‎Antiquities of Ur. An Introduction to the Seventh Temporary Exhibition of the Joint Expedition of the British Museum and the Museum of the University of Pennsylvania to Mesopotamia.‎

‎ London, J. Johnson University Press 1929, 215x140mm, 18pages, paperback. ‎

‎ b/w photographs, ‎

‎LES SUMERIENS. Avec 9 croquis et 27 gravures.‎

‎ P., Payot, collection Bibliothèque Historique, 1930. In-8 broché, 205 pp. ‎

‎Excellent état. ‎

‎LE DESERT DE SIN‎

‎ Payot 1937. Introduction de Frédéric Kenyon, traduction de l'anglais par Charles Marron. 59 figures, 2 cartes, 33 inscriptions grecques et 8 pl. H.T. In 8° broché, 207 pages.‎

‎Ur. Histoire d'une découverte‎

‎Paris, Guillot, 1957. In-4 (315x145mm) relié en toile d'éditeur sous jaquette, 163 p. Ill. en noir. Bon état général. Jaquette passée.‎

‎UN ROYAUME OUBLIE.‎

‎P., Albin Michel, 1964. In-8 broché, 247 pages, 28 figures in-txt et 24 planches h.t.‎

‎Mémoire sur les Résultats obtenus en Fouillant deux Tells, Atchana et Al-Mina, dans le Hatay Turc, au cours des sept Campagnes, de 1936 à 1949.‎

‎Un royaume oublié‎

‎Editions Albin Michel. 1964. In-8. Broché. Etat d'usage, Couv. convenable, Dos fané, Non coupé. 247 pages augmentées de quelques planches photos et cartes en noir et blanc hors texte. Bandeau d'éditeur conservé.. . . . Classification Dewey : 930.1-Archéologie‎

‎ Classification Dewey : 930.1-Archéologie‎

‎Un Royaume Oublié ‎

‎Paris Albin Michel 1964 in-8° Traduit de l'anglais par François Fosca . Illustré de cartes , dessins , plans , photographies en noir et blanc . " Mémoire sur les résultats obtenus en fouillant deux tells , Atchana et Al-Mina dans le Hatay turc " . Non découpé et quelques défauts , couvertures vieillies . Archéologie .- 252 p. , 450 gr.‎

‎Couverture souple Assez bon 3ème Édition‎

‎Un royaume oublié‎

‎Paris, Albin Michel, 1964, In huit, 247 pp, broché, en partie non coupé, couverture illustrée,‎

‎Traduit de l'anglais par François Fosca. ‎

‎Les hauts lieux de l'histoire. Ur. Histoire d'une découverte‎

‎Albert Guillot. 1957. In-Folio. Cartonnage d'éditeurs. Très bon état, Couv. fraîche, Dos impeccable, Intérieur frais. 163 pp., nombreuses illustrations en N&B dans le texte et hors texte.. Avec Jaquette. . . Classification Dewey : 930.1-Archéologie‎

‎Traduit de l'anglais par Josette Gasser-Demanjon. Classification Dewey : 930.1-Archéologie‎

‎Ur en Chaldée.‎

‎Paris, Payot, 1949, 1 volume, in-8, broché, 178 p. + catalogue de l'éditeur. Seconde édition revue par l'auteur. Table des matières et table des gravures en tête de volume, 8 planches comprenant 25 gravures ou photographies hors texte, 4 plans in-texte, quelques notes en bas de pages, index en fin de volume. bandeau promotionnel présent. Couverture légèrement défraîchie.‎

‎ Bel exemplaire. ************* Remise 20 % pour toute commande supérieure à 100 €, envoi gratuit en courrier suivi et assurance à partir de 30 € d'achat (France seulement).‎

‎Un royaume oublié. Traduit de l'anglais par François Fosca. Éditions Albin Michel. 1964.‎

‎1 volume in-8° broché, 251 p. XXIV planches, 28 figures. Très bon état. ‎

‎Abraham.-‎

‎Découvertes récentes sur les origines des Hébreux. Traduit de l'anglais par A. et H. Collin Delavaud. Nouvelle édition revue par l'auteur. Avec un croquis. Payot. 1949. In-8 br., couverture illustrée, 210pp.‎

