaginatedandcollated,eachwithitsowntitle-page,butissuedtogetherwith ageneraltitle-page.‘Adams“wasesteemedanExcellentPreacher”byhiscontemporaries(Walker, 2.164),andamodernassessmentholdsthatheis‘oneofthemoreconsiderableburiedliterarytalents oftheseventeenthcentury’(Chandos,156).Sermontitlessuchas‘MysticalBedlam’(1615),‘TheWhite Devil’(1614),‘TheDevil’sBanquet’(1614),and‘TheGallant’sBurden’(1612)exemplifyhislivelystyle. AlthoughAdamswasdescribedbyRobertSoutheyas“theproseShakespeareofpuritantheologians …scarcelyinferiortoFullerinwitortoTaylorinfancy,”hewasaCalvinistepiscopalianratherthana puritan’(ODNB). 2. Albertanus. Tractatusdearteloquendiettacendi.Landshut:pervenerabilemJoannem Weyssenburger,1514,acoupleofsmallmarginalwormholes,somelightunderlininginred, 8leaves,sm.4to,recentlyboundinstiffboardstightlycoveredwithold(stained&wrinkled) vellum,boardssplayingsomewhat,housedinasubstantialquarterleatherbox,spinetitledin gilt,good(VD16A1293) £1,200 Ascarceeditionofthispopulartext,originallywrittenin1245andfirstprintedin1474,onwhenand howtospeakandwhentoremainsilent;itoffersparticularadviceforpublicfiguresandwasboth influentialandfrequentlyreprinted(ChaucercitesitintheMaunciplesTale).VD16recordsonly3 copies,intheBayerischeStaatsbibliothek,theBibliothekderLudwig-Maximilians-Universität,andthe StiftsbibliothekAschaffenburg.COPACgivesjustOxford. 3. Alciphron. Alciphron’sEpistles;inwhicharedescribedthedomesticmanners,theCourtesans, andParasitesofGreece.NowfirsttranslatedfromtheGreek[byWilliamBeloeandThomas Monroe].G.G.J.andJ.Robinson;LeighandSotheby;andR.Faulder.1791,FIRSTENGLISH TRANSLATION,half-titlewitherrata,smallmarginalstainononeleaf,pp.[iv],270,8vo., nineteenth-centuryhalfcalf,backstrippanelledingilt,blackandredmoroccolabelswithgilt lettering,byJ.Larkinswithhisstampontheendpaper,bookplateofSolomonR.Guggenheim, verygood(ESTCT86057) £95 WilliamBeloe(alsoatranslatorofHerodotusandAulusGellius)andThomasMonroecollaborated onthis,thefirsttranslationintoEnglishofthelettersofAlciphron.Thelettershavenodefinitedate andtheirauthornodefinitebiography,butwerelikelywritteninthesecondcenturyAD;theyare whollyfictionalandmostlyderivefromtheNewComedyofauthorslikeMenander.Sinceonlyoneof Menander’splayssurvivesinfull(anduntilthebeginningofthetwentiethcenturyonlyafewfragments wereknownatall)theseepistlesareavaluablesourceofinformationandcomparison. ThiscopybearsthebookplateofthephilanthropistandeponymousendowerofartmuseumsSolomon R.Guggenheim(1861-1949). 4. (Americana.) HERRERA y Tordesillas (Antonio de) VerscheideZeeenLand-togtengedaaninde West-Indien:d’EerstedoordenberoemdenJeanPonzedeLeon,eenenandermallondernomen naarFlorida,in’tJaar1512.Leiden:PietervanderAa,1706,FIRSTDUTCHEDITION,fourfolding engravedplates,alittlebitbrownedinafewplaces,pp.77,[7],8vo,disboundandloose(JCBIII 28-29forthecompletework) £950 1 blackwell’S rare books AtranslationintoDutchofselectionsfromtheworkoftheSpanishhistorianAntoniodeHerreray Tordesillas,whopublishedafour-volumehistoryoftheSpanishcoloniesinthefirstdecadesofthe seventeenthcentury(itwasreprintedinSpanishandtranslatedintoEnglishbyJohnStevensaround 1726).Inparticular,thistextgivesaccountsofthefirstEuropeanexpeditiontoFlorida,ledbyJuan PoncedeLeón,andtheSpanishconquestofCubabyDiegoVelazquezandPanfilodeNarvaez.Itwas publishedaspartofaDutchcompilationofthehistoryofexplorationoftheEastandWestIndies innearlythirtyvolumesanddozensofpartsbyPietervanderAa,coveringfromtheearliesttimesto 1696,butthepartsappeartohavebeenissuedontheirownandareallenteredseparatelyinSTCN.The fourplatesinthispartdepictnativerituals(includingsmokingpipes)anddifferentconflictsbetween