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A Book Of Angels, Reflections On Angels Past and Present and True Stories Of How They Touch Our Lives

By Burnham, Sophy




Available copies: A Book Of Angels, Reflections On Angels Past and Present and True Stories Of How They Touch Our Lives By Burnham, Sophy


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Honour And Obey

MacDonald, Malcolm

St. Martin's, 1988. 1st . Hardcover. A VERY FINE crisp copy in a VERY FINE bright dj.

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Deep Learning (Adaptive Computation and Machine Learning)

Ian Goodfellow and Yoshua Bengio

USA Edition. Hardcover. Brand New. USA Edition. Book Condition new: Brand New. fast shipping 4-6 business days.Perfect Condition. Excellent Quality,fast shipping Service and customer satisfaction guaranteed! No cd or access code available,Do not provide po box, apo box services ,

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Four Who Cared

Blaine Yorgason, Brenton Yorgasonj

1982 paperback. Clean, unmarked, a few light reader creases.

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Troubled Waters

Raine,William

Doubleday, 1925. 1st. hardcover. VG.

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Earth Angels (SIGNED)

Petrevich, Gerald

NAL, 1989. 1st. Hardcover. A FINE crisp copy in a FINE bright dj. Signed by the author!.

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Tim Hinle

977

Managing Meetings - Essential Managers - Chairing, Aims, Contriutin, Procedures, note-Talking, Dynamics, Venues, Consensus, Pacing, Seating, Goals, Agendas, Tasks -, DORLING KINDERSLEY, London, New York. 1998. en. London

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Aves aquatiles advivum eleganter depictae a Petro Holsteyn.

HOLSTEYN, Pieter, the Younger (1614-1687).

