ORO-PRODUCTIONS. 1994. In-4. Broché. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 98 pages. Bandes dessinées en couleurs, noir et blanc, et bicolores.. . . . Classification Dewey : 843.064-BD périodiques
Reference : RO80005916
Andréas / Bezian. Cossu-Jamsin. Henriet. Baloo-Ranza. Cornette... Classification Dewey : 843.064-BD périodiques
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Lisboa Occidental, na Officina de Joseph Antonio da Sylva, 1730. Folio (29 x 195 mm). In recent green half calf with five raised bands and gilt lettering and ornamentation to spine. Title-page mounted and with repair to outer margin, no loss of text. Last leaf with repair to lower outer corner, also with no loss of text. First and least few leaves with brownspotting. Very light browning in margins throughout. Title printed in red and black, woodcut initials and head-pieces. A fine and clean copy. (14), 716 pp. (Here with the often missing half title, but wanting the final blank).
Rare first edition, here with the often missing half title, of the first general history of Brazil – “This work is extremely copious in the details of its foundation as a colony, its successive governors, its churches, its monasteries and convents” (Sabin). ""This first edition is becoming rare, and is much sought after by Brazilians [...] since it is the first history of Brazil to have been printed, and since it was written by a Brazilian"" (Borba de Moraes). The author's purpose was to narrate the events that had taken place in Brazil with the help of ""truthful reports"", these largely from Jesuit sources, and ""modern information"" given by those who had traveled in the vast Brazilian territory. This was the only history of Brazil available to Pitta’s contemporaries, since most of the others composed in the first two centuries of colonization remained in manuscript form until the nineteenth century. Rocha Pitta was born in Bahia in 1660 and died in the year 1738. At the age of 22 he left the University of Coimbra, where he took his degree, to return to Bahia, where he got married. He made up his mind to write a history of Brazil, and he spent years in collecting documents in the Monasteries of Brazil and Portugal, where he went in order to study French, Dutch and Italian for the purposes of his history. “In 1728, after 40 years of study, he began to print his history, which appeared in 1730. It was universally well received, and King John V. appointed him a member of the household in consequence, yet in a few years the Portuguese government publicly prohibited its being read under the severest penalties.” (Sabin).Sabin 72300 Borba de Moraes (1983), p. 748
Rio de Janeiro, Gráfica Olímpia Editora, 1963. First and only English edition. Translated from the Portuguese by Anita Farquhar. Softcover. Octavo, 238 x 168 mm, 379 pp. Off-white cover and spine with author's name and book title. Profusely illustrated with black-and-white illustrations. Bibliography and index at the end. As the title shows, this book endeavors to show what Brazil did in matters of "tropical medicine". Here are a few chapter titles amongst the XV chapters: - Adolfo Lutz and the Bacteriological Institute of São Paulo - Vital Brazil and the Butantan Institute - Short History of Yellow Fever in Brazil - The tropical Medical Department at the Medical School of the University of Brazil - The National Institute of Rural Endemic Diseases
A few wear and tear on the covers, clean interior. The book has been printed on a nice couché paper. Not ex-library, no markings. Rare and relevant to health professionals with an interest to tropical diseases and malaria.
São Paulo / Brasília, Centro Cultural Banco do Brasil, 2003. Created for the first Keith Haring exhibition in Brazil where 55 of his artworks were shown. A colorful 180 x 140 mm booklet with a detail from one of Haring's Untitled painting and his name in white on the front cover and a youthful picture of Haring on the back. Softcover with jacket flaps. Bilingual, starts with texts in Portuguese and ends with the same texts in English. Features many black and white pictures of Keith Haring, many of his artworks and two texts: "Urban Radiance: reflections on the life and work of Keith Haring" by art historian Joshua Decter and "Keith Haring in Brazil" by his lifelong friend Kenny Scharf. "In the early 1980s, New York streets and subways were the first to showcase the work of Keith Haring, vigorous graffiti-like pictures indicative of his engagement with mass culture. Today, for the first time ever in Brazil, Centro Cultural Banco do Brasil showcases fifty-five works by this artist, including drawings and paintings. The exaltation of U.S. society never benumbed Haring's critical view regarding his environment or historical moment in time. Humor and wit pulsate in the spontaneously fluid linework if this artist whose freedom in handling themes and forms conquered space and contributed to the creation of a direct, and at times almost plain language rooted in the vocabulary of mass culture and means of consumption." (Back flap)
Imperceptible traces of scruffing on the front cover, joints and on the first/last pages. Aside from that, it is toned and in good shape.
Pittsburgh, University of Pittsburgh Press, 1997. Octavo, 235 x 155 mm, (xxi) 232 pp. Paperback. Includes two maps, many tables and footnotes, three appendixes, a glossary, a bibliography and an index. List of contents at the beginning of the book. "The rural labor movement played a surprisingly active role in Brazil’s transition to democracy in the 1980s. While in most Latin American countries rural labor was conspicuously marginal, in Brazil, an expanded, secularized, and centralized movement organized strikes, staged demonstrations for land reform, demanded political liberalization, and criticized the government’s environmental policies. In this ground-breaking book, Anthony W. Pereira explains this transition as the result of two intertwined processes - the modernization of agricultural production and the expansion of the welfare state into the countryside - and explores the political consequences of these processes, occurring not only in Latin America but in much of the Third World." Extensively SIGNED BY AUTHOR in 1998 behind the front cover, to a friend working at Oxfam. A rare signature in an unusual book going way farther into detail than most books about Brazil written in English.
A bit of scuffing on the covers, binding is fine, pages are crisp and clean with only a few pages slightly folded at the end with no loss to the text.
London, John Murray on Albemarle Street, 1825. First edition. Two volumes, 230 x 148 mm, (xii) 373 + (viii) 380 pp. Recently rebound in half morocco leather with 5 raised bands, author's name, title, volume number and year stamped in gold, marbled papers on covers and as endpapers. Headbands. Volume I features a picture of two masked women as "The Usual Walking Costume of Lima", a short preface, 12 chapters, 5 colored plates and an unfolding map of South America. Volume II features four color plates, including a frontispiece as well, chapters 13-19, no less than 26 appendixes and a very long folding map. "Caldcleugh came to Brazil as private secretary to the British Ambassador, Edward Thornton. From October, 1819, until 1821 he lived in Rio, and from there travelled to Argentina and Chile. His return journey again took him through Brazil, and this time he visited Minas Geraes which he describes on pp. 178-288 of the second volume. Caldcleugh's work has great documentary value. An excellent and impartial observer, he describes Rio de Janeiro with great accuracy, and studies the social, agricultural, financial, and political situations in Brazil. The part referring to the mines in Minas Geraes is of great interest. The first volume contains two very beautiful views of Rio de Janeiro." (Borba de Moraes, I:144) "An example of the very important travel literature of the period" (Griffin 3455). Abbey Travel 699, Sabin 9877. This work also includes appendices on matters such as meteorology, the slave trade, and shipping.
A very good and elegant copy. Some pages show some browning and occasional small defects on the margins with no loss to the pictures, content or the recently rebacked sturdy binding.