conquistadorsandnatives. En quoi consiste précisément le Beau 5. [André (Yves-Marie, Père) EssaisurlaBeau,oùl’onexamineenquoiconsisteprécisémentle BeaudanslePhysique,dansleMoral,danslesOuvragesd’Esprit,&danslaMusique.Paris: Hippolyte-LouisGuerin,1741,FIRSTEDITION,woodcutdeviceontitle,engravedheadpieceat startoftext,woodcuttailpieces,pp.viii(includinghalf-title),302,(2),12mo,contemporary mottledcalfwithgiltpanelledspine,alittlecraquelure,verygood(BarbierII218;QuérardI58; Vinet78) £400 Acrispcopyofthefirsteditionofthisinfluentialworkonaethetics,praisedbyDiderot.‘Parcetessai,le PèreAndrés’estacquisuneréputationdurable.Ilestundespremiers,avecHutchesonetBaumgarten, quiaientsoulevédansl’Europemodernelaquestiondubeau’(Vinet).Andre,aJesuitprofessorof mathematicsatCaenforthirtynineyears,wasastaunchCartesian.Asbefitsthesubject,thisisa beautifullyproducedbook. A Lip? a Cheek? a Hand? a Mouth? an Eye? 6. [Anon.] HymenandJuno:or,theArtofMarriage,aPoem.Printed intheYear1721,woodcutprinter’sornamentsontitle,asingle wormholeintheoutermargin(matchedinwrapper),smudgeon lowerhalfoftitleasiffromalabel,pp.8,8vo,uncutandstitchedin contemporaryplainroughpaperwrappers,upperwrapperinscribed ‘Hymen’inacontemporaryhand,sometimefoldedoncehorizontally, verygood(NotinESTCorFoxon) £750 Somethingofapuzzle:anunrecordedprinting,seeminglyafragment, butperfectlypreservedinitsoriginalwrappers.Theintegrityoftheitem’s conditionsuggeststhat,ratherthanbeingasmallfragmentofalargework (thepoetisonlyjustgettingintohisstride),thisismoreinthenatureofa trialprinting. 7. (Apostolic Fathers.) COTELIER (Jean-Baptiste, ed.) SS.PatrumquiTemporibusApostolicis floruerunt;Barnabae,Clementis,Hermae,Ignatii,Polycarpi;Operaeditaedinedita,veraet suppositicia.[Twovolumes.]Paris:TypisPetrilePetit,1672,FIRSTEDITION,variablybrowned andfoxed(sometimesheavily),arepairedwormtrailtofirst10leavesofvol.iicausinglossof lessthan10characterseachonthefirst4leavesandclearoftextfortherest,title-pageofvol. irehinged,afewotheroldneatrepairs,pp.[xxiv],844;[iv],847-1098,[2],cols.3-516,[2], folio,contemporarysprinkledcalf,rebackedandsubstantiallyrepairedandpolished,largely preservingoldendpapers,sound £650 ThefirstcollectededitionofworksbytheApostolicFathers,theearlyChristianwriterswhomay havebeendisciplesoftheApostles.Thevolumescontainsthe‘EpistleofBarnabas’,the‘Shepherd’of Hermas,andworksbyStClementofRome,StIgnatiusofAntioch,andStPolycarpofSmyrna.Thelast threearethemostfirmlyestablishedApostolicFathers,whoseconnectionwiththeapostlesisgenerally accepted,whileHermasand‘Barnabas’arenolongerthoughttobeapostolicdisciplesalthoughtheir worksarestillconsideredamongthemostimportantoftheperiod. 2 ANTIQUARIAN BOOKS Jean-BaptisteCotelier(1629-1686)wasprofessorofGreekatParis;thisishisprincipalwork,inwhich hecoinedtheterm‘apostolicfathers’fortheearliestnon-inspiredChristianwriters.Itissaidthatmany copiesweredestroyedbyafireintheCollègedeMontaigu–aswithmostsuchstories,enoughcopies survivetocastdoubtsonitsaccuracy,butthebookisbynomeanscommon. Aquinas’ famous Commentaries on the Gospels 8. Aquinas (Saint Thomas) OpusaureuzSanctiThomedeAquinosup[er]quatuorevangelia nuperrimereuisuzmultisme[n]dispurgatu[m]&eme[n]datu[m]studiosissime...verissimis quottationib[us],necno[n]marginalib[us]su[m]mariisdecoratum...Queo[mn]iadenovo additasunt:&nu[n]q[ue]al[iu]simpressafuere:[Venice:OctavinusScotus],[1521],large woodcutandthetextintriangularlayoutonthetitle,woodcutprinter’sdeviceattheend,ink inscriptionstothetitle:‘CatenaAurea’,thegoldenchain,andafaintownershipinscription, woodcutinitialsthroughout,singlewormholesthroughthebeginning,throughthetext,oneor twostains,minimalrepairstooneortwoouteredges,ff.[14],317,folio,latervellumoverstiff