[Amsterdam: ca 1638]. Loc:164V. 2 volumes, oblong folio (9 1/8 x 14 inches; 8 6/8 x 14 inches). 168 EXCEPTIONALLY FINE ORIGINAL WATERCOLOR DRAWINGS OF BIRDS OF THE DUTCH EMPIRE: THE NETHERLANDS, SOUTH AFRICA, SOUTHEAST ASIA, AND THE AMERICAS, PAINTED BY THE PREMIER NATURAL HISTORY ARTIST IN THE NETHERLANDS OF THE TIME, PIETER HOLSTEYN II. THE ONLY EXAMPLE OF SUCH AN ALBUM IN PRIVATE HANDS. DRAWN WITH SUPERB NATURALISM: BIRDS ARE SHOWN AT REST, PREENING, FLYING, SWIMMING AND DIVING. Volume I: 9 blank leaves, manuscript title-page, 79 fine original watercolour drawings of waterbirds, including ducks, geese, swans, heron, grebes, pelicans, puffins, penguins and auks, each initialed by Holsteyn "PH fc", interleaved with blank leaves which are in 42 instances annotated in a contemporary hand with the name of the bird preceding it, 6 of the illustrated leaves are similarly annotated lower right, and many of the leaves, both illustrated and blank have partial manuscript page numbers in the center of the top edge, followed by a further 16 blank leaves, watermarked crowned Stasburg lily WR for Wendelin Riehel, according to Churchill created from 1636, (the last of which is torn with loss to the fore-edge); Volume II: 7 blank leaves, manuscript title-page, 89 fine original watercolour drawings of shore-birds, herons, songbirds, exotic pheasants, peacocks, hummingbirds, birds of paradise, cockerels, toucans, spoonbills, parrots, cockatoos, parakeets and one of the earliest depictions of a DODO, each initialed by Holsteyn "PH fc", interleaved with blank leaves which are in 66 instances annotated in a contemporary hand with the name of the bird preceding it, many of the illustrated leaves are similarly annotated lower right, 10 blank leaves. Uniformly bound in near contemporary full Dutch vellum over paste-board, each cover decorated in panels with gilt filets and decorated at the innermost corners with tulip and rose tools surrounding a central arabesque medallion, the spines in five compartments with four raised bands, the titles in the second, the others decorated with fine gilt rose tools, all edges gilt (volume I worn with loss to the spine an upper left-hand corner of the front cover, edges gnawed by rodents, each lacking two pairs of green silk ties). PROVENANCE: Sotheby's London, February 13, 1985, private sale from the estate of The Hague bookseller, Meyer Elte; acquired by A. Alfred Taubman at the foregoing sale; his sale Sotheby’s New York, 14th December, 2015, lot 55. Roger Pasquier, ornithologist and art historian has written of the Holsteyn albums: "The 168 paintings depict 81 species and another 30 hybrids and avicultural varieties... Each painting is a portrait showing a single bird in, with a few exceptions, full profile. Some face left, others right. The birds and their simple landscape base are each about 7 by 8 inches, a few larger. The wild birds include many common in the Netherlands as well as a wide range of species from other hemispheres where the Dutch had established colonies and trading posts. The portraits of avicultural varieties reveal an interest in experimentation in hybridizing different wild birds, especially ducks, and in selecting for unusual features in parrots and in barnyard fowl. The album depicts a remarkable number of albino birds, from peafowl and pheasants to ducks, that--long before any formal knowledge of genetics--were the result of very selective breeding. "The bird portraits also reflect a youthful curiosity and perhaps even a prankish spirit; a few of the birds are unidentifiable, either imaginary or clearly composites of different species that could never have met. We can also distinguish by their posture or animation the birds Holsteyn would have known in life, either by common observation or visiting a private menagerie, from those he drew from stuffed specimens that must have been part of a specialist’s collection. "Holsteyn was not a natural philosopher, as investigators into the world of Nature were then called. Unlike his contemporaries who published multi-volume series about birds, highly illustrated and with extensive texts, the absence of any text suggests Holsteyn did these paintings for private delectation by a knowledgeable owner" (see Mr. Pasquier's complete essay below). When Cornelis de Houtman returned home to the Netherlands in mid-January of 1597 after a successful voyage around the Cape of Good Hope into the Indian Ocean and back, the effect was dramatic and world changing, resulting in the opening of the spice rich East Indies to the Dutch spirit of enterprise, and the filling of Dutch coffers. By 1602 all the different competing Dutch companies sending trading fleets to the region had combined to form the Vereenigde Oost-Indische Compagnie, or V.O.C, the Dutch East-India Company, and it wasn't long before the VOC received from the States General the privilege of the trade monopoly for Asia. With a fleet of over 100 ships, a workforce of ten thousand employees in offices, shipyards, and warehouses in the Netherlands as well as overseas, a maritime empire was born, which eventually extended from the Cape of Good Hope to Japan. Over the 200 years of its existence the VOC established outposts in many locations along the shores of the Indian Ocean and the Far East, varying in character and function, differing in size, political significance and economic importance, diverse in language, culture, religion, and politics. In established empires, like India, China and Japan, the VOC was simply a merchant company. In other countries (the Indies archipelago and Ceylon), the indigenous political power was sometimes so fragmented that the VOC could wield direct territorial power through conquests. The VOC "was also permitted to wage war within its patent area on behalf of the States General and to conclude contracts with the indigenous sovereigns. For the purposes of strengthening and protecting its trade interests, the VOC was allowed to build forts and factories for its trade network...with the Indian archipelago at its centre" (Gunter Schilder & Hans Kok "Sailing for the East", pages 45-46). THE EXTRAORDINARY WATERCOLOURS OF BIRDS FOUND IN THESE ALBUMS WERE DRAWN FROM SPECIMENS, DEAD AND ALIVE, BROUGHT BACK FROM ALL THE REALMS OF THE DUTCH EMPIRE; AS SUCH IT REPRESENTS THE EARLIEST KNOWN DEPICTION OF BIRDS FROM AROUND THE WORLD IN ONE WORK: INCLUDING AN EXCEPTIONALLY RARE AND VERY IMPORTANT EARLY DEPICTION OF A WHITE DODO, ONE OF ONLY A HANDFUL KNOWN. "The allure of these albums is in their hints of what might have been in the collection of a seventeenth century Dutch ornithological connoisseur who enjoyed experimenting in creating crosses between natural species, familiar and exotic, as well as in studying the specimens carried from distant outposts of the growing Dutch trading empire. The scale of the collection and the nature of the commission to Holsteyn suggests its owner was prosperous, perhaps even a shareholder in the very profitable Dutch East India Company that brought back new and unknown birds, both alive and as specimens. The birds from other parts of the globe help document the pace of Dutch exploration. North America is represented by two species, a male and female Northern Cardinal (Cardinalis cardinalis) and a male Scarlet Tanager (Piranga olivacea). Nieuw Amsterdam was founded in 1623, but cardinals, which can easily be kept in cages, are found south to Mexico and must have been brought back to Europe long before. Ulisse Adrovandi features a very alert looking male in his "Ornithologiae hoc est de avibus historiae" of 1600, a widely circulated reference that organized birds by habits and anatomy and depicted them in woodcuts. Holsteyn and his patron might have known the book – but would not have needed it to know a cardinal. The tanager, a consumer of insects and fruits that would have been common in the forests of Manhattan during spring and summer, would however have been harder to keep and transport across the Atlantic than a seed eater like the cardinal. Holsteyn more likely worked from a specimen in the male’s breeding plumage of scarlet with black wings and tail, which the bird wears only from February or March through July. The Dutch established a colony on the northeast coast of South America, what was then known as Guiana, and is now called Suriname. Perhaps from here came the specimens of two hummingbirds, not precisely identifiable, because the females of so many species are very similar. More distinctive is Holsteyn’s Burnished-buff Tanager (Tangara cayana), a widespread species that takes to gardens and other scrubby areas and would have adapted easily to whatever areas the Dutch colonists cleared. Holsteyn must have drawn his from a specimen, poorly prepared, since he shows it much longer and thinner than this chunky bird is in life. More puzzling is his toucan. Holsteyn depicts it twice – once as a portrait of the head with its distinctive long bill, and once in full. The bird’s bill has the pattern of the Black-necked Aracari (Pteroglossus aracari), but the combination of white underparts and tail banded in black and white is like no known species. The toucan would have been a poor traveler, and was probably drawn from a specimen. Perhaps all Holsteyn had was the head, which he painted separately, and imagined the rest of the body. Africa is represented by a male and female Gray Crowned Crane (Balearica regulorum), found in South Africa. Another puzzling bird in the album may also be African, a slim red bird with a black head and long bill hooked at the tip. It most closely resembles the Carmine Bee-eater (Merops nubicus), widespread from West Africa across the continent to Kenya. Specimens may have been brought back from ports like Dakar, which was claimed by the Dutch intermittently between 1588 and 1664. Holsteyn’s bird, however, lacks the characteristic elongated central tail feathers, and he gives it white stripes on the base of the bill and across the upper back, which are not found on any red bird from any part of the world. The Dutch quickly followed the Portuguese to establish trading posts in the East Indies, sources of valuable spices such as cinnamon, cloves, pepper, and nutmeg. Distinctive birds from this region of many islands came back as stuffed specimens with the spices. Holsteyn had access to three. The Black Sunbird (Nectarinia aspasia) is widespread from the Sulawesi group of islands through the Moluccas and east to New Guinea and Melanesia. A tiny bird (4 ½ inches), it uses its long bill to probe into flowers for nectar and insects. The bright, iridescent blue and black plumage would have made it attractive to collectors bringing novelties back to the Netherlands. At least two species of birds of paradise, both unique to New Guinea, also came as specimens and were painted by Holsteyn. The male Greater Bird of Paradise (Paradisea apoda) has long display plumes growing out of its lower back that it raises and fans when it displays before females. The male King Bird of Paradise (Cicinnurus regius) is brilliant red with two central tail feathers that are like wires extending well beyond the rest of the tail and tipped in green disks. The native peoples of New Guinea use feathers from these and many other birds for ceremonial headdresses and other ornaments. They also collected specimens for selling or trading purposes. These were typically prepared by removing the legs; when Europeans first saw these dazzling birds, they concluded that the birds must spend their entire lives on the wing in paradise, hence their name. The birds must have been common in the trade with Europeans, because these two species were depicted in 1657 by Kaspar and Matthaeus Merian in "Historiae naturalis de avibus", by Joannes Jonstonus, but flat on their back, as they must have been packed, not alive as Holsteyn attempted. Matthaeus is best known as the father of Maria Sybille Merian, who in 1705 published a beautifully illustrated volume on the insects of what was then Dutch Guiana. The most globally comprehensive family in Holsteyn’s album is the parrots. These birds were always admired for their bright plumage, familiar ways, and the ability of some species to imitate human speech. Some from India were already known to the Romans, but the maritime exploration of the world brought many more to Europe. Columbus carried macaws and other parrots back from the Caribbean islands and the American mainland. Many parrots would have been easy and companionable travelers, and a good investment for sailors who were willing to part with them on returning home. Holsteyn depicts ten species and a few in variant plumages, showing us that aviculturists already had a few generations of parrots with which to experiment. From the Caribbean islands came the Rose-throated Parrot (Amazona leucocephala), found on Cuba, the Cayman Islands, and Abaco and Great Inagua in the Bahamas. In the seventeenth century, it may have been more widespread, before island forests were cut. Holsteyn paints the bird twice, in profile and from the back. Perhaps his subject was moving about on its perch. Macaws – so much larger and more brilliantly colored than any parrots Europeans previously knew – were among the first birds brought back to Spain and later other countries from the mainland American tropics. A red macaw appears in the background of a wedding portrait of Mrs. Johannes Cuspinian done by Lucas Cranach in Vienna in May 1502, only nine years after the first macaws would have reached Spain. By the seventeenth century, macaws of several species were widely kept in menageries and appear in many paintings, from scenes of Adam and Eve in the Garden of Eden to assemblages mixing familiar and exotic birds in large landscapes and still lifes. Holsteyn depicts a Blue and Yellow Macaw (Ara araruana), a Scarlet Macaw (A. macao), and another Scarlet with some unusual yellow feathers. While Holsteyn’s macaws may have been descendants of birds brought long before from Spanish or Portuguese possessions in the New World, his two paintings of a Brown-throated Conure (Aratinga pertinax) may have portrayed a bird carried from a Dutch colony. This species has a wide range in northern South America and adjacent islands; populations in different areas have evolved fourteen distinct plumages. Holsteyn’s bird is most similar to that of Curacao, first occupied by the Dutch in 1634. T he Grey Parrot (Psittacus erithacus) of west and central Africa is considered the best mimic or talker of the world’s more than three hundred parrot species. It must have been one of the first known and regularly bred in Europe. The direct gaze of the bird Holsteyn painted twice, in profile and from the front, suggests he was working from a live pet. Also from west and central Africa – but perhaps also long raised in captivity – is the Red-faced Lovebird (Agapornis pullarius) Holsteyn painted in profile and again from the rear, all the better to show its distinctive red-banded tail, which the bird has spread in display. Usually inseparable from their mate, hence their name, wild lovebirds often fly long distances in larger flocks, searching for crops of seeds and fruit. They have the endearing habit of sleeping while hanging upside down. Both the lovebird and the Grey Parrot would have been widely available to Dutch traders in the ports of the Gulf of Guinea. The Rose-ringed Parakeet (Psittacula krameri) has a broad range in two continents, across the middle of Africa and on the Indian subcontinent east to Myanmar. It is common in cities like New Delhi and has been introduced over the centuries to Middle Eastern cities like Baghdad and Teheran. This is likely to have been the first parrot brought to the Mediterranean region in ancient times. It also appears in the trees of gardens in Mughal miniatures. So it is appropriate that Holsteyn depicted it twice, in left and right profile. East of India, the Spice Islands, as the Dutch thought of them, and New Guinea are home to a tremendous variety of parrots. Given the interest Holsteyn’s patron had in albinos, it is not surprising that the album contains portraits of three species of parrots that in nature are almost entirely white. The Sulphur-crested Cockatoo (Cacatua galerita) is widespread in New Guinea and eastern Australia, and was probably domesticated and traded farther west in ports of today’s Indonesia, where the Dutch spent more time. Holsteyn shows it with the yellow crest raised. A very similar bird, with some red on a few of the crest feathers is closest to the unique Sumba Island race of the Yellow-crested Cockatoo (C. sulphurea citrinocristata), which, unlike other populations of this species typically has an orange, not yellow, crest. Sumba, known for its sandalwood, is an island midway between Java and Timor. The third of Holsteyn’s cockatoos, the Tanimbar Corella (C. goffiniana), restricted to the islands of that name, a small cluster between easternmost New Guinea and northern Australia, demonstrates again the comprehensive trading links the Dutch established throughout the complex archipelago east of Borneo" (Roger Pasquier). PROVENANCE: Between 1940 and the early 1980s the whereabouts of this album remained unknown, but much continued to be written about it in connection with the image of the white DODO found amongst the other exquisite watercolours of exotic birds. For many years art and natural historians have argued over why Pieter Holsteyn, and other artists should have chosen to paint the bird white. Hume and Cheke in their "The White Dodo of Reunion Island - Unravelling a Myth", 2004, ascribe Holsteyn's image to his having seen Roelant Savery's "Landscape with Orpheus and the animals", ca 1611, which includes a very distinctive white Dodo, probably a specimen in the collection of the Holy Roman Emperor, Rudolph II, in Prague, described by Daniel Froschel in his inventory of the imperial collection. The very first published image of the much loved and now extinct Dodo appeared as the second engraving in Jacob Cornelisz van Neck's (1564-1638), "Le second livre, Iournal ou comptoir", of 1601. The sailors of this voyage, and of subsequent ones, found the bird most interesting as food: flightless, and therefore easy to catch, but apparently not very tasty. They described the birds as 'wallowbirdes', 'wallow' coming from the Middle-Dutch word meaning tasteless, insipid, or sickly. Pieter Holsteyn the Younger was a Dutch glass painter and engraver from Haarlem who worked also in Zwolle and Munster. He was trained by his father, Pieter Holsteyn the Elder (ca. 1580/90–1662). THE EARLY HISTORY OF THESE VOLUMES: Jolyon C. Parish in his "The Dodo and the Solitaire: A Natural History", describes these Holsteyn albums: "The dodo, in watercolour, is illustrated in one of two oblong-folio, parchment-bound books with fine gilding and entitled "Aves aquatiles ad vivum eleganter depictae a Petro Holsteyn celeberrimo Pictore". These contain over 180 bird illustrations. "An undated picture of the dodo said to be by Pieter Holsteyn, was stated to be in the possession of A. van der Willige [sic] at Haarlem (Newton 1875-1889). A.C. Oudemans contacted A. van der Willigen at Velp, son of the Haarlem art expert, but his father had died and he was unable to provide Oudemans with any information regarding the dodo image. On contacting the firm Frederik Muller & Co. of Amsterdam, Oudemans found that Cornelis Hofstede de Groot at The Hague had previously sent a volume of Holsteyn's drawings for appraisal. De