‎ Par le Directeur des fouilles d'Ur.‎

‎Abraham. Découvertes récentes sur les origines des Hébreux. Collection Bibliothèque Historique.‎

‎ Paris, Payot 1949, 238x145mm, 212pages, reliure toile. Pièce de titre au dos, couverture conservée. ‎

‎Mésopotamie Asie Antérieure : L'Art Ancien Du Moyen-Orient‎

‎Paris Albin Michel 1983 In 8 , carré Collection " L'Art dans le Monde " . Fondements historiques , sociologiques et religieux . Englobe les pays les plus connus sous le nom de : Anatolie , Syrie , Palestine , Iraq , Elam ( comprenant une partie de la Perse ) et la totalité de la péninsule de l'Arabie . Illustré de nombreuses photographies en couleurs et de gravures en noir et blanc . Très belle iconographie . Bibliographie . ( Nombreux autres titres dans cette collection , envois groupés un seul frais de port ) . Archéologie . - 264 p. , 600 gr.‎

‎Couverture souple Très bon 1ère Édition‎

‎Mésopotamie. Asie Antérieure. L'art ancien du Moyen-Orient.‎

‎ P., A. Michel (Collection "L'Art dans le Monde"), 1983, in 8° broché, 262pp. ; très importante iconographie ; couverture illustrée en couleurs. ‎

‎PHOTOS sur DEMANDE. ...................... Photos sur demande ..........................‎

‎UR EN CHALDEE OU SEPT ANNEES DE FOUILLES.‎

‎P., Payot, 1949. In-8 broché, 178 pages, 4 dessins in-txt et 25 illustrations h.t.‎

‎Les tombes des Rois d'Ur, El Obeid et la première histoire écrite, la Troisième Dynastie, les Rois de Larsa, le Moyen Age de Babylone...‎

‎Ur en Chaldée.-‎

‎Ou 7 années de fouilles. Traduction de Jeanne Rogier. Nouvelle édition avec les corrections et adjonctions de l'auteur. 4 croquis et 25 gravures. Payot. 1949. In-8 br., couverture illustrée, 178pp.‎

‎ Par le Directeur des fouilles d'Ur.‎

‎Ur en Chaldée, ou sept années de fouilles.‎

‎ Payot, 1949, in-8°, 178 pp, 4 croquis, 25 photos sur 8 pl. hors texte, index, broché, couv. illustrée, annotations crayon en marge, état correct (Coll. Bibliothèque historique)‎

‎Les Origines d'Ur. Le Déluge ; Les tombes des rois d'Ur ; El Obeid et la première histoire écrite ; Les Grands jours de la troisième dynastie ; Les Constructions des rois de Larsa ; Le Moyen Age de Babylone ; Nabuchodonosor et les derniers jours d'Ur. — Sir Charles Leonard Wooley (1880-1960), était un archéologue britannique, qui consacra quinze ans de sa vie, de 1919 à 1934, à fouiller le site de l'antique Ur (Mésopotamie, sur le territoire de l'actuel Irak). ‎

‎Ur en Chaldée, ou sept années de fouilles.‎

‎ Payot, 1949, in-8°, 178 pp, 4 croquis, 25 photos sur 8 pl. hors texte, reliure pleine toile jaune, pièce de titre chagrin noir, couv. conservées, signet, bon état (Coll. Bibliothèque historique)‎

‎Ur en Chaldée ou sept années de fouilles. Traduit d’après la huitième édition anglaise par Jeanne Rogier. Avec 4 croquis et 25 gravures. Collection Bibliothèque Historique.‎

‎ Paris, Payot 1938, 225x140mm, 200pages, broché. Bel exemplaire. ‎

‎UR. Histoire d'une decouverte. 136 Photographies, 2 hors-textes en couleurs, 3 plans, une carte, 23 culs-de-lampe.‎

‎Paris, Albert Guillot ("Les Hauts Lieux de l'Histoire, 9"), 1957. grand in-4° 163 pages, nombreuses photographies n/b et couleurs hors texte, reliure toile de l'editeur, jaquette illustree.‎