Recommended publications
  • Maclaren House
    CLASSICAL LONDON LIVING Maclaren House Discover classical London living at Royal Warwick Square, with a prestigious collection of 1, 2 and 3 bedroom apartments and penthouses. Continuing a time-honoured London tradition of a tranquil garden square, Royal Warwick Square is designed for an enviable lifestyle in the Royal Borough of Kensington and Chelsea. CLASSICAL LONDON LIVING 1 Photography is indicative only ROYAL WARWICK SQUARE CONTENTS Aerial: 06 Location Map: 08 World Leading Capital: 10 Connections: 14 Royal Kensington: 16 Explore Kensington: 20 Elevated London Living: 34 Site Plan: 36 For Business & Leisure: 44 The Interiors: 48 Specification: 62 Apartment Locator: 64 Floor Plans: 66 Designed For Life: 86 Sustainability: 88 Our Vision: 89 Contact: 90 3 Photography is indicative only ROYAL WARWICK SQUARE 5 Computer Generated Image is indicative only ROYAL WARWICK SQUARE HOLLAND PARK STATION KENSINGTON PALACE HIGH STREET KENSINGTON STATION HYDE PARK PRINCE ALBERT MEMORIAL ROYAL ALBERT HALL ST PAUL’S CATHEDRAL Computer Generated Image of Royal Warwick Square and locations are indicative only THE CITY HYDE PARK CORNER STATION HIGH STREET KENSINGTON KNIGHTSBRIDGE STATION IMPERIAL COLLEGE HARRODS ROYAL WARWICK SQUARE LONDON EYE THE SHARD HOUSES OF PARLIAMENT VICTORIA & ALBERT MUSEUM ROYALIN LONDON’SBOROUGH CANARY WHARF WESTMINSTER CATHEDRAL TATE BRITAIN Royal Warwick Square occupies a superb position in the heart of the neighbourhoodsRoyal Borough of Holland of Kensington Park, Knightsbridge and Chelsea, and close Chelsea. to the These
    [Show full text]
  • Die Beischriften Des Peter Paul Rubens
    Die Beischriften des Peter Paul Rubens Überlegungen zu handschriftlichen Vermerken auf Zeichnungen Dissertation zur Erlangung der Würde des Doktors der Philosophie des Fachbereichs Kulturgeschichte und Kulturkunde der Universität Hamburg vorgelegt von Veronika Kopecky aus Wien Hamburg und London 2008 / 2012 1. Gutachter: Prof. Dr. Martin Warnke 2. Gutachter: Prof. Dr. Charlotte Schoell-Glass Datum der Disputation: 16. April 2008 Tag des Vollzugs der Promotion: 02. Juli 2008 Textband Vorwort 2 Danksagung 6 Einleitung 8 Die Unterschrift 11 Signatur und Fälschung, Zuschreibung und Bewertung 11 Der Adressat der Beischrift I. Die Auftragszeichnung 14 Inschriften und Inschriftenträger 15 Form. Von der Vorgabe zur Zeichnung, von der Zeichnung zum Werk 18 Farb- und Materialangaben, Maße und Gewichte 19 Der Adressat der Beischrift II. Anleitungen für ausführende Künstler 22 Inhalt. Die Erweiterung des Sichtbaren 24 Der Adressat der Beischrift III. Der künstlerische Monolog 25 Identifikation und Titel 26 Ort und Zeit 31 Das Zitat. Inhalt, Interpretation und Stimmung 33 Zusammenhanglose und unleserliche Beischriften 35 Die Beischrift bei Rubens 38 Die Zeichnung in Rubens’ Werkstatt 39 Erudizione ed eloquenza 41 Rubens’ Handschrift 48 Sprachhierarchie und Höflichkeit 49 Die Signatur des Rubens 55 Zuschreibungen 57 Der Adressat der Beischrift I. Die Auftragszeichnung 58 Inschriften 59 Formales bei Rubens. Farbe, Material und Größe 64 Kopien nach der Antike. Vom Antiquarius zum Archäologen 69 Nützliches und Wesentliches. Der Adressat der Beischrift II. Anleitungen und Hinweise 73 Der kürzeste Weg von der Idee zum Werk. Die erläuternde Beischrift 78 Identifikationen 78 Beschreibungen des Inhalts 81 Vorausblick und Auswahlmöglichkeiten 82 Veränderungen und Ergänzungen 86 Das Literaturzitat 93 Offene Fragen. Unleserliche und zusammenhanglose Beischriften 102 Endnoten 107 Vorwort Zeichnen und Malen sind kreative Prozesse, die mit einer Idee beginnen und für deren Ausführung es der Hand bedarf.