Groot notified Oudemans (on May 24, 1916) that the album was in the possession of Mr. A.A. van der Feltz in Amsterdam. "The images were formerly part of the inheritance of Jan Hendrik Baron van Lijnden van Lunenburg (1765-1854) in Utrecht. Arend Anne Baron van der Feltz (1862-1940) of Amserdam had married into the family, and he wrote to Oudemans on May 18, 1916, that the books were indeed in his possession - including the plate of the dodo, referred to as Dodaers. On May 27, 1916, Oudemans examined the painting and had a photograph made. Anon. (1937) mentioned the Holsteyn dodo picture as being in Amserdam but after 1940 the whereabouts of the dodo picture were unknown (Valledor de Lozoya 2003). "However, the illustrations came to light once again. According to Den Hengst, they belong to 'an old [Dutch] baroness who hid them in a pan under her sink cupboard, only to have them found by her children and sold to an antique dealer in The Hague, where the pictures were copied. Not long afterwards, the books were sold an anonymous buyer in London" (2003, 99). The dodo picture was in the possession of antiquarian bookseller Meijer Elten when Den Hengst photographed it, but the family sold the works after Elten's death (Jan den Hengst, pers.comm., December 7, 2007). Elten had purchased the books from Rutgers van Rozenburg, who had inherited them from the baroness (Jan den Hengst, pers. comm., September 18, 2008). Later, the two volumes were to be found in the possession of Adolph Alfred Taubmann, former chairman of Sotheby's. "No date is given in either Vogel boek, but Oudermans (1917b) thought it probable that the illustration was derived from the same bird as in the Teylers image, and dated it to around 1638" (pages 153-154). OTHER EXAMPLES OF HOLSTEYN'S WATERCOLOUR OF THE DODO THE TEYLERS MUSEUM EXAMPLE: An extensive album of watercolour drawings by Holsteyn, including images of birds and flowers, is recorded in Biesboer and Togneri's "Collections of Paintings in Haarlem, 1572-1745". Getty, 2001, as part of the bequest of Miss Fancona Antoinetta Conradina van der Burch (1813-1888), who left it to the Haarlem Gemeente Archief in 1888. Two plates of a Dodo and of a duck, from that album, which had been given to Christina Abigael van der Willigen of Laren (Noord-Holland), were subsequently donated to Teylers Stichting, Haarlem, in 1916, where they are now on display. The history of the provenance of the van der Willigen album is given in Jolyon C. Parish's "The Dodo and the Solitaire: A Natural History", page 152: On December 30, 1865, "Volkert Simon Maarten van der Willigen of Haarlem read a paper before the Koninklijke Academie van wetenshapphen (Afdeeling Natuurkunde) and exhibited a copy of a coloured picture of a Dodo by Pieter Holsteyn from a bird book of paintings belonging to a Haarlem art enthusiast (Van der Willigen 1866). The book, containing over 100 bird pictures, was an oblong folio bound in parchment (Renshaw 1938). Van der Willigen noted that there must have been a second book with paintings by Holsteyn in the Netherlands, also containing a picture of the dodo, but that the whereabouts were unknown. J.J. Verwigjnen, librarian at Haarlem, wrote to A.C. Oudemans on June 9, 1916, stating that Holsteyn's bird book was at that time the property of the municipality of Haarlem, but that there was no dodo plate. A week later, Oudemans received further information from Verwijnen, that Jan Louis van der Burch (1811-1886), burgemeester of Haarlemmerliede and Spaarnwoude, owned Holsteyn's bird book, which consisted of loose plates. The book, containing the other bird plates, came to Van der Burch's sister, Miss Fancona Antoinetta Conradina van der Burch (1813-1888), who left it to the Haarlem Gemeente Archief in 1888; her niece's husband Adriaan Justus Enschede, was the executor. As for the dodo picture, Van der Burch had given it to Adriaan van der Willigen Pz. of Haarlem (1810-1876) c. 1865 (Plomp 1997). Van der Willigen's collections were sold in 1874-1879, but there was no mention of a dodo plate in the catalogs. Dr. Van der Willigen wrote to Oudermans on June 24, 1916, that the Holsteyn plate was in the property of his sister, Christina Abigael van der Willigen of Laren (Noord-Holland). On Oudermans's recommendation, Christina van der Willigen donated the dodo plate, along with another depicting a duck (Anas boschas) with a pathologic bill, to Teylers Stichting, Haarlem, in 1916". THE NATURAL HISTORY MUSEUM, LONDON, EXAMPLE The Natural History Museum in London has in its collection a watercolour of a white dodo by Pieter Holsteyn the younger. "The picture was purchased in a sale at the saleroom, Doelenstraat, Amserdam (Collection 'S'), one of the 145 bird illustrations by various artists), on December 7, 1908, by Hans Wertheim, who sold it to the Trustees of the BMNH on January 19, 1937 (Anon. 1937; Renshaw 1938; Ann Datta, pers. comm. to Pierre Brial, 1998 [see Brial 200]). According to Jackson, it was 'acquired from an Amsterdam dealer who said it was in a collection of different birds by Pieter Holsteyn the elder" (1999, 291). (Jolyon C. Parish "The Dodo and the Solitaire: A Natural History", page 153). Currently in the collection of Graham Arader, who remarks that during the 17th-century "the Dutch NEVER once lost a naval battle during the entire century. They had the WHOLE nation of France severely trapped because of the French love of great food. The Dutch drained France of cash because the French could not LIVE without mace, cloves, nutmeg, pepper, cinnamon and other spices for their meals. There is practically a Dutch monopoly because the Dutch had 99% control of spice islands in the Indian ocean. Even today they control this trade. This is the REASON that all voyages to America were initially made to find a way to get to the Spice Islands faster. "This book is the essence of their obsession with detail - to fully understand the natural history of the lands they were exploiting to MAKE MONEY. They had roughly 70 trading posts around the world of which Manhattan was one. These watercolors are their finest production in this area, and THEY SHOW BIRDS FROM AROUND THE WORLD, TOGETHER, FOR THE VERY FIRST TIME" (Graham Arader). The first printed ornithologies are found in Aristotle and Pliny, containing information that was re-iterated by subsequent authors with extra comments. These works would usually describe the birds, where they might be found, whether they were edible, if they had any medicinal value, and what their human traits and characteristics were. It was also not uncommon to find mythical and fabled birds such as the phoenix and griffin amongst the pages of such works. The first ornithological book illustrated with woodcuts was a folio volume in seven parts, entitled "L'histoire de la nature des oyseaux, avec leurs descriptions & naifs portriacts retirez du nature", by Pierre Belon (1517-1564). It was essentially a compendium, which like its predecessors borrowed from Aristotle and other classical authors. Like Aristotle, Belon divided birds into categories based on structure and ecology; but unlike Aristotle's arrangement, "Belon's is clearly an attempt at classification, infused with Belon's own observations... Belon must be regarded as a forerunner of the comparative anatomists of the eighteenth and nineteenth centuries" ("Wrought in the Margin: the age of handmade illustrations and woodcuts" page 32-33 of "Masterpieces of Bird Art", by Roger Pasquier and John Farrand, Jr., 1991). THE HOLSTEYN ALBUM SHOWS BIRDS ONLY FOUND IN WILD IN NATURE, AND IN MENAGERIES, WITH AN ATTEMPT AT COHERENT ORGANISATION: the first volume contains waterbirds, grouped by likeness, the second volume exotic birds, similarly arranged. It is clear that Holsteyn was inspired by the work of his predecessors: Pierre Belon's (1517-1564) L'histoire de la nature des oyseaux, avec leurs descriptions, & naifs portraicts retirez du naturel. Paris: 1555; and Ulisse Aldrovandi's (1522-1605) three volume ornithology Ornithologiae... libri XII. Bologna: 1599, and Ornithologiae tomus alter. Bologna: 1600, Ornithologiae tomus tertius ac postremus. Bologna: 1603. While Holsteyn's artistry is far superior to that of both Belon and Aldrovandi, and he includes in his album a great number of new species collected from throughout the Dutch empire, there are two paintings of birds in which Aldrovandi's influence can be seen directly: the Toucan, and the birds which are captioned in the album as Pelicans. One image captioned in an early hand, Wort een pellicaen genoemt, shows a fanciful waterfowl with the head of a hawk, and follows closely Aldrovandi's Corpus Christi, the allegorical depiction of a Pelican piercing its own breast to feed its young, page 47 of Ornithologiae tomus tertius ac postremus. By including images that are allegorical and fanciful in his albums, Holsteyn not only follows the examples of his predecessors, but is part of a tradition continued by his successors. Aldrovandi, who had an eye for the macabre includes creatures with human heads and birds bodies in his Ornithologiae, and Belon Mermen and Horses with fishy tales in his De aquatilibus of 1553. Seba in his Locupletissimi Rerum Naturalium Thesauri. Amsterdam: 1734-1765, famously includes a many headed Hydra, and John Jonston (1603-1675) includes many plates of nearly a douzen distinct species of Unicorn, Gryphons and other curiosities from throughout the animal kingdom in his Historiae naturalis de... series 1632-1662. As the study of natural history progressed into the latter half of the 17th and early 18th-centuries, the standards of ornithological works improved, but birds continued to be grouped together by habitat and then by their actions. Walter Charleton's (1619–1707) system, explained in his Onomasticon zoicon (London, 1668), involved looking at the birds' diets, whether they bathed (and in what water/sand) or sang. "The way birds were ordered changed with the publication of Willughby's Ornithology (London, 1678). Firstly, they are classed here as land or water birds. The land birds are then divided into those with crooked beaks and claws and then those with straight beaks. The water birds are divided into those 'that wade in the waters, or frequent watery places, but swim not; The second, such as are of a middle nature between swimmers and waders, or rather that partake of both kinds, some whereof are cloven-footed, and yet swim; others whole-footed, but yet very long-leg'd like the waders: The third is of whole-footed, or fin-toed Birds, that swim in the water'. This is thought to be the first attempt to classify birds rationally" (The Whipple Library: University of Cambridge online). Volume I: Goosegander (Common Merganser) (Mergus merganser) male Black Scoter (Melanitta nigra) female Barnyard goose Goldeneye hybrid (Bucephala clangula x ?) Barnacle goose (Branta leucopsis) Brant (Branta bernicla) dark-bellied form Brant (Branta bernicla) “Een Rotgans” dark-bellied form Bar-headed Goose (Anser indicus) “Een Oost-indise Gans” immature hybrid domesticate duck “Een Gans” Egyptian Goose (Alopochen aegyptiacus) “Een gans vande Caep de bona Esperanza” Duckling (Anas species) “Een Eende kuyken” Domestic Top-Knot duck “Kuys Eendt” Gadwall x Mallard hybrid (Anas strepera x A. platyrhynchos) Mallard (Anas platyrhynchos) female Mallard (Anas platyrhynchos) male Mallard (Anas platyrhynchos) male Common Shelduck (Tadorna tadorna) Muscovy Duck (Cairina moschata) “Een Oostindische Eendt” albino Common Shelduck (Tadorna tadorna) “Een Bersch eendt” female Muscovy Duck (Cairina moschata) “Een Oostindische Eendt” Gadwall - Mallard hybrid (Anas strepera x A. platyrhynchos) Garganey x Common (Green-winged) Teal hybrid (Anas querquedula x A. crecca) Common (Green-winged) Teal (Anas crecca) “Pijptaling Wijfie” female Common (Green-winged) Teal (Anas crecca) “Pijptaling Mannetie” male Eurasian Wigeon (Anas penelope) “Een Smient Wijfie” female Eurasian Wigeon x Common (Green-winged) Teal hybrid (Anas penelope x A. crecca) “Een Smient Mannetie” male Gadwall (Anas strepera) “Een kraeck Wijfie” female Gadwall x Common (Green-winged)Teal hybrid (Anas strepera x A. crecca) male Pied Avocet (Recurvirostra avosetta) “Een Sluyf” Black-headed Gull (Larus ridibundus) “Een bonte Meeu” immature Great Crested Grebe (Podiceps cristatus) “Een Duigel Hooschduytse Vogel” Atlantic Puffin (Fratercula arctica) “Een Yslantse Vogel” Razorbill (Alca torda) Bar-headed Goose (Anser indicus) immature Red-breasted Merganser (Mergus serrator) female Red-breasted Merganser (Mergus serrator) female Brant (Branta bernicla) Garganey hybrid (Anas querquedula x ?) Barnacle Goose (Branta leucopsis) “Een Brantgans” Mute Swan (Cygnus olor) Red-throated Loon (Gavia stellata) winter plumage Arctic Tern (Sterna paradisea) “Een Meeu” Gadwall (Anas strepera) “Eeen kraeck” male penguin species “Pinguin in de Straet Magellanes” hybrid duck “Een Indiaense Vogel daer men de Vissen mede vangt” Pied Avocet (Recurvirostra avosetta) “Een Sluyf” Eurasian Wigeon (Anas strepera) female Barnacle Goose (Branta leucopsis) domestic goose with deformed bill Whiskered Tern (Chlidonias hybrida) Pied Avocet (Recurvirostra avosetta) Red-breasted Merganser (Mergus serrator) male albino duck Mute Swan (Cygnus olor) Great Crested Grebe (Podiceps cristatus) Tufted Duck (Aythya fuligula) “Lommetiys Een Groenlantse Vogel” Little Auk (Dovekie) (Alle alle) “Een Naers Voedt” Common Merganser (Mergus merganser) female fanciful white waterfowl with the bill of a hawk “Wort een pellicaen genoemt” (captioned in the image) Mallard (Anas platyrhynchos) male Smew (Mergus albellus) “Een Witte Duycker” Gadwall (Anas strepera) Shoveller (Anas clypeata) “Een Slob Wyfie” Shoveller (Anas clypeata) “Een Slob Mannetie” Tufted Duck (Aythya fuligula) “Een Topper” Northern Pintail (Anas acuta) “Pylstaert Wyfie” female Northern Pintail (Anas acuta) “Pylstaert Mannetie” male Smew (Mergus albellus) “Een Scherf” Gadwall (Anas strepera) “Een kraeck Wyfie” female Gadwall (Anas strepera) “Een kraeck Mannetie” male Common (Green-winged) Teal (Anas crecca) “Pijptaling Wijfie” female Common (Green-winged) Teal (Anas crecca) “Pijptaling Mannetie” male Garganey (Anas querquedula) “Een Schyftaling wyfie” female Garganey (Anas querquedula) “Een Schyftaling, of Somertaling Mannetie” male Eurasian Wigeon x Common (Green-winged) Teal hybrid (Anas penelope x A. crecca) “Een Smient” male Common Shelduck (Tadorna tadorna) “Een Bersch Endt” Pied Avocet (Recurvirostra avosetta) Mute Swan (Cygnus olor) “Swaen” (captioned in the image) Barnacle Goose (Branta leucopsis) “Een Brant gans” Volume II: Moorhen (Gallinula chloropus) “Een Waterhoen” Ruff (Philomachus pugnax) “Een Kemphaen” Ruff (Philomachus pugnax) “Een Kemphaen” Ruff (Philomachus pugnax) “Een Kemphaen” Brambling (Fringilla montifringilla) Common Buzzard (Buteo buteo) Redwing (Turdus musicus) “Een bonte Lyster” Golden Oriole (Oriolus oriolus) “Wiewael Wyfie” female Golden Oriole (Oriolus oriolus) “Een Wiewael Mannetie” male Scarlet Tanager (Piranga olivacea) Golden Oriole (Oriolus oriolus) immature Black-crowned Night-Heron (Nycticorax nycticorax) “Een Quackrayger” Barn Swallow (Hirundo rustica) “Een Swalef” Wryneck (Jynx torquilla) “Een Specht” “Een Specht” - excised Green Woodpecker (Picus viridis) “Een Groene Specht” female Great Spotted Woodpecker (Dendrocopus major) “Een Specht” male Great Spotted Woodpecker (Dendrocopus major) “Een Specht” male Green Woodpecker (Picus viridis) “Een Specht. Note-desen vogel heest aen de voeten twe klawen voor, en twaklawn achter, en de andre vogels hebber drie klawen voor, en een achter” (Green Woodpecker, with claws on its feet facing both directions) male Common Crane (Grus grus) “Kraen Wyfie” immature Common Crane (Grus grus) “Een Kraen mannetie” male Common Crane (Grus grus) “Een Kraen Mannetie” male “Een Foort van een Hawik” - excised Cockerel Cockerel Cockerel Cockerel Cockerel Cockerel Chick “Een vaer Vogel in Oostindien krygt alle weren een kreeo op het bovenste vande beck” - excised Black-billed Magpie (Pica pica) “Een Exter” Unnamed - excised Dodo (Raphus cucullatus) “Een Dodaers” Gray Crowned Crane (Balearica regulorum) “Een kroon Vogel Wyfie” female Gray Crowned Crane (Balearica regulorum) “Een kroon Vogel Mannetie” male White Stork (Ciconia ciconia) Bullfinch (Pyrrhula pyrrhula) “Een Goudt Vinck Wyfie” female Bullfinch (Pyrrhula pyrrhula) “Een Goudt Vinck Mannetie” male Blue Peafowl (Pavo cristatus) albino female Blue Peafowl (Pavo cristatus) albino female Unnamed - excised Common Cuckoo (Cuculus canorus) “Een Koekoeck” male “Een Arent” - excised “Een Spreeu” - excised Black-necked Aracari (Pteroglossus aracari) “De kop van een Tokan” - the head of a toucan toucan resembling in part a Black-necked Aracari (Pteroglossus aracari) “Een Tokan” Eurasian Spoonbill (Platalea leucorodia) Great White Pelican (Pelecanus onocrotalus) immature Eurasian Bittern (Botaurus stellaris) “Een Pittoor” Eurasian Bittern (Botaurus stellaris) “Hern” European Roller (Coracias garrulous) immature Common Quail (Coturnix coturnix) “Een Quartel” Grey Partridge (Francolinus pondicerianus) “Een Partrys” Barbary Partridge (Alectoris barbara) “Een franse Patrys” Willow Grouse (Lagopus lagopus) “Een Patrys Van Salee” Rock Partridge (Alectoris graeca) “Een Wyfies Corhoen” female Black Grouse (Lyrurus tetrix) “Een Manneties Corhoen” male Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” albino Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” albino Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” albino Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” Ring-necked Pheasant (Phasianus colchicus) “Een Phesant” Black Partridge (Francolinus francolinus) Northern Cardinal (Cardinalis cardinalis) “Een Virginise Nachtegael Wyfie” female Northern Cardinal (Cardinalis cardinalis) “Een Virginise Nachtegael Mannetie” male unidentified hummingbird Black Sunbird (Nectarinia aspasia) Black Sunbird (Nectarinia aspasia) Common Kingfisher (Alcedo atthis) “Een Ys Vogel” Carmine Bee-Eater (Merops nubicus) Burnished-buff Tanager (Tangara cayana) “Een Brasiliaense Vogel” Black Grouse (Lyrurus tetrix) “Een Siams Hoen” male unidentified hummingbird “Gouberga. Oostinies [sic] Vogeltie” Greater Bird of Paradise (Paradisea apoda) “Een Paradys Vogel Vroutie” King Bird of Paradise (Cicinnurus regius) “Een Paradys Vogel Mannetie” male Sulphur-crested Cockatoo (Cacatua galerita) “Een kacketoe” Yellow-crested Cockatoo (Cacatua sulphurea) “Een Kacketoe” Red-headed Lovebird (Agapornis pullarius) “Een Parakietie” Red-headed Lovebird (Agapornis pullarius) "Idem" red parrot, no known species, “Een Parkiet” Brown-throated Conure (Aratinga pertinax) “Een Parkiet” Brown-throated Conure (Aratinga pertinax) “Een Parkiet” Rose-ringed Parakeet (Psittacula krameri) “Een Parkiet” Rose-ringed Parakeet (Psittacula krameri) “Een Parkiet” “Een Papegaey” - excised Tanimbar Corella (Cacatua goffiniana) “Een Papegaey” African Grey Parrot (Psittacus erithacus) “Een Papegaey” African Grey Parrot (Psittacus erithacus) “Een Papegaey” Rose-throated Parrot (Amazona leucocephala) “Een Papegaey” Rose-throated Parrot (Amazona leucocephala) “Een Papegaey” Purple-naped Lory (Lorius domicella) “Een Lori” Purple-naped Lory (Lorius domicella) “Een Lori” Purple-naped Lory (Lorius domicella) “Een Lori” Blue and Yellow Macaw (Ara araruana) “Een Indise Raven” Scarlet Macaw (Ara macao) “Een Indise Raven” “Een Indise Raven” - excised “Een Indise Raven” - excised “Een Indise Raven” - excised .