‎Tres bel exemplaire. [P-39] ‎

‎Ur. Histoire d'une découverte. 136 photographies, 2 hors-texte en couleurs, 3 plans, 1 carte, 23 culs-de-lampe. Traduit de l'anglais par Josette Gasser-Demanjon.‎

‎ P., Albert Guillot (Collection Les Hauts Lieux de l'Histoire), 1957, grand in 4° cartonnage de l'éditeur, jaquette illustrée en couleurs, 164 pages ; petites déchirures à la jaquette, anciennement réparées au scotch. ‎

‎PHOTOS SUR DEMANDE. ...................... Photos sur demande ..........................‎

‎Danicorum Monumentorum Libri Sex: E spissis antiquitatum tenebris et in Dania ac Norvegia extantibus ruderibus eruti + Regum Daniae Series duplex et Limitum inter Daniam & Sveciam Descriptio. Ex vetustissimo Legum Scanicarum Literis Runicis in membran... - [THE FIRST WRITTEN STUDY OF RUNES]‎

‎Hafnia, Joachim Moltke, 1643 + Melchior Martzan, 1642. Small folio. Bound in a nice contemporary full calf binding with raised bands to richly gilt spine. Spine worn and corners bumped. A damp stain throughout, mostly faint. Title-page of ""Danicorum Moumentorum"" with a contemporary presentation-inscription to verso: ""Ex donatione amici et fautoris nei Secretarii Rejersen./ Wedege."" Contemporary handwritten corrections and additions to the Index. Engraved title-page (by Simon de Pas). (24), 526, (16) pp. + large folded woodcut plate (the Golden Horn). Large woodcuts in the text + (12), 36 pp. The text is in two columns, in Latin and runes. Captions and some runic letters printed in red.‎