    [Show full text]
  • Carriages & Coaches
    Carriages & Coaches By Ralph Straus Carriages & Coaches Chapter the First THE PRIMITIVE VEHICLE “This is a traveller, sir, knows men and Manners, and has plough’d up sea so far, Till both the poles have knock’d; has seen the sun Take coach, and can distinguish the colour Of his horses, and their kinds.” Beaumont and Fletcher. IT has been suggested that although in a generality of cases nature has forestalled the ingenious mechanician, man for his wheel has had to evolve an apparatus which has no counterpart in his primitive environment—in other words, that there is nothing in nature which corresponds to the wheel. Yet even the most superficial inquiry into the nature of the earliest vehicles must do much to refute such a suggestion. Primitive wheels were simply thick logs cut from a tree-trunk, probably for firewood. At some time or another these logs must have rolled of their own accord from a higher to a lower piece of ground, and from man’s observation of this simple phenomenon must have come the first idea of a wheel. If a round object could roll of its own accord, it could also be made to roll. Yet it is to be noticed that the earliest methods of locomotion, other than those purely muscular, such as walking and riding, knew nothing of wheels. Such methods depended primarily upon the enormously significant discovery that a man could drag a heavier weight than he could carry, and what applied to a man also applied to a beast. Possibly such discovery followed on the mere observation of objects being carried down the stream of some river, and perhaps a rudely constructed raft should be considered to be the earliest form of vehicle.
    [Show full text]
  • CHG Library Book List
    CHG Library Book List (Belgium), M. r. d. a. e. d. h. (1967). Galerie de l'Asie antérieure et de l'Iran anciens [des] Musées royaux d'art et d'histoire, Bruxelles, Musées royaux d'art et dʹhistoire, Parc du Cinquantenaire, 1967. Galerie de l'Asie antérieure et de l'Iran anciens [des] Musées royaux d'art et d'histoire by Musées royaux d'art et d'histoire (Belgium) (1967) (Director), T. P. F. H. (1968). The Metropolitan Museum of Art Bulletin: Volume XXVI, Number 5. New York: Metropolitan Museum of Art (January, 1968). The Metropolitan Museum of Art Bulletin: Volume XXVI, Number 5 by Thomas P.F. Hoving (1968) (Director), T. P. F. H. (1973). The Metropolitan Museum of Art Bulletin: Volume XXXI, Number 3. New York: Metropolitan Museum of Art (Ed.), A. B. S. (2002). Persephone. U.S.A/ Cambridge, President and Fellows of Harvard College Puritan Press, Inc. (Ed.), A. D. (2005). From Byzantium to Modern Greece: Hellenic Art in Adversity, 1453-1830. /Benaki Museum. Athens, Alexander S. Onassis Public Benefit Foundation. (Ed.), B. B. R. (2000). Christian VIII: The National Museum: Antiquities, Coins, Medals. Copenhagen, The National Museum of Denmark. (Ed.), J. I. (1999). Interviews with Ali Pacha of Joanina; in the autumn of 1812; with some particulars of Epirus, and the Albanians of the present day (Peter Oluf Brondsted). Athens, The Danish Institute at Athens. (Ed.), K. D. (1988). Antalya Museum. İstanbul, T.C. Kültür ve Turizm Bakanlığı Döner Sermaye İşletmeleri Merkez Müdürlüğü/ Ankara. (ed.), M. N. B. (Ocak- Nisan 2010). "Arkeoloji ve sanat. (Journal of Archaeology and Art): Ölümünün 100.Yıldönümünde Osman Hamdi Bey ve Kazıları." Arkeoloji Ve Sanat 133.