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Phantom 1-15

Falk, Lee (Gross, Leon Harrison (28. Aprilo 1911 - 13. Marto 1999) (& diverse)

1974-76. Edition: 1. softcover. (1,2,5,7,10,12,15,20,24,29,34,38,41,43,45)

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($5,211,116.39)


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46~¿Ž’ظ

Op±í$5

;Ǎ,ñÆèP@ 'Š Ázé[ ;0, L²&–¹ê*á™ÈÓœ@¯ |¬ð@Vèy+"�÷ràó£3{¡ë&üËà9v‡ÿ‡Î°�¡‰ÿí½8wÿxJãI‰5–ˆîkK#E„nÞÑZ³-â1š0T3|Ã{xÿdƒOµÍði3—½² åÏ‘ÀX¥ ãU)åI}ê;ä?ª+!-Åaz’õ1Ö §n vVåJ~N=wõ5×ZM0•S]¬›ö¾õòâV­0_ FŸýérów—75åh -`Œê¨~ZÉë§k-~ê^úðÁ;Äo÷Åú…-Y¢’_ÊyP46ùÁ»ÞÒí®Kåþ×=�Jî]©ß«anôµQ¼!Nö©‰œ\órŒõòf»8íµ É^I¯gvjÂë'ÇwŒKÊý™éåh¥}z’.w¾£ò]ïÁ'Zþ¦´îUϹ+ÓºÔì_/3;ÍÞßYMÛíOüôf›àÄ~ ¼ vE¸2}~ Ÿ¢ÂSðQ¢)ÏI•ãmk/rþrìUq¾êCnN>åM70×r¹dµ6”ûÚü÷ LZ"^±y½/_‚XÝ—­;½ìü÷íü¹Ž¦ŽÓS)6nÊ. BœèƒÜ6¨ÆŽþÒ‚=ö?½NuyB_á¿•ß«XŸOü}Ç5pMº‡ëÜ”ÕÏúy×uòé_ű4w;~¢æ-·Ûx,˜sþŒßäðÐ5 ‹é’_¼þž˜K”VÖ÷;À‰ôÜsVõÚZ8. _‘. Óç>ûQP»^uV¯]·ÆðLÖÈ£—ÉIèŸGeE|yŠnoZ.