‎Scarce first editions of both of Worm's famous masterpieces on runes - 1) ""Danicorum Monumentorum"" being Worm's runic magnum opus, which not only constitutes the first written study of runestones and the first scientific analysis of them, but also one of the only surviving sources for depictions of numerous runestones and inscriptions from Denmark, many of which are now lost"" 2) ""Regum Daniae"", which contains the highly important reproduction of The Law of Scania in runes as well as in Latin translation with commentaries. The ""Danicorum Monumentorum"", with its numerous woodcut renderings of monuments with rune-inscriptions - including the world-famous folded plate of the Golden Horn, which had been found only five year previously, and which is now lost - is arguably the most significant work on runes ever written, founding the study of runes and runic monuments. Most of the woodcuts were done after drawings by the Norwegian student Jonas Skonvig"" they are now of monumental importance to the study of runes and runic monuments, not only because they appeared here for the first time in print, but also because many of the monuments are now lost and these illustrations are the only surviving remains that we have. Ole Worm (Olaus Wormius) (1588-1655) was a famous Danish polymath, who was widely travelled and who had studied at a range of different European universities. Like many of the great intellectuals of the Early Modern era, Worm's primary occupation was as a physician, for which he gained wide renown. He later became court doctor to King Christian IV of Denmark. In 1621, Worm had become professor of physics, but already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as ""Museum Wormianum"", throughout the rest of his life. Worm's fascination for antiquarian subjects not only resulted in his famous ""Museum Wormianum"", but also in a deep fascination with early Scandinavian and runic literature and the history and meaning of runestones. These monuments found throughout Scandinavia, were carved with runic inscriptions and set in place from about the fourth to the twelfth centuries. In most cases, they are burial headstones, presumably for heroes and warriors.Worm published works on the runic calendar, translations of runic texts and explications of folklore associated with the runestone histories. By far his most extensive and important work was the ""Danicorum Monumentorum"", which was the first serious attempt at scientifically analyzing and recording all 144 then known runestone sites in Denmark. With the King's blessing and support, Worm contacted bishops all over the country who were instructed to provide details and drawings of the barrows, stone circles and carved inscriptions in their regions.Many of the monuments recorded in this splendid work have since disappeared. Some of them appeared in the fire of Copenhagen, to which they were brought at the request of Worm himself. The book thus contains highly valuable data about missing sites in Scandinavian archaeology and is an invaluable source to anyone studying runes and runic monuments. Included in the work are Worm's three earlier, small treatises on runes, here collected for the first time and set into a systematic an scientific context, among them his 1641 treatise on the Golden Horn. For Danes, the Golden Horns, discovered on 1639 and 1734 respectively, with their amazing, complicated, and tragic story, constitute the Scandinavian equivalent to the Egyptian pyramids and have been the object of the same kind of fascination here in the North, causing a wealth of fantastical interpretations, both historical, literary, mystical, linguistic, and artistic. The two golden horns constitute the greatest National treasure that we have. They are both from abound 400 AD and are thought to have been a pair. A span of almost 100 years elapsed between the finding of the first horn and the finding of the second. Both findings are now a fundamental part of Danish heritage. In 1802 the horns were stolen, and the story of this theft constitutes the greatest Danish detective story of all times. The thief was eventually caught, but it turned out that he had melted both of the horns and used the gold for other purposes.Before the horns were stolen, a copy of the horns was made and shipped to the King of Italy, but the cast which was used to make this copy was destroyed, before news had reached the kingdom of Denmark that the copies made from the cast were lost on their way to Italy, in a shipwreck. Worm's work constitutes not only the earliest description of the seminal first horn, but also the most important source that we now have to the knowledge of the horn. It is on the basis of the description