    [Show full text]
  • How Earl's Court Became a Crucible for the British Women's Rights Movement
    thecourt Suffragette How Earl’s Court became a crucible for the British women’s rights movement ART /// Film /// F OOD /// CHELSEA ART FAIR EARL’S COURT FESTIVAL THE o’S SIMPLE ITALIAN Is 21. Director Ben Cooper 2016 is going to be another Promises rustic neighbourhood Keeping explains just what makes it bumper year for film in fun at The Indigo Hotel in different to other fairs your area Barkston Gardens Life Local thecourt CV O ER STORY Freeing Half the Human Race As people around the world celebrate International Women’s Day on March 8, Cristina Juan takes a look back on the part Earl’s Court played in the ART women’s political movement, and for a very famous resident. Emmeline Pankhurst speaking at a Trafalgar Square rally in 1916 It seems only fitting that Emmeline Pankhurst is buried at Brompton “We women suffragists have a great mission - Cemetery. Arguably the most vocal of the militant wing of the women’s the greatest mission the world has ever known. voting rights movement in the It is to free half the human race, and through that early 1900s, she had always skirted freedom save the rest” around Earl’s Court. She lived on Russell Square with her husband for memoirs. She especially mentions the militant suffrage activism in support a long period of time, but her final tri-coloured badges that she designed of the war against Germany. She also years were spent with her daughter, herself (she was an artist) and whose called on women to work in munitions Christabel, at 50 Clarendon Road huge sales raised a significant amount factories and asked for humanitarian in Notting Hill.
    [Show full text]
  • Grosvenor Prints Catalogue for July 2007
    Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue for July 2007 Item 4 The Arts 3. Veduta Indiana. 1. Zacherias. A.Basoli inv e dip. G.Sandri dis. L. e F. Basoli inc. MA Bonaroti Inve. Piroli f. [n.d., c.1810.] Engraving [Italy, 1821.] Sepia aquatint with line. 295 x 390mm, in brown ink, 370 x 260mm. 14½ x 10¼". £130 11¾ x 15¼". £160 The Old Testament Prophet Zechariah, after the fresco The exterior of an Indian fort. One of three designs by by Michelangelo (1475 - 1564) on the ceiling of the Antonio Basoli for the 1813 production of Gioja's Sistine Chapel. ballet, 'Riti Indiani', published in Basoli's 'Collezione di Engraved by Tommaso Piroli (1752 - 1824) in Rome, varie scene teatrali', 1821. probably from a folio of Michelangelo's designs. Stock: 11607 Stock: 11684 4. Drury Lane Christmas Pantomime. 2. [Man tuning a lute while a woman leafs Hop O' My Thumb. through a song book; three other figures.] [n.d., c.1911?] Ink and watrecolour. Sheet 360 x Wateaux P. N Parr f.(?) [n.d., c.1750.] Etching, 90 x 250mm, 14 x 10". £240 100mm. 3½ x 4". Slightly foxed. £75 A painted playbill for a pantomime version of 'Le Petit A familiar theme of figures playing music and singing Poucet', a fairy tale by Charles Perrault (1628-1703). after Antoine Watteau (1684 - 1721). It appears that There were productions at Drury Lane in 1864, 1892 & Nathaniel Parr (1739 - 1751; active), the London 1911.
    [Show full text]
  • How to Show Pictures to Children
    NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel.