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ú’¾qc‘‚¤°')¬BãÂø£$ò¦4­\‡öµÕšæ‚”Íuð)+™{ñhJóÈ7ç8

Ýœl'XsÖ¯PÕ71™ÇM¶{§Ç(ÿ˽òü‡ç_;Ÿié+-Eðç–™õ½ÚÇúZ|sœì'ú&atild

ÿÝïo1Äñ¨ú?à•üñ€fØEÔbcé qÊG‰, '"’Ñ\vhk¬«ê/W˜wE@oO½¸ÚÓ}v§¨ìΫ]FYj€© ÆÊ–êÙ叙�[¬MžÏ¼Vâºuü;íNÄ‘GÆóÜ"Å®}¯ÐÚ‚¾ºWZb;÷�ÔÒ[åá‘ü2e`ùùåi½CÄÍßâl%ù½#æ|úw¶qÎälx|P,ÿÖkJ\ó  EñÚ6}ŸÙ@0ùàf+rò@xœÉH!L)t$ƺh‹¤²ÎÔÎ�é VH\ôze™iõ³t‘0²½²0´X؝kÊÂÇ’®–#âÃv£íÏ\ߙΟíZHjë�=õÌke~´%êúm–í5t$*âžÙ°Îdç1 Õ`åsfž_|Ž²’–’@W_°Ý' ‚Ðê¾Ð]lïºO‡Š×£WYÑ–¬è ¶—LÈë¹’Ú²ôø”‹`U†`˜m¤iÚ͐€Uˆhý¯å3®±Ú/§¢隶‡yiÿ‹ÜÒÏàt눂€ÙB8±Yh{"úm$À-Á—˜ö5êFlßH‡›GwÃäj¹\ì)ÃÌÊ¡¦¡Ž•C$Ã…cRØ`ì,Nö`å¸2Î(àÿÀ—j…/qåbµØ¤ÊÌÛ¶„Óà>‰ì…èS‚Ý /Mœz4æ(š¤í&ÔÀJíìÙÿðÉNÈÐûagC€ìãZ<Œ§Ù¥^ÒÈ}<í PŸŠÄîAU³ªLQÆílÌ$vÃ{DÅÃQ?‰½·%±fzäʨóÞ™l ±:蔚¯•d<ÆåÀ¿ Ø3ñ?ב½tŽõÏ9vùxŸ‚{Fë*ÏLð0ÜÏ¡ÙÆp»´ƒŠ\}#Óx\¼Ìé¸ˆûÄ@cžÝºÝ–¥³·™ø 3ƒ›žãaÉñûJXì¨7¼Ÿ@<žxë(“eҝ:Ã}Ú>ÿárÍ.—ær.òYÔKÔ=ü4ÖÛ2„¿)žï3>�¯}¾6|´Ÿï8T:"VŽ8ÑCáƒòpQù—uú`¼¤}CÖ—áçöaûÕÚ¤/üÀ†GrÒ¬'|G[N©{æ֐ó7ËÜ\2³v|øœÊàÃï•vØðjÏépÉÆ0‚ÿˆµÙ;l>ÚØñ<‡=6Ï6øÍåOe&'Yʝ¥¶yTfŒ*Ce©ÍyÑ)}7P¸à 5«³(ù(R. .Q(BA)(@*/Øü}9gïÚìå¼Û¥gÎÞ°Ä>‘Bö¶ÏB€qÁ-´û©ìp*!mõÐʨnUý?5Ÿ6¢ÈZ×w6³Èäþ™é@n°9dêŒ%ùlK:ÀË8»\Ž’Î]u¸H€T&êX. î ÁÔ‹«³†––\õSG‘‰oõ•ÿ´qpŽvø\|…ÆdLÝdԏ¶­¿«§[îÈ%ÜÓ]œ2_‚Œ+½WG ÏÅç” Þ®À¼Áx¯´7HƒÝxà Œí‚‘ü™I"êµAÞ¬ø°ML,KžçLï�XÆó\¼‚–m<‘籤. È­¡±_kפaÿ.

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image of Generation Of Vipers

Generation Of Vipers

Wylie, Philip

New York: Pocketbooks, 1959. Book. Very Good. Mass Market Paperback. #GC-62 VG. Bookplate on inside front cover..

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Hans Enzberg

557

Top Music an der Orgel - Band 1 - Leicht verständlicher Einführungskurs für elektronische Heimorgel - Notenschrift, Grundfakkorder, Komplerttes Zusammenspiel, Rhythmus-Ecke, Spielstücke für den Anfang -, Schott Music, Mainz. 1979. de. Mainz

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($3,382,438.03)


)*R"!ò×"3ËÒ{S²Ü#™%ÑqæE§ j.QGjg¼ PêéÌVQ…¸}ŒºÇ!E¹ñBçً̇F—Œj!%6‰KêÑ"†VM{X+H·¢(0§ŸZa1~dbx‰MÉ–¬Ž2ë~cO© ¥óoºE¯±D¬sl¬SÄÖP&Íê½:¬©&

”i›&š‡¦²ÑÓ)š’›é§ëóùÕÒξš*™¸-ÄrÉÌݵQ†&Agrav

[©ÆÎv¼D ¾bù]5Û`£àÖ4†Ö‚—…ßÚ­x[9L¼ú'!7Î¥/œ³žâgî° é,R-eN0_}õ” Vùd_, D>:f²áÊ$èÉKeZ¡™ÁÍ­[8œ¹/ŸX`Fé¼YV±:ª’c2÷LS5(=jfÙ Á7ÐRF|Ãuoéž¹\²UçÒ;% Óè. Ûgr^÷Xi€É‚˜i¨"ÇŽ†è*kyíòXv‚a*$Ü÷3‰mÿ€QfÎó>ߟ@+q½Ti"ô£#’ü[Û=5BwDÿ<Ô. Hø,zkH[œ¼¼x. íuüó� byÛžš‚:ÁQ0ÔgFÁŽã £FS°AŠ.

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Bachmann, Angela

780

Unter uns Poster Book., Bassermann, Edition. 1996. de. Niedernhausen

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($3,337,819.28)


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Neue REihengraberfunde Aus Unterfranken

Pescheck, Christian

Kallmunz: Michael Lassleben, 1983. First Edition. Original Wraps. Very Good. Octavo. 118pp + 65pages of plates. Nice copy in red and white wraps

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A Monograph of the Meropidae, or Family of the Bee-Eaters

KEULEMANS, J. G (1842-1912) - Henry Eeles DRESSER (1838-1915).

1884-1886. Loc:165V. Folio (18 4/8 x 15 4/8 inches). 34 fine watercolors, signed by the artist J.G. Keulemans, painted on card and set within window mounts. Bound for the author in a fine binding of full red morocco gilt, with the title and Dresser's gilt crest stamped in gilt on the front cover, all edges gilt. This is a superb set of watercolors by one of the finest artists of ornithology, John Gerard Keulemans. "The Meropidae" was published by the author in five parts between 1884 and 1886. The descriptive text of 144 pages by Dresser also included introductory notes by Frank E. Beddard mainly on the anatomy of the species. An important monograph, "The Meropidae" is one of three major monographs published by Dresser. The others include "History of the Birds of Europe" 1871-1896, still the largest and most complete work on this subject, and "A Monograph of the Coraciidae", 1893. All of these works contain illustrations by Keulemans. Dresser was also the author of over 100 scientific papers on birds, mostly concerned with geographical distribution and new species. His "Manual of Palaearctic Birds" (1902) was an important contribution to the delimitation of the ranges of Palaearctic birds. The artist of these fine watercolors, Johannes Gerardus Keulemans (1842-1912), began his career as a taxidermist providing stuffed birds to the State Museum of Natural History at Leiden. The director of that museum encouraged Keulemans to pursue his love of natural history, where he obtained a scientific appointment after an expedition to West Africa in 1865 and 1866. His accomplishments in illustration came to the notice of Richard Bowdler Sharpe, later a director of the British Museum, who encouraged him to move to England. Keulemans quickly achieved wide recognition and established himself as the most popular bird artist of the late Victorian period. He regularly provided illustrations for "The Ibis" and "The Proceedings of the Zoological Society". He illustrated many important bird books as well as those by Dresser, including Buller's "A History of the Birds of New Zealand" (1873), Shelley's "Monograph of the Sun-Birds" (1876-1880), William Vincent Legge's "Birds of Ceylon" (1880), Daniel Giraud Elliot's "Monograph of the Hornbills" (1887-1892), Richard Bowdler Sharpe's "Monograph on Kingfishers" (1868-1871), Henry Seebohm's "Monograph on Thrushes" (1902), and Osbert Salvin's "Biologia Centrali-Americana" (1879-1904). Keulemans has painted remarkable pictures of extinct birds, like the Choiseul Crested Pigeon, Kangaroo Island Emu, Huia, Stephens Island Wren, Hawaii Oo, Hawaii Mamo, Oahu Oo, Guadalupe Petrel, and the Laughing Owl. All these paintings can be seen in the American Museum of Natural History in New York. A leading figure in ornithological circles Henry Eeles Dresser was elected as a Member of the British Ornithologists' Union in 1865 and served as its secretary from 1882 to 1888. He was also a member and fellow of the Linnean and Zoological societies of London and an honorary fellow of the American Ornithologists' Union. He was a close friend of Professor Alfred Newton, Thomas Littleton Powys, 4th Baron Lilford and of Sir Alfred Russel Wallace. He knew all of the leading ornithologists of the day. He was particularly well-known to European, American and Russian ornithologists. He worked with Alfred Newton on the promotion of a "close time" for British birds, a period, during the 18602, when birds could not be hunted. This early effort aided in the commencement of the bird conservation movement. In spite of Keulemans' prominence as an ornithologist, this activity had to come second to his business which, from 1870 until 1910, was in the iron business, with premises at 110 Cannon Street in The City. Dresser left England in 1912 in order to live in Cannes for the benefit of his health; he died in Monte Carlo. His collection of birds had been in the Manchester Museum, part of the University of Manchester, since 1899 and was purchased for the museum by JP Thomasson (a Bolton businessman). Dresser's egg collection was acquired by the museum in 1912. The museum also contains some of Dresser's correspondence and diaries. The Bee-Eaters are a group of near passerine birds in the family Meropidae. Most species are found in Africa but others occur in southern Europe, Madagascar, Australia and New Guinea. They are characterized by richly covered plumage, slender bodies and elongated central tail feathers. All are colorful and have long downturned bills and pointed wings, which give them a swallow-like appearance when seen from afar. Fine Bird Books p. 72; Nissen IVB 269; Wood p. 324; Zimmer p. 178. For more information about this album please contact Lori Cohen at Arader Galleries.