and depiction in the present work that the later copies of the first horn were made. Both horns were found in Gallehus near Møgeltønder, the first in 1639, by Kirsten Svendsdatter, the second in 1734, by Jerk (Erik) Lassen.Kirsten Svendsdatter made her discovery on a small path near her house, initially thinking that she had stumbled upon a root. When she returned to the same place the following week, she dug up the alleged root with a stick, and took it for an old hunting horn. She brought it back home and began polishing it. During the polishing of it, a small piece broke off, which she brought to a goldsmith in Tønder. It turned out that the horn was made of pure gold, and rumors of Kirsten's find quickly spread. The horn was eventually brought to the King, Christian IV, and Kirsten was given a reward corresponding to the gold value of the horn. The king gave the horn to his son, who had a lid made for it so that he could use it as a drinking horn. An excavation of the site where the horn was found was begun immediately after, but nothing more was found - that is until 95 years later when Jerk Larsen was digging clay on his grounds - merely 25 paces from where Kirsten had found the first horn. The year was now 1734. The horn that Larsen found was a bit smaller in size and was lacking the tip, but it still weighed 3,666 kg. As opposed to the first horn, this second horn had a runic inscription. After the horn had been authenticated, it was sent to King Christian VI, where it was placed in a glass case in the royal art chamber, together with the first horn. Before being placed here, a copy was made of both horns. These copies were lost in a ship wreck, however, and the casts had already been destroyed. In the fatal year of 1802, the gold smith and counterfeiter Niels Heldenreich broke in to the royal art chamber and stole the horns. By the time the culprit was discovered, the horns were irrevocably lost - Heldenreich had melted them and used the gold to make other things, such as jewellery. A pair of ear rings that are still preserved are thought to have been made with gold from the horns, but this is all that we have left of the original horns. New horns were produced on the basis of the descriptions and engraved illustrations that were made after the finding of the horns. And thus, the plate used in the present works constitute our main source of knowledge of the appearance of the first horn. ""The longest of the golden horns was found in 1639 and described by Ole Worm in the book 'De Aureo Cornu', 1641 (a treatise which is also included in his greater ""Danicorum Monumentorum""). The German professor at Soro Academy Hendrich Ernst, disagreed with Worm’s interpretation of the horn. Ernst believed that the horn came from Svantevits temple on Rügen, while Worm interpreted it as a war trumpet from the time of Frode Fredegods, decorated with pictures, calling for virtue and good morals. Worm immediately sent his book to Prince Christian and the scholars at home and abroad. You can see in his letters, that not only did the horn make an impression, but also the letter and the interpretation. In that same year there were such lively discussions on the horn among the scholars of Königsberg, now Kaliningrad!In 1643 Worm reiterated the description of the golden horn in his great work on Danish runic inscriptions, 'Monumenta Danica'. In 1644, his descriptions of the horn reached for scholars and libraries in Schleswig, Königsberg, London, Rome, Venice and Padua. Several learned men wrote poems for him, and the golden horn was mentioned in an Italian manus. Map Cartoonist Johannes Meyer placed the finds on several of his map of South Jutland. When the Swedish commander Torstensson attacked Jutland in 1643, Peter Winstrup wrote a long poem in Latin addressed to the bishop of Scania (which at that time still belonged to Denmark), the poem was called 'Cornicen Danicus'. It was immediately translated into Danish, entitled 'The Danish Horn Blower'. He interpreted the horn and its images as an warning of war, and his interpretations were very hostile to the Swedish. Paul Egard and Enevold Nielssen Randulf were among some of the other scholars who interpreted the Golden Horn In the 1640s. They were both deans in Holstein, and had a more Christian interpretation of the horn.All these works were illustrated with copies of Worms depictions of the horn. The Golden Horn remained known throughout the 1600s, both in terms of interpretations of the horn and designs. The found of the short golden horn in 1734 renewed the interest of the meaning of the horns."" (National Museum of Denmark). Thesuarus: 727 & 733 Rejersen: Holmens chef Wedege: Regiments-Quarteer-Mester‎