    [Show full text]
  • Corpus Rubenianum Ludwig Burchard
    CORPUS RUBENIANUM •fHt—Si! i'ftA J I' , - t LUDWIG BURCHARD PART XXIV THE COSTUME BOOK KRISTIN LOHSE BELKIN ARCADEim CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR. LUDWIG BURCHARD IN TWENTY-SIX PARTS SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE "NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE xvide EN xvude EEUW” .-a. d'HULST, President - F. B a u d o u in , Secretary - r . pandeiaers, Treasurer N. DE POORTER, G. GEPTS, H. LIEBAERS, J.K . STEPPE, C. VAN DE VELDE, H. VLIEGHE SCIENTIFIC ASSISTANCE: P. HUVENNE, M. VANDENVEN THE COSTUME BOOK KRISTIN LOHSE BELKIN BRUSSELS - ARCADE - MCMLXXX NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN m DE IMeTNlE 17ie EEUW To F.G. Grossmann in gratitude COPYRIGHT IN ANTWERP, BELGIUM, BY MERCATORFONDS, 1980 PRINTED IN BELGIUM - LEGAL DEPOSIT D I978/0721/88 ISBN 2-8005-0124-3 (2-8005-0036-0 complete edition) CONTENTS FOREWORD VII LIST OF ILLUSTRATIONS I SOURCES OF PHOTOGRAPHS 13 ABBREVIATIONS 1 5 AUTHOR’S PREFACE 21 INTRODUCTION 23 I. RUBENS AS COPYIST 23 II. THE COSTUME BOOK 32 I. PROVENANCE 32 II. MAJOR SOURCES 34 III. RECONSTRUCTION OF THE ORIGINAL COSTUME BOOK 4 3 IV. AUTHORSHIP AND DATING 48 V. PURPOSE AND LATER USE 50 CATALOGUE RAISONNÉ 6l INDEXES: I. COLLECTIONS 181 II. SUBJECTS 18 3 III. OTHER WORKS BY RUBENS MENTIONED IN THE TEXT 18 9 IV. NAMES AND PLACES 1 92 PLATES 209 FOREWORD The reader who is familiar with the organization of the Corpus Rubenianum Ludwig Burchard will have noticed that there is a change in the title of Part XXIV , which is now called The Coftume Book.
    [Show full text]
  • Download (15Mb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36386 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. WOMEN, FINANCE AND CREDIT IN ENGLAND, c. 1780-1826 Christine Wiskin Submitted in fulfilment for the degree of Doctor of Philosophy in the Department of History at the University of Warwick June 2000 Contents List of illustrations 1 List of maps 11 List of tables 111 List of figures lv Acknowledgments V Abstract vi List of abbreviations vii Chapter 1 Introduction Concepts of women and credit 1 Sources and methods ii Historiography 22 New directions 30 'A history of industrial possibility' 44 Chapter 2 The Economy of the West Midlands in the Eighteenth Century Characteristics of the region 49 Cash and credit in the region 63 Small-scale capitalism 82 Contrasts, complexity and change 88 Chapter 3 Women in business, c. 1780-1826 Industrious independence 92 Businesswomen as managers 113 The impact of change 119 Reputation and respectability 128 Businesswomen in industrialising England 144 Chapter 4 Businesswomen and entrepreneurial networks The membership of networks 147 Trust and prudence 171 Some benefits of membership 180 Reconsidering entrepreneurial networks 190 Chapter 5 Women
    [Show full text]
  • Download PDF Van Tekst
    De Gulden Passer. Jaargang 78-79 bron De Gulden Passer. Jaargang 78-79. Vereniging van Antwerpse Bibliofielen, Antwerpen 2000-2001 Zie voor verantwoording: https://www.dbnl.org/tekst/_gul005200001_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. i.s.m. 7 [De Gulden Passer 2000-2001] Woord vooraf Ruim een halve eeuw geleden begon de bibliograaf Prosper Arents aan de realisatie van zijn vermetel plan om de bibliotheek van Pieter Pauwel Rubens virtueel te reconstrueren. In 1961 publiceerde hij in Noordgouw een bondig maar nog steeds lezenswaardig verslag over de stand, op dat ogenblik, van zijn werkzaamheden onder de titel De bibliotheek van Pieter Pauwel Rubens. Toen hij in 1984 op hoge leeftijd overleed, had hij vele honderden titels achterhaald, onderzocht en bibliografisch beschreven. Persklaar kon men zijn notities echter allerminst noemen, iets wat hij overigens zelf goed besefte. In 1994 slaagden Alfons Thijs en Ludo Simons erin onderzoeksgelden van de Universiteit Antwerpen / UFSIA ter beschikking te krijgen om Arents' gegevens electronisch te laten verwerken. Lia Baudouin, classica van vorming, die deze moeilijke en omvangrijke taak op zich nam, beperkte zich niet tot het invoeren van de titels, maar heeft ook bijkomende exemplaren opgespoord, Arents' bibliografische verwijzingen nagekeken en aangevuld en de uitgegeven correspondentie van P.P. Rubens opnieuw gescreend inzake lectuurgegevens. Een informele werkgroep, bestaande uit Arnout Balis, Frans Baudouin, Jacques de Bie, Pierre Delsaerdt, Marcus de Schepper, Ludo Simons en Alfons Thijs, begeleidde L. Baudouin bij haar ‘monnikenwerk’. Na het verstrijken van het mandaat van de onderzoekster bleef toch nog heel wat werk te verrichten om het geheel persklaar te maken.