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image of The Revolutionary War and Founding Collection: A Show-Stopping Gathering of Highly Important Original Letters, Documents and Imprints

The Revolutionary War and Founding Collection: A Show-Stopping Gathering of Highly Important Original Letters, Documents and Imprints

[REVOLUTIONARY WAR AND FOUNDING]

The Revolutionary War & Founding Collection consists of more than 1,000 original historic letters, documents, imprints and artifacts—including important documents by Washington, Hamilton, Jefferson, Adams, Hancock and more. Boasting many objects that had disappeared from the market for many decades, and more that have never been sold before, this collection is unique and complete in itself. [REVOLUTIONARY WAR AND FOUNDING]. The collection contains hundreds of documents from leaders, soldiers, citizens and the press, written when the Revolutionary War and Founding were current events. The collection includes powerful letters and documents of Hamilton, George Washington, Thomas Jefferson, John Adams, Benjamin Franklin, and Aaron Burr, among many others. Alexander Hamilton letters and documents in the collection include: - one of his greatest love letters, to Elizabeth Schuyler: "You are certainly a little sorceress… and have rendered me as restless and unsatisfied with all about me, as if I was the inhabitant of another world"; - Hamilton's letter rallying to defeat Jefferson after Washington declined a third term (Hamilton changed his tune four years later, when he considered Burr a greater danger); - a letter written on behalf of General Washington in October 1777; - Hamilton to Robert Morris on biases that affect New York taxes; - Hamilton and General Charles Lee's former aide-de-camp avoid a new confrontation years after Hamilton served as a second in his friend John Laurens' duel with Lee. The collection includes: - the Declaration of Independence—official facsimile printed by order of Congress; - Benjamin Franklin's electrifying letter on continuing support for the Declaration and his pleasure upon returning home after nine years as minister to France; - The Federalist Papers, first edition, from the estate of a Governor of Pennsylvania; - letters and documents of leaders and soldiers, among them a pay order for Philip Negro. The collection features letters of the first three American Presidents: - George Washington's uncharacteristically tongue-in-cheek letter to close friend Dr. James McHenry, cryptically confiding his dream of leaving the army; - a Washington letter preparing for a possible campaign after his victory at Yorktown; - John Adams crowing about the capture of 55 British Ships, but warning not to expect peace yet, as "The Heads of a King and Ministers is at Stake"; - another great Adams letter, reacting to the Reynolds scandal, asking of Hamilton: "Can talents atone for such turpitude? Can wisdom reside with such Gullibility?"; - Thomas Jefferson refusing to share private correspondence to protect unfiltered thoughts from "obloquy from bigots in religion, in politics, or in medicine." Also included: - Original printings of the Acts passed by Congress implementing Hamilton's Assumption Plan, his 1790 Report on the Public Credit, the charter for the Bank of the United States, and the charter for the Society for Useful Manufactures; - His 1784 Phocion pamphlet explaining Federalist positions on peace with Great Britain; - Documentation of a Livingston's slam against Hamilton in a near-riot at Federal Hall; and a letter detailing Hamilton's related challenge of Commodore Nicholson to a duel; - A rare printing of the "Reynolds Pamphlet," in which he admits to infidelity but vigorously denies financial malfeasance; - A lock of Hamilton's hair, carefully preserved by his family for generations; - the domain name AHamilton.com is included. The Founding is represented in part by more than 40 exceptionally rare original acts of Congress signed by Thomas Jefferson or Edmund Randolph as Secretary of State, including the 1791 budget, and the Act for raising a farther sum of Money for the Protection of the Frontiers, which Hamilton used as a back-door approach to enact his Report on Manufactures tariff proposals. An Addendum features a collection of more than 900 original newspapers from 1800 to 1804 that capture the news of the new nation as it unfolds, with reports on the Hamilton-Burr duel printed in his own newspaper, and Jefferson's First Inaugural and first four State of the Union addresses. Plus French Revolution and Haiti slave uprising reports, more Acts of Congress, legal cases such as Marbury v. Madison, and more politics, personalities, events, and issues.

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Price: $2,600,000.00


Skinner, Jody Daniel

666

1. Auflage: In Writing - Ein umfassendes Schreibtraining für Englischlernende -, Max Hueber Verlag , Ismaning. 1994. en. Ismaning

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Price: € 2,211,729.00
($2,459,000.30)


Three Original Manuscript Maps That Shaped the Nation's History: "The Northern Neck" of Virginia.

FAIRFAX, Thomas, sixth Lord Fairfax of Cameron (1693-1781)

1736-1737 Loc:64. WINSLOW, Benjamin. A Plan of the Upper Part of Potomack River called Cohongorooto, survey'd in the Year 1736. Titled and signed "Benj. Winslow" lower right-hand corner. Two sheets joined (16 x 42 5/8 inches to the neatline, 18 4/8 x 45 4/8 to sheet edge). A fine manuscript map drawn in pen and ink with ink wash, featuring the course of the Potomack River from the "Head Spring" at the summit of the Alleghenies to its junction with the Shenandoah River in the Blue Mountains; showing its islands, tributaries, abutting plantations, former Shawnee settlements, "colemines", and the mountains of the Blue Ridge in beautiful detail (some oxidization, edges chipped and expertly renewed with minor loss to the neatline lower right). BROOKE, Robert. A Plan of Potomack River, from the Mouth of Sherrendo, down to Chapawamsick, surveyed in the year 1737. Titled and signed "Ro. Brooke" lower right-hand corner. Two sheets joined (25 x 17 6/8 inches to the neatline, 25 4/8 x 18 inches to sheet edges). A fine manuscript map drawn in pen and ink. Accurately showing the course of the river, complete with rapids and swamps, within the river boundary of Prince William County, recording 63 locations, tenants, creeks, and Piscattaway settlements. The legend along the lefthand side lists the names of settlers and sites including "Cpt.n. WASHINGTON'S" land, the future site of Mount Vernon, and home of George Washington from 1735-1739, and then from 1754; and the future sites of Georgetown and Alexandria, now the site of the Nation's Capital WASHINGTON D.C. (edges chipped and expertly renewed affecting areas of the neatline). [THOMAS, James, (1666- 1742)]. A fine manuscript map of the Potomac River as it runs through Westmoreland County in Virginia. [1737]. Two sheets joined (24 2/8 x 15 6/8 inches to the neatline). A fine manuscript map drawn in pen and ink and ink wash, decorated with a bar scale of miles surmounted by a representation of a pair of dividers in yellow and gray wash. Accurately showing the course of the river from the western boundary of Westmoreland at Cedar's Point, through the land owned by the Monroe, Mattox, Bridges, Pope, and the Washington families, and importantly GEORGE WASHINGTON'S BIRTHPLACE, to Yeocomoco River in the east which marks the boundary with Northumberland County (lower right-hand corner expertly renewed affecting the neatline). THE FIRST ACCURATE AND DETAILED SURVEY OF THE POTOMAC RIVER Three unique manuscript maps, and all that survives of the original surveyor's charts which became the source material for the celebrated "Fairfax" map of Virginia: "THE COURSES OF THE RIVERS RAPPAHANNOCK AND POTOWMACK IN VIRGINIA, AS SURVEYED ACCORDING TO ORDER IN THE YEARS 1736 & 1737" [London: 1747], the most accurate map of Virginia until the publication of Fry and Jefferson's "A Map of the inhabited part of Virginia containing the whole Province of Maryland with part of Pensilvania, New Jersey and North Carolina" (1753). "THE SURVEY MARKED AN EPOCH IN GEOGRAPHIC INVESTIGATION OF AMERICA BY THE ENGLISH... NO EXPEDITION DOWN TO THIS TIME SEEMS TO HAVE ACCOMPLISHED AT ONCE SO EXACT AND SO EXTENDED AN EXAMINATION INTO THE INTERIOR" (Foster). Kate Hunter 2011.

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Price: $2,500,000.00


Wilke, Hartmut

1039

4. Auflage: Wasserschildkröten - Hilfe im täglichen Umgang mit meiner Wasserschildkröte - Kompetent, praxisnah, einfühlsam - GU Tierratgeber -, Gräfe und Unzer GmbH, München. 2001. de. München

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Price: € 2,021,677.00
($2,247,700.49)


The Nile Notes for Travellers in Egypt

Budge, E A Wallis

London: Thos Cook & Son, 1907. Tenth Edition. Hardcover. Good. Octavo. 862pp + index. A good copy in borwon limp cloth. Wrinkled on front and rear covers. Still a good copy

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Price: $2,252,755.00


Prof- Dr. med. J.P. Schade

763

Ratgeber Gesundheit - Rückenschmerzen -, Universo, ein Imprint des Karl Müller Verlages, Langenfeld. 2009. de. Langenfeld

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Price: € 2,001,354.00
($2,225,105.38)


Eckankar: The Key to Secret Worlds

TWITCHELL, Paul

Like New. Third edition. Published in 2001. Ships the next business day.  Tracking information provided.  Will gift wrap if requested through contact seller link when book is ordered.

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Price: $2,000,000.00


image of Silver ring dedicated from Hussein b. Ali to McMahon during their correspondence time ragarding the Arab revolt

Silver ring dedicated from Hussein b. Ali to McMahon during their correspondence time ragarding the Arab revolt

The Arab revolt

Mecca-Cairo Ephemera. Very Good. No Binding. Fine handmade Silver ring dedicated "from the Sherif Hussein, Emir of Hejaz to (Sir Henry) McMahon". carved and enameld in gold, with natural stone contains natural formation shows a man riding on a lion inside jungle, and the stone is fixed by lion claws shapes. The McMahon–Hussein Correspondence, or the Hussein–McMahon Correspondence, was an exchange of letters (14 July 1915 to 30 January 1916) during World War I, between Hussein bin Ali, Sharif of Mecca, and Sir Henry McMahon, British High Commissioner in Egypt, concerning the political status of lands under the Ottoman Empire. Growing Arab nationalism had led to a desire for independence from the Ottoman Empire. In the letters Britain agreed to recognize Arab independence after WWI "in the limits and boundaries proposed by the Sherif of Mecca", not including areas in which France had interests. This was in exchange for Arab help in fighting the Ottomans, led by Hussein bin Ali. Later, the 1916 Sykes–Picot Agreement between France and UK was exposed showing that the two countries were planning to split and occupy parts of the promised Arab country. One of the unique masterpieces remained from the Hussein-McMahon correspondence.

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Price: $2,000,000.00


Peter Hanchak. The purchaser will receive a letter of provenance. ." />
image of WALLACE STEVENS' PERSONAL ART COLLECTION

WALLACE STEVENS' PERSONAL ART COLLECTION

Stevens, Wallace

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

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Price: $1,900,000.00


Lothar Frank, Ursula Ebbers

1240

Gesundheit und Spannkraft durch Yoga - mit 37 Abbildungen -, Falken Verlag, Niedernhausen. 1973. de. Niedernhausen/Taunus

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Price: € 1,452,053.00
($1,614,392.53)


Pokorný, Jiri

1237

Die Böhmischen Länder 1918 - 1994, PRAH-Verlag, Prag. 1994. de. Prag

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Price: € 1,431,234.00
($1,591,245.96)


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Price: $1,591,450.00


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�üy1�I, �t›1�». �4›1� . �ôŠ1�(. �à{1�è .

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Price: $1,581,040.00


image of Original rubbing from the Memorial Stele of H.B.Ms 99th Regiment in 1861, in Memory of the Casualties of the 99th Foot at Canton China During the Occupation of That City by the British-France Allied Armies in 1861

Original rubbing from the Memorial Stele of H.B.Ms 99th Regiment in 1861, in Memory of the Casualties of the 99th Foot at Canton China During the Occupation of That City by the British-France Allied Armies in 1861

H.B.Ms 99th Regiment, the British-France Allied Armies in China in 1850s

Original rubbing for the Stele of Second Opium War (Arrow War) in China during 1856-1860. Stele erected in 1861 in Canton (Guangzhou City) in GuangTong Province in China. Very big size on a whole thick rice paper, 152cm X 98cm, The original stone had been demolished long long ago. This rubbing is the only one found in the world. Folded, a few wears at edges. Both text and pictures were fine copied and undamaged, but had some folds. Rubbing is an ancient Chinese method to copy text and pictures on stone or on bronze wares by hand.