‎De aureo Cornu. Dissertatio. - [THE FIRST AND MOST IMPORTANT TREATISE ON THE GOLDEN HORN]‎

‎Hafniae (Copenhagen), Melchior Matzan, Joachim Moltke, 1641. Small folio. Bound in an newer absolutely exquisite full mottled calf pastiche-binding with five raised bands and gilt title-label to richly gilt spine. Gilt ornamental borders with gilt corner-pieces to boards, all edges of boards gilt, and inner gilt dentelles. Title-page restored at inner hinge, far from affecting print. Some leaves slighly dusty and some mostly light brownspotting. Overall very nice indeed. The folded plate neatly re-enforced at the foldings, from verso, and on stub. ""Dupl"" written in hand to upper right corner of title-page and with two stamps to verso: ""Museum Britannicum"" and ""British Museum Sale Duplicate 1787"". (8), 72 pp. + large folded engraved plate of the horn. ‎

4 Images

‎Exceedingly scarce first printing of one of the most important works in Scandinavian history. Worm’s monumental 1641-treatise is the first and single most important work on what is arguably the most famous Danish cultural artifact, namely the first Golden Horn, and constitutes our primary source of knowledge of that now lost treasure. For Danes, the Golden Horns, discovered on 1639 and 1734 respectively, with their amazing, complicated, and tragic story, constitute the Scandinavian equivalent to the Egyptian pyramids and have been the object of the same kind of fascination here in the North, causing a wealth of fantastical interpretations, both historical, literary, mystical, linguistic, and artistic. The two golden horns constitute the greatest National treasure that we have. They are both from abound 400 AD and are thought to have been a pair. A span of almost 100 years elapsed between the finding of the first horn and the finding of the second. Although the first was by far the most important, both findings are now a fundamental part of Danish cultural heritage. In 1802 the horns were stolen, and the story of this theft became the greatest Danish detective story of all times. The thief was eventually caught, but it turned out that he had melted both of the horns and used the gold for other purposes. Before the horns were stolen, a copy of the horns was made and shipped to the King of Italy, but the cast which was used to make this copy was destroyed, before news had reached the kingdom of Denmark that the copies made from the cast were lost on their way to Italy, in a shipwreck. Worm's work constitutes not only the earliest description of the seminal first horn, but also the most important source that we now have to the knowledge of the horn. It is on the basis of the description and depiction in the present work that the later copies of the first horn were made. Both horns were found in Gallehus near Møgeltønder, the first in 1639, by Kirsten Svendsdatter, the second in 1734, by Jerk (Erik) Lassen. Kirsten Svendsdatter made her discovery on a small path near her house, initially thinking that she had stumbled upon a root. When she returned to the same place the following week, she dug up the alleged root with a stick, and mistook it for an old hunting horn. She brought it back home and began polishing it. During the polishing of it, a small piece broke off, which she brought to a goldsmith in Tønder. It turned out that the horn was made of pure gold, and rumors of Kirsten's find quickly spread. The horn was eventually brought to the King, Christian IV, and Kirsten was given a reward corresponding to the gold value of the horn. The king gave the horn to his son, who had a lid made for it so that he could use it as a drinking horn. An excavation of the site where the horn was found was begun immediately after, but nothing more was found - that is until 95 years later when Jerk Larsen was digging clay on his grounds - merely 25 paces from where Kirsten had found the first horn. The year was now 1734. The horn that Larsen found was a bit smaller in size and was lacking the tip, but it still weighed 3,666 kg. After the horn had been authenticated, it was sent to King Christian VI, where it was placed in a glass case in the royal art chamber, together with the first horn. Before being placed here, a copy was made of both horns. These copies were the ones lost in the ship wreck, however, and as mentioned the casts had already been destroyed. In the fatal year of 1802, the gold smith and counterfeiter Niels Heldenreich broke in to the royal art chamber and stole the horns. By the time the culprit was discovered, the horns were irrevocably lost - Heldenreich had melted them and used the gold to make other things, such as jewellery. A pair of earrings that are still preserved are thought to have been made with gold from the horns, but this is all that we have now have of the original horns. New horns were produced on the basis of the descriptions and engraved illustrations that were made after the finding of the horns. The plate in the present work constitutes our main source of knowledge of the appearance of the first horn and is the single most important depiction of it, forming the basis of the reproductions. ""The longest of the golden horns was found in 1639 and described by Ole Worm in the book 'De Aureo Cornu', 1641 (a treatise which is also included in his greater ""Danicorum Monumentorum"" [1643]). The German professor at Soro Academy Hendrich Ernst, disagreed with Worm’s interpretation of the horn. Ernst believed that the horn came from Svantevits temple on Rügen, while Worm interpreted it as a war trumpet from the time of Frode Fredegods, decorated with pictures, calling for virtue and good morals. Worm immediately sent his book to Prince Christian and the scholars at home and abroad. You can see in his letters, that not only did the horn make an impression, but also the letter and the interpretation. In that same year there were such lively discussions on the horn among the scholars of Königsberg, now Kaliningrad! In 1643 Worm reiterated the description of the golden horn in his great work on Danish runic inscriptions, 'Monumenta Danica'. In 1644, his descriptions of the horn reached scholars and libraries in Schleswig, Königsberg, London, Rome, Venice and Padua. Several learned men wrote poems for him, and the golden horn was mentioned in an Italian manus. Map Cartoonist Johannes Meyer placed the finds on several of his map of South Jutland. When the Swedish commander Torstensson attacked Jutland in 1643, Peter Winstrup wrote a long poem in Latin addressed to the bishop of Scania (which at that time still belonged to Denmark), the poem was called 'Cornicen Danicus'. It was immediately translated into Danish, entitled 'The Danish Horn Blower'. He interpreted the horn and its images as a warning of war, and his interpretations were very hostile to the Swedish. Paul Egard and Enevold Nielssen Randulf were among some of the other scholars who interpreted the Golden Horn In the 1640s. They were both deans in Holstein, and had a more Christian interpretation of the horn. All these works were illustrated with copies of Worms depictions of the horn. The Golden Horn remained known throughout the 1600s, both in terms of interpretations of the horn and designs. The found of the short golden horn in 1734 renewed the interest of the meaning of the horns."" (National Museum of Denmark). This monument of Danish cultural history is incredibly scarce in the trade. We have never seen a copy before, and there is not a single auction record traceable. ‎

‎Olai Wormii et ad eum Doctorum virorum Epistolæ. Tomus I-(II). Havniæ, 1751.‎

‎2 samt. helldrbd. med rygforgyldning. Ryg og kapitæler slidt. (8),XLVIII,1134 pp. + Index Rerum ac Nominum. Portrættet mangler. Noget brunplettet.‎

‎Dette er 2. udgaven af W's lærde korrespondance, fortrinsvis med udenlandske lærde. Udgaven er foranstaltet af Luxdorph, Langebek og Hielmstierne.‎