    [Show full text]
  • Forty Years of Lawrence University London Centre Memories Lawrence University
    Lawrence University Lux London Centre Publications London Centre 1-1-2012 The Ruby Jubilee Chronicle: Forty Years of Lawrence University London Centre Memories Lawrence University Follow this and additional works at: http://lux.lawrence.edu/lcpublications Part of the Liberal Studies Commons © Copyright is owned by the author of this document. Recommended Citation University, Lawrence, "The Ruby Jubilee Chronicle: Forty Years of Lawrence University London Centre Memories" (2012). London Centre Publications. Book 1. http://lux.lawrence.edu/lcpublications/1 This Book is brought to you for free and open access by the London Centre at Lux. It has been accepted for inclusion in London Centre Publications by an authorized administrator of Lux. For more information, please contact [email protected]. The Ruby Jubilee Chronicle Forty Years of Lawrence University London Centre Memories Cover photograph To London, by Alex Bunke ’09, who attended the London Centre in spring ’07 and fall ’08 The Ruby Jubilee Chronicle Forty Years of Lawrence University London Centre Memories Edited: Christine Harris Compiled: Christine Harris and Laura Zuege ’02 Editorial Assistant: Sarah Wolfson ’12 Foreword In 1970 a far-sighted group of educators at Lawrence University decided to offer something new and exciting to students: the opportunity to study at the Lawrence London Centre, where students could live and learn together in one of the world’s greatest cities. Celebrating its 40th anniversary during the 2010–11 academic year, the Lawrence London Centre has impacted decades of students and remains the most popular off-campus study choice for Lawrence students. It is my pleasure to introduce the Ruby Jubilee Chronicle, a book that commemorates and celebrates this important anniversary milestone.
    [Show full text]
  • RIW 141|04 Presseblätter Engl.Indd
    PETER PAUL RUBENS (1577–1640) 28 June 1577 Peter Paul Rubens is born in Siegen in German Westphalia to Jan Rubens and Maria Pypelinckx, the sixth of seven children. His father is a lawyer from Antwerp who had received his training in Italy. In 1568 Jan Rubens is forced to flee with his family to Cologne because of his Calvinist beliefs. He subsequently becomes advisor to Anna of Saxony, the wife of William of Orange. 1587 Following the death of Jan Rubens the family returns to Antwerp. 1588–91 Rubens receives a classical education in Antwerp. 1591 Begins his training as a painter in the studio of his uncle. 1592 Apprenticed to Tobias Verhaeght in Antwerp, afterwards to Adam van Noort. 1594–98 Apprenticed to the Romanist artist Otto van Veen. 1598 Completes his apprenticeship and enters the Guild of St Luke in Antwerp as a master painter. 1598–1600 Works in the studio of Otto van Veen. 1600 Leaves for Italy, becoming court painter to Duke Vincenzo Gonzaga in Mantua. 1601 Arrives in Rome, extensive study of the works of Michelangelo, Titian, Tintoretto and Caravaggio. Entrusted with commissions by the former cardinal Archduke Albert, who had married the Spanish Infanta Isabella in 1599. 1602 In Genoa, Padua and Venice. 1603 Entrusted with a diplomatic mission by the Gonzagas to the Spanish court in Valladolid. 1604/05 In Mantua. 1606 Return to Rome. Lodges there with his brother, Philip, who is also a painter and between 1605 and 1607 was secretary and librarian to Cardinal Ascanio Colonna. 1608 Informed that his mother is gravely ill he returns immediately to Antwerp.
    [Show full text]