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SAKI (Hector Hugues Munro dit.)
Le thé.
Couverture blanche souple et imprimée. Papier jauni. Ex-libris en relief sur la page de titre.
Reference : 61870
Non-donné. L'o&il de la lettre. 1988. 30 pp. In-12. Broché. Très bon état. 1 volume. Traduit de l'anglais par J. DEREGNAUCOURT.
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Librairie Koegui
M. Guy Neplaz - Isabelle Bilbao
21 rue Vieille Boucherie
64100 Bayonne
France
05 59 59 78 74
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5 book(s) with the same title
La course du thé
État : Bon état - Année : 1967 - Format : in 8° - Pages : 276pp - Editeur : Inter-Presse - Lieu d'édition : Paris - Type : Broché - Divers : Petits frottements en coiffes et aux coins. - Commander rapidement : https://www.bons-livres.fr/livre/john-masefield/6355-la-course-du-the?lrb
Partir des Mers de Chine avec une cargaison de feuilles de thé de la nouvelle récolte, et arriver le premier au mouillage en angleterre, surmontant les vicissitudes d'une longue traversée, tel est l'objectif des clippers disputant la ˮCourse du théˮ. Ce livre nous raconte l'histoire extraordinaire du vainqueur qui, après un nauvrage, trouve un bateau abandonné, l'arme et gagne la course. Traduit de l'anglais par Régine et Victor Gueit. Une belle et noble histoire de mer, un magnifique récit plein de vie et de suspense, où le talent de John Masefield se donne libre cours et qui enchantera tous les amoureux de la mer.
Phone number : 09 63 58 85 14
The Yser and the belgian coast
État : Très bon état - Année : sd (1920) - Format : in 8° - Pages : 128pp - Editeur : Michelin Tyre Co - Lieu d'édition : London - Type : Cartonnage toile éditeur, jaquette illustrée - Divers : Couv et dos très légèrement fanés. Avec jaquette. - Commander rapidement : https://www.bons-livres.fr/livre/anonyme/3336-the-yser-and-the-belgian-coast?lrb
Guides illustrés Michelin des champs de bataille. 1914 - 1918. Du 17 au 31 octobre 1914, le long de l'Yser se sont opposées les unités allemandes qui voulaient franchir le fleuve en direction de Dunkerque aux troupes belges et françaises qui essayaient de les y arrêter. Une vaste inondation déclenchée fin octobre a réussi à stopper définitivement la progression des assaillants. En Anglais. Le principe de ces guides est de proposer, après un rappel historique des faits et une présentation générale de la bataille, en plusieurs journées, des circuits ˮtouristiquesˮ pour découvrir les lieux mêmes de la bataille. Réalisés aux lendemains de la guerre , en 1919 et en 1920, ils proposent, en vis à vis, des photographies de monuments et paysages avant et après la bataille. Ces guides conservent encore aujourd'hui une grande valeur historique et sentimentale.
Phone number : 09 63 58 85 14
Breviarium Romanum novissime impressum cum annotationibus numerorum in marginibus psalmorum: hymnorum: antiphonarum: & responsiorum: ac etiam capitolorum & hysteoriarum quo libro biblie facillime inneniantur: inveniantur: cum plurimis figuris ornatum. - [POSSIBLY THE ONLY KNOWN COPY OF THIS SPLENDID BREVIARY PRINTED BY A WOMAN]
(Colophon, p. 416:) (Heirs of) Pietro Ravani (i.e. Luchini Ravani), April 28, 1533. 8vo (17 x 11,5 cm). Lovely contemporary full calf over wooden boards. Three raised bands and blindstamping to spine. Boards with blindstamped triple- and quadruple line-borders and a broad innner ornamental blindstamped border inside which small gilt ornamentations and a small glit centre-piece. Small gilt corner-ornamentations. Remains of clasps to boards. All edges gilt and chisseled. Spine a bit worn. Boards with overall wear, some of the gilding worn off, and a bit of the leather missing at back board, revealing the wood underneath. Inner hinges split, front one still tight. In spite of the wear, still nice and fine. Title-page slightly dusty and a very faint dampstain to lower part of leaves towards the end. One leaf with some smudging. Small wormtract to inner blank margin of ca. 20 leaves, far from affecting text. Three leaves with a small tear to top, no loss. Six leaves of the first quire loosening, but still attached. Overall internally very nice. 17th century ink notes to free end-papers. Pencil-annotation and -collation front end-papers. a(8) + A(8) + 1-52(8) + a-e(8) + ccdd(4) + d-o(8) - i.e.: (16 pp.) + pp. 1-144 (quire 19 missing - has never been bound in) + pp. 153 - 416 (lacking one leaf inbetween - f. 35III. Two leaves are paginated 52) (- the colophon is at the end of p. 416 (=f. 52 (VIII)), the verso of which has a full-page woodcut. The opposing leaf with the corresponding woodcut border is in numbered 425, from which the signatures begin again from a - ) + pp. 425 - 448 + (4 ff.) + pp. 449 - 536. Sevaral folios misnumbered. Lacking nine leaves in all, none of which seem to have ever been bound in. Title-page printed in red and black and with two woodcuts - one being Ravani's printer's mark of the two-tailed mermaid, the other being St. Veronica with the veil. Printed in red and black throughout. Richly illustrated with numerous woodcut illustrations throughout - 19 full-page, 22 broad illustrated and ornamented borders, more than 300 small woodcut illustrations (measuring ca. 3 x 2 cm, many of them repeated, ca. 1/3 are different ones), ca. 20 woodcut initials (measuring ca. 1,6 x 1,6, a couple measuring ca. 2,5 x 2,5 cm). One of the full-page woodcuts is quite weak in the imprint. Several - 23 in all, but many are repeated - of the small woodcut illustrations are signed, most ""S.M."" and ""S.L."" and one ""S.P."" Seven of the full-page woodcuts are signed ""I.A."", ""z.a."" and ""L.A."" respectively.