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Price: $1,490,000.00


Walk Back With Me

Dalton John

Readers Book Club 1963 . 1st R.B.C.Edition . VG/GOOD. DJ Has 1 Small Tear Top. Shelf Worn. Stamp F.E.P. Page Edges Hint Of Browning. Clean Tidy Copy. 1st Novel By Author Set In Australian Town. .

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Price: $1,415,000.00


1Ð%U�U�‰ÁÁá

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Á‰øÁà1Ñ. øÉ1؉ÂÁê. ‰Îƒæ1âU�U�‰×Áç.

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Price: $1,412,915.00


þ‰nF¬ôWþ£…îÔ:Š¦µÈËDfB‚×$¢Lç£ü(Û;…ú£Ö Õ] ñ+

F=•ÃV‘蔤HÅ„+.‘=‘À.$ðÄ

0õnÔ<ä^¥ù¿Ï䙽CÀºÔ0‘`Àgà‹™ì°üƒxïldïâÊ0|d1a»!1•WâQƒwy=²¹I1¹”ÈE„3ˆ¼7˜Î2, ­·\ì(èU$î´2õôD•’7#„•+”DäFÒVs+‘«ØŽß“äÀw iªÀ¶ç¸…Vß@0ù. ¹ÉB“GQr4x‰”Enc„ºŸ/åà ëPŽ”½Èœ‡É0£<“%_î~?2. }ôCÝ°ÅFNªY$*‰*‘FÊ”Pþ‘K•ÈáÓ€ÿTDa/!„—Èô"ÅûRHgõLÏ“IŒNˆøF-Ð=°Æ…¥})4ŒQëíLBXžÊz¥©[¡&œÉ#$'ð…+wíº;Ô;8 ”H…Ì…"詧bPïX]€Ûyæ­Hš]"ÍŽLtQ�¤F» ‹â¨geÏq—ëàæ@粨O2Šxy(QÇ,rÕHöJd7Ñ‘=‚y§œ¡ÜáIâáÊ`·¢^+‰TؐÉ\Üx2»PÏŽ¤,ÀV<`%I¢Äøòz û`÷$©SÒ"Ս ˜·¢ìÓx„é *÷®°†'Û¬‘0¡Ç6äÇ äÙÈbi%Ò–Èß)ó•[SæéÊ­’’ØC¼ÓaU˜¯ ÀBpn„D9JÍ»UNŽ¨¯¶(<b#a£…˜ž¡HmÆóòn›DZO9äëFY0u4{"ç…¯Ž2]7§$^=. ÊddCÝèwõ”ëq.

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Price: $1,391,470.24


Meijerink, Gerda

692

1. Auflage: Die Frau aus New York - Eine Novelle -, Ammann Verlag AG, Zürich. 1986. de. Zürich

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Price: € 1,219,515.00
($1,355,856.78)


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Price: $1,370,130.00


The Norwegian Invasion of England in 1066 (Warfare in History volume 8

Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. May not contain Access Codes or Supplements. May be ex-library. Shipping & Handling by region. Buy with confidence, excellent customer service!

Kelly DeVries. 96.08. Good

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Price: $1,358,779.00


The Norwegian Invasion of England in 1066 (Warfare in History volume 8

Ships with Tracking Number! INTERNATIONAL WORLDWIDE Shipping available. Buy with confidence, excellent customer service!

Kelly DeVries. 115.69. New

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Price: $1,358,779.00


Wilhelm Voss-Gerling

601

6. Auflage: Polyglott Reiseführer Kalifornien - Mit 14 Illustrationen sowie 11 Karten und Plänen -, Polyglott-Verlag Dr. Bolte KG, München. 1983/84. de. München

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Price: € 1,151,957.00
($1,280,745.79)


De Groote Nieuwe Vermeerderde Zee-Atlas ofte Water-Waerld

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

T'Amsterdam: Gerard van Keulen, 1706. 2 volumes. Folio (25 4/8 x 15 6/8 inches). 2 engraved allegorical frontispieces HEIGHTENED IN GOLD, and 175 EXCEPTIONALLY FINE double-page engraved charts ALL WITH ORIGINAL HAND-COLOUR IN FULL, including 19 folding ("Oost Indien" and first "West Indische Paskaert" cropped at upper edge, second "West Indische paskaert" cropped at lower edge, one or two maps backed on japan paper). Contemporary Dutch speckled calf gilt, each cover decorated with borders of gilt roll-tools with armillary sphere tools at each corner, and central medallion of Atlas carrying the world. Provenance: each chart with manuscript title in French. AN EXCEPTIONALLY RARE AND COMPLETE COPY, with only one other atlas with 160 charts to appear at auction in the last 30 years. With 175 charts, coastal profiles, and plates, and as such ONE OF THE LARGEST SEA ATLASES COMPILED BY THE HOUSE OF VAN KEULEN. An intermediate state between Koeman Keu 20B (dated 1695 and containing 160 charts) and Keu 28 (dated 1709 and containing 185 charts), of which this atlas shares 110 and 135 respectively. Johannes van Keulen established himself in Amsterdam in 1678 and in 1680 he obtained a privilege from the States General of Holland and West Friesland allowing him to print and publish maritime atlases and shipping guides. This privilege, which protected against the illegal copying of printed material, was especially important for the cartographer's atlases, which were produced with extensive initial costs. Van Keulen named his firm "In de Gekroonde Lootsman" (In the Crowned Pilot), and began collaborating with cartographers Claes Janz Vooght and Johannes van Luyken. The firm would go on to become one of the most successful publishing firms in Amsterdam; and produce "the largest and finest marine atlases in Holland" (Koeman). In this atlas the five navigational books are divided by large double-page folding maps rather than allegorical frontispieces. All of the 19 folding maps are rare, but of particular interest are the "West Indische Paskaert" (two copies) first issued by Willem Blaeu in ca 1630, and of landmark importance as the first "sea chart depicting North America on the Mercator projection" (Burden). The "Oost Indien" or chart of the East Indies is a particular rarity. It was first published by Pieter Goos in ca 1660, and extends from the Cape of Good Hope to Japan: "a complete survey of Dutch expansion in the East Indies and takes into account Tasman's two voyages of exploration" (Schilder). Van Keulen's first atlas was his "Zee Atlas" with about 40 charts. "The culmination in the development of Dutch pilot books was reached with the publication of "De Nieuwe Groote Lichtende Zee-Fackel…" in 1681...The work was immediately recognized as superior to anything else on the market and enjoyed a considerable reputation for accuracy and detail" (Martin & Martin, 11). On the death of Joannes in 1704 the firm passed to his son, then his grandson, and on the death of Cornelis Buys van Keulen the name of the firm "was altered after much palaver into Gerard Hulsst van Keulen. The surviving son conducted the publishing business with more ambition than before. A considerable number of books appeared in the period 1778-1801. Greater activity was developed in the cartographic branch and new issues of the "Zee-Fakkel" again saw the light" (Koeman page IV 279). Truusje Goedings, renowned expert in Dutch colourits of the 17th-century, writes of this copy: "Though we have no documents, the Van Keulen firm must have offered its atlases coloured. They introduced a decorative but less detailed, more economic and functional style of colouring for their marine-atlases, favouring a broad approach with an overall or extra large border colouring for the land-regions in flat but often very bright hues of mainly rosa, pink, light yellow and green , without specifying details such as mountains, woods etc.; watersurfaces were generally left blank. This style of colouring was brought to its height around 1700 and the years after by the firm of publisher and mapcolourist Anna Beek, who might be responsable for (part of the) colouring of this Van Keulen atlas. This copy is a fine and characteristic example of the Van Keulen style, including a de-luxe coloured titleprint heightened with gold. Very characteristic also for Van Keulen is the separate engraved plate with address printed under the image, which was generally coloured fully in bright pink or light yellow. The maps show large surfaces of pink, light yellow and green contrasted against the not painted paper-white of the sea-surfaces. Symbols for mountains, woods etc. are not treated with a detailed touch, but just integrated in the whole covering colour of the region. In this volume the colouring tone of the map is usually contrasted with a light transparant covering of the legends with umber and or transparant greyish blue. The figures around cartouches are fully coloured with more pigment in variaties of darker greens, pinks and reds. This all give the maps a well balanced character in a consistent style. Another characteristic relating to the pigments used in Van Keulen's atlases is the condition of the green, often copper green (Spanish green). Apart from showing through in vague brownish stains on verso, as very often in any old atlas, the green colours on the maps themselves have darkened to brown heavily. This shows the more where the green so often has been applied over large surfaces. The heavy browning must be due the a specific quality or mixture of the pigment originally favoured by Van Keulen. Both volumes have been coloured in the same style but probably not by the same hand. For instance, in vol. 2 more use has been made of varnish, and pink has been applied heavier. With its lavishly gilt title-prints, full colouring of the maps and gilt leather bindings this copy most probably was a de-luxe copy as offered by Van Keulen - so a de-luxe publisher's copy" (Truusje Goedings). Cf Koeman IV Keu 20B & Keu 28. Catalogued by Kate Hunter.