Exceedingly scarce - possibly the only copy known -, splendid and beautifully printed, exquisite and richly illustrated breviary of the Roman Rite, printed in Venice, by a woman. The printer Pietro Ravani (named in the colophon) was a native of Brescia. Little is known of him, and his name is usually associated with that of Melchior Sessa, with whom he formed partnership from 1516 until December 1525. Their work was strongly oriented towards religious texts and works dedicated to the world of schools. When he died in 1531, the business was left to his wife Luchina Ravani, who administered it with their son Vittore, until 1540 or 1541. This was not an unusual constellation, but in far most cases, the widows had nothing or very little actively to do with the business they inherited/officially administered. In the case of Luchina Ravani, this is different. We know for a fact that she was actually actively involved in the printing of the books during this period and was a printer in her own right. “Financial considerations often forced a printer’s widow to take over the business, as the death of a husband plunged many widows into poverty. These women would often work until their sons came of age, but in the case of Luchina Ravani, she apparently continued working even after her son took over. The State Archive in Venice holds two documents stating that Luchina was free to run “a suo conto la stamperia.” This indicates that the widow held an important position in the business and possibily had some kind of agency in deciding what to print, like the beautiful Libro del Cortegiano in the Castiglione Collection. However, despite her active role, her name is never explicitly mentioned on any edition. Only her son’s name, Vittore, appears on the titlepages or the colophons, followed by a simple and anonimous “& Co.”. “ (Erika Delbecque: Women in the Italian Book Trade, 2021). The Ravani printer’s mark is the two-tailed mermaid. This presumably comes from the location of the shop, which had the two-tailed mermaid on the façade and was known as the bookshop of the mermaid. “The Venetian shop of the Mermaid was managed throughout almost all the sixteenth century by a series of bookmen from Brescia: Pietro Ravani, the Paganinis, and Giovanni Varisco and his descendants.” (Angela Nuovo: The Book Trade in the Italian Renaissance, 2013, pp. 8-9). The illustration of the other woodcut on the title-page, ""Veronica's Veil"", would have been found in the home of the common man for use in prayer. The idea is related to the use by the wealthy of more expensive paintings or manuscript illustrations. The numerous illustrations in this beautiful breviary are splendid. Several of the small ones are signed (S.M." S. L. and S. P.) and nine of the full-page ones are signed I.A., z.a., and L.A. respectively. These woodcut masters are among the most famous of the Renaissance woodcutters. I.A. is presumably the master of the woodcuts formerly attributed to Andreas Zoan, the master who collaborated with N. on the woodcuts for the 1497 Ovid. According to Kristeller “one has without reason interpreted “ia” as Andrea Zoan” (translated from German. Kristeller p. 139). z.a. is the monogram for the renowned Adrea Zoan (referred to above). Under the same monogram, he made the splendid woodcuts for eg. Petrarca’s Trionfi from 1500 and onwards, the exquisite illustrations for Stagnino’s Dante from 1512, Dürer’s Apokalypse 1515-16, etc.. See Kristeller pp. 145-46 for further details. L.A. is the monogram for the great Lucantonio de’ Uberti, who was responsible for having brought the strongly hatched Venetian style woodengravings from the beginning of the 16th century to Florence. His full name is known from the arithmetic book for merchants, the “Libro d’abacco” printed in Venice in 1520, where his name is mentioned on the last leaf. “This Lucantonio is without doubt also the executor of the numerous woodcuts and engravings signed “LA” that without reason have been attributed to the great printing master Lucantonio Giunta.” (Kristeller p. 164 – translated from German). Lucantonio Uberti originally came from Florence and seems to have come to Venice around 1500. In 1503-4 he printed some books in Verona, in which he called himself “Lucantonius Florentinus”. After that he seems to have been active in Venice as printer, woodcutter and engraver. Later, he returned to Florence and brought with him the Venetian woodcutting technique that he introduced there. See Kristeller pp. 164-6ff. for more on Lucantonio de’ Uberti. Early printed Breviaries were locally distributed and quickly worn out by daily use. As a result, surviving copies are rare of those editions which survive at all, many are known in only very few copies. This magnificent Breviary is of the utmost scarcity. We have not been able to locate a single copy of it anywhere. We have not been able to find it registered in any bibliography, we have not been able to find a single copy listed on OCLC, and we have not been able to trace any copy at auction ever. See: Kristeller, Paul: Kupferstich und Holzschnitt in vier Jahrhunderten. Berlin, 1922.
On the Law which has Regulated the Introduction of New Species. [In: The Annals and Magazine of Natural History. Second Series, Volume 16]. - [INAUGURATING THE DISCOVERY OF THE ORIGIN OF SPECIES]
London, 1855. 8vo. Entire volume 16, second series of ""The Annals..."" present, bound in a very nice red half morocco with richly gilt spine. A nice, clean, fresh, and sturdy copy. A vague stamp to title-page (London Institution) and a blindstamped marking to top of first leaf of contents (Cranbrook Institute of Science). Pp. 184-196. [Entire volume: VII, 472 pp. + 11 plates].
Exceedingly scarce first printing of Wallace's very first publication on the theory of evolution, predating any publication on the subject by Darwin. This milestone paper in the history of the theory of evolution - ""A stunning scientific debut"" (Nature vol. 496, p. 162) - formulates what is now known as the ""Sarawak Law"", which is in essence half of the theory of evolution by natural selection, which Wallace would later (1858) so famously publicize together with Darwin. From as early as 1845, Wallace had been convinced of the idea that species arise through natural laws rather than by divine fiat and he invested all in supplying scientific details and uncovering a satisfactory evolutionary mechanism. He kept this more or less to himself, however, and refrained from commenting on it in public until 1855, when he, provoked by an article by Edward Forbes Jr., published this seminal paper, ""a concise synthesis of his ideas on the subject. Like many brilliant works, his ""On the Law Which Has Regulated the Introduction of New Species"" (September 1855) was based on well-known, acceptable scientific observations, although he had transformed the mass of facts into an unusually persuasive argument. The evidence was drawn from geology and geography - the distribution of species in time and space - and following nine acceptable generalizations (axioms), Wallace concluded: ""Every species has come into existence coincident both in space and time with a pre-existing closely allied species"". He claimed that he had explained ""the natural system of arrangement of organic beings, their geographical distribution, their geological sequence"", as well as the reason for peculiar anatomical structures of organisms."" (D.S.B.). It was this paper by Wallace - not greatly read in the public, but very seriously studied by the greatest biologists of the time - that led directly to Darwin beginning his ""origin of Species"". - ""Despite this excellent presentation (i.e. Wallace's 1855 paper), there were no public replies, although the private comments were quite another matter. Indeed, Edward Blyth, Charles Lyell, and Charles Darwin all read Wallace's article and were greatly impressed by his arguments, but in particular Lyell, who began a complete reexamination of his long-held ideas on species. On 16 April 1856 Lyell discussed Wallace's paper with Darwin, urging him to publish his own views on species as soon as possible. Darwin then began what we now call the long version of the ""Origin"", and that version was used as a basis for the ""Origin"" as published in 1859."" (D.S.B.).It was in 1848 that Wallace first left England for the tropics. He did so with his friend the entomologist Henry Walter Bates, with the specific intention of solving the problem of the origin of species. ""In the autumn of 1847 Mr. A.R. Wallace, who has since acquired wide fame in connection with the Darwinian theory of Natural Selection, proposed to me a joint expedition to the river Amazonas, for the purpose of exploring the Natural History of its banks"" the plan being to make for ourselves a collection of objects, dispose of the duplicates in London to pay expenses, and gather facts, as Mr. Wallace expressed it in one of his letters, ""towards