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Price: $1,200,000.00


Julia Tuell Collection

Tuell, Julia

The Julia Tuell Collection features photographs from 1906-1929, the period of time the Tuell family lived with the Northern Cheyenne and Rosebud Sioux Tribes of Montana and South Dakota. Julia Tuell married P.V. Tuell in 1901 in Louisville, Kentucky. He was a 43 year old teacher while Julia was only 16 years of age. Quickly they moved to Minnesota on the Chippewa Indian Reservation, followed soon with a move to the Sisseton Sioux Reservation in South Dakota. Few photographs exist from these early years. In 1906, the Tuells moved to the Northern Cheyenne Reservation in Lame Deer Montana. A one year assignment teaching the Sac and Fox Indians of Oklahoma took place in 1912; the Tuells then moved to the Rosebud Reservation in 1913 where they remained until 1929. Remarkably, Julia Tuell would raise 4 children, work as a missionary, nurse and amateur poet in addition to her photography work. Just as remarkable, as best as the family knows, Julia Tuell did not sell her work, evidently happy to document the lives of the disappearing cultures of the Northern Cheyenne and Rosebud Sioux. This desire to document native cultures makes this collection, mostly unknown to academia, all the more remarkable. As a documentarian Julia Tuell blessedly labeled most of her negatives and prints. If annotations are not in her hand, they are in the hand of their youngest son Varble, who, as an adult clearly understood the value of these photos. It was Varble's wish that her mother's collection remain intact. The opportunity to live with the Cheyenne and Sioux Indians in the early 20th century allowed the Tuells to immerse themselves into their daily lives. This led to a certain amount of trust and ability for Julia Tuell to photograph not only daily life but also certain ceremonies usually off-limits to whites, including the Sun Dance, the War Dance and the Massaum. The Tuell's learned the native language, lived among survivors of the last of the great Indian battles including the Battle of Little Bighorn, and generally integrated themselves among the Cheyenne and Sioux. Julia's work as a school matron plus her husband's work as teacher allowed Julia Tuell to gain the trust, respect and thereby access to photograph private moments, personal relationships and off-limit dances.Not to be overlooked are the hundreds of 'family' photographs included in this collection. These photos, mostly in negative form, document early 20th century life in rural Montana and South Dakota through the eyes of an accomplished photographer. Rarely do collections of this size remain intact and mostly un-researched. And even rarer is the fact that these photographs are the work of a remarkable young woman working in an era where few women handled large format cameras let alone any camera.Research has found a very limited number of Tuell photos within institutions or the marketplace. George Bird Grinnell utilized some of Tuell's work in his 1923 Cheyenne Indians monograph published by Yale University. Several Tuell poems were published accompanied by one of her photos in the 20's. National Geographic and Outdoor Life also published singular photos. The Library of Congress holds at least 2 Tuell photos, the Montana Historical Society has at least one photo. The Buffalo Bill Center for the West holds two photo albums containing 30 photos, plus an additional photo. Yale University holds 19 3.25" x 5.5" photos which were purchased in 2009 thru William Reese who acquired them from Cowan's Auction House. Cowan's has auctioned off an additional 66 prints in nine different auctions in the past 4 years. The consignor of these photos is unknown. Back of Beyond Books purchased 13 prints from Cowan's in late 2018. In interviewing Julia's three grandsons, they had always heard that their grandmother had given away some photos but it is impossible to truly know how many may be in private hands. Suffice to say, there are few institutional holdings.A monograph, Women and Warriors of the Plains-The Pioneer Photography of Julia E. Tuell, was published with blessings of the family in 1996 by Macmillan. The book is currently out of print. Approximately 160 Julia Tuell photos were published in this book. The majority of these photos, of Cheyenne and Sioux Indians, are examples of Julia's best work.The Julia Tuell Collection holds approximately 2843 items, including some ephemera, photo equipment and manuscript material. Of these 2843 items, the collection contains negatives of various sizes, prints of various sizes, plus some glass plates. After examining virtually all of the items, several themes became clear. Julia and her son Varble annotated most of her photos. We recognize Julia's hand on many many prints. If Julia did not annotate the print or negative, more often than not Varble did, surely with Julia's help. Julia passed away in 1960. Varble and his brother Carl reproduced many prints in the 1970's and perhaps 80's. What became less clear, as I went through the collection, was whether the collection contains prints made by Julia of all her native American negatives (we are certain prints do not exist of all her non-native American photos which will be a treasure trove) and exactly how much duplication exists within the negatives and prints. Over time, it became somewhat mind-numbing to keep track of various images. The family has, thankfully, provided a scan of 'most' of the native American photos within the collection, and quite a few of the family photos. A copy of this file is available to serious buyers but may not, under any circumstances be reproduced or distributed to anyone.With upwards of 50 different negative and print sizes, the chart below groups the various sizes by their vertical size. For example, the collection contains 2 x 2 ½, 2 x 3, 2 x 4, and 2 x 6 negatives or prints. All of these are grouped in the 2x category. These items below total 2523 individual items of the 2843 total in the collection. The remaining items in the inventory include ephemera, poetry, printing equipment etc. Also included in the 2843 are 91 modern reproductions which make up a beautiful display which Varble Tuell created in the late 1970's and were exhibited in schools and museums. While stunningly beautiful, this exhibit (including many cultural artifacts, mocassins, metates and manos etc. with no provenance) complete with many unique and stunning hand carved frames by Varble, utilize print reproductions from the 1970's. Also of lesser value are the 384 8 x 10 copy prints contained in three ring binders-all printed on 'modern' Kodak paper. The collection also contains 50 glass plates ranging in size from 3 x 4 to 6 x 8 inches. Many of the 6 x 8 inch plates are family views. According to the family, Varble's brother Carl sold over 200 of Julia's glass plates to the artist Howard Terpning. Even though these images were copyrighted by the Tuell family, Terpning used several images for paintings. While the Terpning/Tuell relationship is rocky, it would be worthwhile to attempt to recover these plates and repatriate them with the larger Tuell collection. Terpning is 91.Other items include 9 pages of manuscript poems by Julia Tuell, a partial manuscript of her unpublished book, School is Out, a Kodak print frame box, 2 printing frames, assorted blank glass plates, and a developer with hangers. Julia's Kodak Model D Panoramic camera is also included. Plus an annotated Kodak album for negatives is present. Most of the negatives are removed from this Kodak album but I believe them to be present in one of several envelopes containing hundreds of loose family negatives. Also included is Julia's blind embossment stamp. Also present is a copy plus the original manuscript of Julia Tuell's unpublished autobiography Half Breed. Plus several periodicals (in fair only condition) in which Julia's work was published are in the collection. Because the Tuell family has done a fine job of preserving their grandmother's collection, the overall condition of the negatives and prints are very good to fine. Unlike most early 20th century collections, these items have been stored in the dark and exhibit little to no fading. Julia's skill as a photographer is also evident throughout the collection with amazing exposures and good compositions; all the more remarkable considering the time and place these photographs were shot and developed. In early 2016 the Tuell family hired Timothy Gordon Appraisals to assess the complete collection. Gordon's staff compiled 6 binders which document what I believe to be most if not all native American prints and negatives within the Tuell collection. I do not think that they scanned every family negative. These images are provided by the family with the provision that they not be shared or duplicated. I have a massive file with all the scanned material, available upon request. Gordon valued the collection at $2.3 million.See juliatuell.com for examples of images and more background information. Many of the images shown however are of large format reproductions from the 1970's and are not reflective of the entire collection. In addition to the views in the website, I have scans of each and every image in the collection. This truly is the only way to consider the depth of Julia Tuell's work. .

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Price: $1,200,000.00


image of Yoko Tsuno 1-21

Yoko Tsuno 1-21

Leloup, Roger

02/1990-03/97. Edition: softcover. mit Mängeln, z.B. verschmutzt, abgegriffen, Kanten abgestoßen o.a.. (2121-2138,2149,2150,2166)

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Price: € 1,051,269.00
($1,168,800.87)


image of Racism Postrace

Racism Postrace

Mukherjee, Roopali; Banet-Weiser, Sarah; Gray, Herman

Duke University Press, 2018. Softcover. Very good./No jacket.. Near new with no markings to text.

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Price: $1,121,593.00


image of TEXT FROM THE INTERPRETATION OF HEBREW NAMES

TEXT FROM THE INTERPRETATION OF HEBREW NAMES

VELLUM MANUSCRIPT LEAVES FROM A POCKET BIBLE IN LATIN, OFFERED INDIVIDUALLY

France, mid-13th century. 160 x 110 mm. (6 1/4 x 4 1/4"). Double column, 48 lines, in an extremely attractive gothic pearl script. Rubrics in red, each leaf with many one-line and a few two- or four-line initials painted blue or red, the larger initials with contrasting penwork. Several leaves with marginal notes very close to the gutter--most likely notes to the scribe and/or rubricator about the locations of major section breaks in the text. Text a touch faded in a few places, the occasional negligible spot or wormhole, otherwise IN NEARLY PRISTINE CONDITION, with wide, clean margins. These are excellent examples of the so-called "pocket" Bibles that proliferated in 13th century France, displaying the impossibly small pearl script that enabled scribes to condense the Word into a portable form. On the final page of this section, which would have been placed at the very end of the book, there appears to be a kind of colophon indicating that this Interpretation of Hebrew Names derives"from the model of lord Cardinal Riccardi." The cardinal in question may be Annibaldi Riccardo (ca. 1205-76), deacon of Saint Angelo in Pescheria, who was appointed to the Holy See by Gregory IX in 1237 and continued as a cardinal for almost 40 years. When his uncle was elevated to the papacy as Alexander IV in 1254, Riccardo, as cardinal protodeacon, crowned the new pope.

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Price: $1,039,999.00


Old England a Pictorial Museum (Old England a Pictorial Museum of Regal, Ecclesiastical, Baronial, Municipal and Popular Antiquities Vol 1&2, Vols 1 & 2)

Anonymous

New York: Arno Press, A NY Times Co. Green Leatherette. 0405091435 Green Leatherette, 1" Split At Top And One At Bottom Of Spine. Dust Jacket Clipped, Very Good Shape. 2 1/4" Thick, Pagination Uncertain. 2469 Reproduced Engravings And Drawingsto Illustrate. In Depth Information For Historians And Artists. This Is An Extremely Heavy Book And Will Cost Extra For Overseas Or Expedited Mail. All Books Shipped Within 24 Hours With U. S. Postal Service Delivery Confirmation, Each Order Is Packaged In A New Box With Bubble Wrap, And Always Your Satification Is Guaranteed. . Good. 1978.

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Price: $999,999.99


image of Corporate Interiors (Corporate Interiors Design Book Series)

Corporate Interiors (Corporate Interiors Design Book Series)

Abercrombie, Stanley

New York, New York, U.S.A.: Retail Reporting Corp. Black Cloth White Prin .... 0070182434 (Corporate Interiors Design Book Series, No 1) From the inside jacket; ' The hunt for the quintessential book on corporate interiors is now over. This first-ever book by Interior Design magazine's longtime publisher, Lester Dundes, provides a professional's perspective on contract design. Enhanced by 396 stunning full-color photographs, this book features the best. over hunred of the best projects from the professional designers in 33 top design firms. And each project is coupled with well-written comprehensive narrative: not only descriptive copy but the "raison d'este" behind many of the installations.' Book show very minor shelf wear to the corners and the spine ends. Jacket has some little chips on the bottem corners and spine end,with minor curl to the front bottem, corners are square, book has no markings from past ownership. . Good. 1997.

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Price: $999,999.99


image of Barbie: What a Doll!

Barbie: What a Doll!

Jacobs, Laura

New York, New York, U.S.A.: Artabras Publishers. Decorative Hardcover. 0896600505 Every bit as interesting as the doll itself, "Barbie What a Doll!" gives you a glimpse of popular culture from 1959 up to the end of the 20th century. The icon that is Barbie has affected every one of us, men, women, children, Author Laura Jacobs gives us chapters such as Tailored Chic, At Ease, Trouser Styles, The Sporting Life, Outer Wear, Intimate Apparel, Career Moves, Party Girl, Very Special Occasions and Appendices (which includes the Barbie Family Tree). Lush and extravagant use of color photography - pictures of Barbie vary from 3-1/4 inches by 4-1/2 inches to full-page 7-inch by ten-inch standalones. Dating Barbie's rise from doll-for-girls to fashion icon and trendsetter is elegantly presented with each photograph; the year and a brief caption describes the outfit and/or accessories. If you've ever owned one Barbie or 100, you will know the appeal of this book is timeless. Hardcover book is near perfect, dust jacket is very good, one minor indentation on inside front flap from paper clip by previous owner. . Fine. 1994. 1st Edition.

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Price: $999,999.99


$1.00

. Fine.

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Price: $999,999.99