solving the problem of the origin of species""."" (Bates I: p. III). It is during these travels that Wallace begins noticing the remarkable coincidences in the distribution of species in space and time, and in 1855, while sitting in Sarawak, Borneo, he writes the paper that is now a landmark work in the history of evolutionary thought, his so-called ""Sarawak-paper"", which was published later the same year in the present volume of ""The Annals and Magazine of Natural History"". ""This paper, formulating what came to be known as the ""Sarawak Law"", is remarkable... (Wallace) advances what is, in effect, half of the theory of evolution, namely what Darwin would call ""descent with modification"": the idea that the generation of a biological novelty is a genealogical process."" (Berry, p. XXVII). The law now known as the Sarawak Law, or ""the first half of the theory of eveolution"", is stated as follows: ""Every species has come into existence coincident both in time and space with a pre-existing closely allied species."" This law connected and explained a vast number of independent facts. It was, in fact, Wallace's first statement of a belief in evolution, and for the following three years from the time that he wrote the essay, Wallace recounts that ""the question of how changes of species could have been brought about was rarely out of my mind.""According to one of the most celebrated anecdotes in the history of science, the second half of the theory of evolution by natural selection finally came to Wallace in February 1858, while delirious during an attack of malarial fever in Ternate in the Mollucas. In his own words, ""there suddenly flashed upon me the idea of the survival of the fittest."" The theory was thought out during the rest of the fit, drafted the same evening, and written out in full in the two succeeding evenings. Knowing that Darwin was working on the same problem, Wallace sent a manuscript summary to Darwin, who now feared that his discovery would be pre-empted. In order to avoid conflict between the two, Joseph Hooker and Carles Lyell suggested a joint publication. The essay was read, together with an abstract of Darwin's own views, as a joint paper at the Linnean Society on the 1st of July 1858.
Confessionale (""Defecerunt""...) + Sermo de poenitentia. - [ONE OF THE MOST INFLUENTIAL CONFESSION BOOKS OF THE CATHOLIC CHURCH]
(Köln (Cologne), Ulrich Zell / Zel, ca. 1469). Large 8vo. Block measuring 21,5 x 14 cm. Printed in Gothic type, 27 lines to a page, 4-, 3-, 2, and 1-line initial spaces. Initials, paragraph marks, underlines, and capital strokes supplied in red throughout. Antoninus' ""Defecerunt..."" begins on f. (4r), ending with a colophon on f. (139r)"" Chrysostomos' ""Sermo..."" begins on f. (139v). Bound in a beautiful 19th century full polished calf with five raised bands to spine, gilt title-labels, inner gilt dentelles, and all edges of boards gilt. The hinges are worn and weak and cracked at the top. Marbled end-papers. Inside of front board with the book plate of Gilbert R. Redgrave. 144 ff. (including final blank). Internally a bit of soiling and browning and with numerous contemporary handwritten marginal notes throughout, some shaved when bound. The first leaf is with a slightly later 15th century handwritten inscription stating the provenance of the copy: ""Mo[aste]rii Neostadiensis Ord[inis] S. Pauli Eremit[ae]"" (i.e. Order of Saint Paul the First Hermit, Monastery in Neustadt), being the Pauliner-monastery in Wiener Neustadt outside of Vienna. There are two further inscriptions, both in contemporary hand, presuambly the same as that of the marginal notes throughout. They are on f. (65r) and f. (143v) and state that the book belongs to the Augustinian order of the St. Ulrich-Kloster (""mo[na]sterii S. Udalrici"") in Wiener Neustadt.
Exceedingly scarce early incunable-printing, possibly the first printing of both texts, being Antoninus’ “Confessionale” (the one known under the incipit “Defecerunt scrutantes scrutineo” (f. 4r) – one of the most influential confession books ever written, on the powers of the confessor, the seven deadly sins, the manner of interrogating persons of varying status, and absolution and the imposition of penance -, together with (Pseudo-) Chrysostomos’ “Sermo de Peonitentia” The venerated Catholic saint, Dominican friar, and Archbishop of Florence Antoninus Florentinus (1389-1459) had a great reputation for theological learning and had assisted as a papal theologian at the Council of Florence. Hist most important works – both written before and printed before his Summa Theologica -, are arguably his guides for confessors, which for centuries were highly regarded by the clergy as an aid and constituted a major development in the field of moral theology. Antoninus published three separate works that are all entitled “Confessionale”. They are distinguished by their incipit, the present being “Defecerunt…”, the most fundamental and influential of the three. The two others have “Curam illius habe”, also known as the “Specchio di coscienza”, which is an instruction manual for the sacrament of confession, written in Italian for a Neapolitan gentleman, directed at advising lay men and women, and “Curam illius habe,” also known as the “Medicina dell’anima”, which is an instruction manual directed to priests. Unlike the other two manuals, the “Defecerunt…” was published in Latin. It was “completed before July of 1440. This latter work is Antonin’s most popular by far, to judge by the number of manuscript copies, printed editions, and vernacular translations (Italian, Spanish, Croatian).” (Jason A. Brown: St Antonin of Florence..., 2019, pp. 44-45). Printed together with the “Defecerunt” Confessionale is the important “Sermo de poenitentia”, long ascribed to Chrysostomos, in which he deals with penance, also possibly printed here for the first time. The printing history of the work is quite complicated. There is no date and no printing place in the earliest printings of this foundational Catholic work, and numerous versions of it were printed. Furthermore, much of the “Defecerunt” seems to have been incorporated into his later, also highly influential “Summa” (see 3.17 – de statu confessorum). “The Confessionale “Defecerunt” exists in two known recensions, a briefer and a longer. These are distinguished by their incipits. The briefer recension incipit: Defecerunt scrutantes scrutinio ... Scrutantes aliorum peccata sunt confessores. Scrutinium autem est inquisitio facta in confessione. The longer recension incipit: Defecerunt scrutantes scrutinio ... Scrutinium quidem est confessio, in quo et penitens scrutatur conscientiam suam et confessor cum eo. It would be a tenable hypothesis, a priori, that the longer recension is original, that its material was copied into the Summa at the relevant places, and that the briefer recension was produced by abbreviating the longer one. Having examined early printed editions of the “Defecerunt” and considered their text against the autograph manuscripts, I consider it more likely that the longer recension is the later one, and represents an expanded version produced by adding in material from the Summa at corresponding places in the original Confessionale.” (Jason A. Brown: St Antonin of Florence..., 2019, p. 112). The present version – arguably the earliest – is the briefer, which was then later elaborated upon. As all bibliographers agree, it is clear from the characters that this copy was printed by Zell in Køln (Cologne), and no later than 1469 (some say no later than 1468, some just state “ca. 1470”)). Zell printed more than one version around the same time, but this seems to be the first of them – corresponding exactly to Hain 1162. In all, between 50 and 60 incunable editions of the work appeared in Latin, along with editions in Italian and Spanish, testifying to the enormous impact the work came to have on Catholic penitence. According to Gesamtkatalog der Wiegendrucke, 44 copies, including single fragments, are known to exist in public holdings, and at least one copy is known to exist on private hands. Hain-Copinger: 1162" GW: 2082 Brunet: I:333 Graesse I: 154. Provenance: During the reign of the pietist Habsburger Friedrich III (1440-1493), the small town of Wiener Neustadt near Vienna witnessed a blossoming of new clerical orders. They were more than doubled. To the already established monasteries were added, among several others, both an Augustiner-Kloster (which took over St. Ulrich), in 1459, and the Paulinerkloster (the one for St. Paul the First Hermit), in 1480. As is evident from the inscriptions in the present copy, it has belonged to both these orders, the first of which will presumably have acquired it at its appearance, where it was thoroughly read and annotated. With a decree of December 20th 1459, Pope Pius II allowed for a Augustinian Canon-monastery in Wiener Neustadt and thus fulfilled a longstanding wish of Kaiser Friedrich III. In June 1459, a decisive prerequisite for the founding of this monastery had taken place – the Secular Canons had renounced their parish church St. Ulrich in the Western suburb of Wiener Neustadt, which was now at the disposal for the Augustinian Canons. Friedrich III had very specific requests for the Augustinian Canons of Wiener Neustadt, and in accordance with these, Pope Pius II prescribed a dress for them that differed from the usual colour. Instead of a white habit, they were to wear a brown habit with a gold-coloured cross on the right side" the almucium (fur shoulder cloak), worn over the habit, was to be white on feast days and in church (instead of the usual black), while on ordinary days and outside of church, a brown almucium was to be worn. Like the provost of the secular canons, the provost of the Augustinian Canons also had the right to pontificals. The founding of the Augustinian Canons' foundation is recorded in a relief on Friedrich III’s tomb in the St. Stephan Cathedral in Vienna. On both sides of St. Ulrich, enthroned in the center, kneels an infulated priest, presumably the provost and dean. This group is surrounded by thirteen (also kneeling) canons. The inscription reads: ""CANONICI REGULARES S. ULRICI NOVE CIVITATIS.""
