[Middeleeuwse hervertelling]

Literature female ca 1810 | Eene schoone historie van de goede vrouwe Griseldis, Amsterdam B. Koene [ca 1810], 16 pp. Illustrated with 6 woodcuts of which 4 large.

Rare book on wine in the Dutch language. One of the few Dutch books on wine. With beautiful with anonymous engravings in the style of Adriaen van der Venne, illustrating the use and abuse of wine. Together with Suyp-stad of Dronckerts Leven.Original paper binding, bound with the original rope. Paper on the spine almost vanished. Quarto edition, in -4. Some pages with foxing. Otherwise a fine copy. Paper very fragile.Provenance: With the ex libris of the famous booklovers couple Buijnsters Smets.Full title: Een schoone historie van de goede vrouwe Griseldis : welke zeer zuiverlyk is om te leezen, ende spreekt wat een mensch door patientie en geduld al verwerven mag, die hem in tegenspoed geduldiglyk gedraagt.[NL] Populair Nederlands volksboek van het middeleeuwse verhaal van Griselda, een vrouw die bekend stond om haar uitzonderlijke geduld en trouw. Het verhaal is oorspronkelijk afkomstig uit de Decamerone van Giovanni Boccaccio (10e verhaal van de 10e dag) en werd later in het Latijn vertaald door Francesco Petrarca. Deze Latijnse versie werd op zijn beurt vertaald in het Middelnederlands en verspreidde zich als volksboek in de Lage Landen. De eenvoudige boerenvrouw Griseldis wordt gekozen als echtgenote door Valterius, de markgraaf van Salucien. Valterius stelt haar trouw en geduld op de proef door haar kinderen bij haar weg te nemen onder het voorwendsel dat ze zijn overleden, en uiteindelijk verstoot hij haar om met een andere vrouw te trouwen. Griseldis ondergaat deze beproevingen zonder klagen. Uiteindelijk onthult Valterius dat de beproevingen slechts testen waren en herenigt hij haar met hun kinderen waarbij hij haar de plaats als markiezin teruggeeft. Dit verhaal werd ook vaak opgenomen in bundels als De Vrouwen-Peerle ofte Dryvoudige Historie van Helena de Verduldige, Griseldis de Zachtmoedige, Florentina de Getrouwe, waarin het verhaal van Griseldis werd gepresenteerd naast andere verhalen over deugdzame vrouwen.Muller 707.

Antiquariaat Arine van der SteurProfessional seller

Book number: 110363

Keywords: Literature|Women

[BINDING VOC - MANUSCRIPT - FRENCH - VERNET, Jacob].

[Instruction chrétienne, ou catechisme familier; avec quelques prières a l’usage des petits enfans].[The Netherlands?, ca. 1780?]. 4to (ca. 19 x 15 cm). Manuscript in French, written in black ink on paper, in a neat cursive script by one hand. With chapter divisions (numbered 39-75) and headings. The text is written upside down in relation to the binding. Most leaves show an identical watermark, depicting a lion rampant on a pedestal with “Vryheyt” in a crowned ring with “Pro Patria Eiusque Libertate” and the letters “CR” below, which is very close to Heawood 3149 (date: 1753). Late 18th-century gold-tooled brown mottled calf, sewn on 5 supports, bound by the so-called Acorn-and-Foliage Tool Bindery in Amsterdam (Storm van Leeuwen). Both boards show the large gold-tooled monogram of the Amsterdam chamber of the VOC as a centre piece sandwiched between the gold-tooled date “Anno 1780”, all within a gold-tooled floral frame with floral corner pieces in the inside corners, spine gold-tooled in six compartments, red sprinkled edges.

[28] ll.Late 18th-century manuscript copy of a French children’s catechism by the Swiss theologian Jacob Vernet (1698-1789), bound in a remarkable late 18th-century binding, originally produced for the Amsterdam Chamber of the Dutch East India Company (VOC) by the so-called Acorn-and-Foliage Tool Bindery which was active between ca. 1760 and ca. 1784 (Storm van Leeuwen).It shows the large monogram of the Amsterdam Chamber of the VOC sandwiched between the date "Anno 1780" on both boards. These bindings were usually commissioned as gifts to persons important to the VOC, often containing an almanac for the relevant year but possibly also produced as blank notebooks. The present work comprises chapters 39-49 and 58-75 of Vernet's work, which form almost the second half of printed editions. The chapters included in the present work are complete and exactly follow the order of the printed text in the Geneva 1742 edition (pp. 75-140, checked using a digital copy) with a slightly different spelling and replacing some words. For unclear reasons, chapters 50-57 (dealing with the fourth through tenth commandment) have not been copied and several leaves between the end of chapter 49 and the beginning of chapter 58 have been left blank.Vernet’s religious text was first published in 1741 under the title Instruction chrétienne, ou catechisme familier; avec quelques prières a l’usage des petits enfans .... In 1742, a revised edition appeared with a slightly different title Instruction crhetienne [!] ou catechisme familier. Avec quelques passages de l’Ecriture Sainte & quelques prières à l’usage des petits enfans. Nouvelle edition. Revuë, corrigée & augmentée. Both works were printed in Geneva for the Swiss bookseller Emanuel Du Villard (Emmanuel Duvillard, 1693-1776) and subsequently reprinted several more times until 1769. With the book block showing the remnants of 12 removed leaves, probably already removed before the manuscript was finished. Both pastedowns partly detached, an old annotation (“Ao. 44305”) in black ink on the lower pastedown, some foxing. Otherwise in good condition.l For the binding: Landwehr/Van der Krogt, VOC, pp. XXVII-XXVIII; Storm van Leeuwen I, p. 175, p. 196 (VOC A-stamp) and pp. 612-616 (the bindery); for Vernet's work: Google Books digital copy of the 1742 ed. (title: Instruction crhetienne [ ! ou Catechisme familier; physical copy at the Biblioteca Universitaria di Torino); WorldCat 951908419 (1 copy, 1767 ed.); WorldCat 1040828976 (1 copy, 1769 ed. (no author noted)); for the watermark: Heawood 3149.

A. Asher & Co. B.V.Professional seller

Book number: ABC_48891

Keywords: [403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS|[403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS -> [C351C9CFA94C] Manuscripts & Documents|[94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING & PRINTING|[94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING &

BRUÉ, Adrien Hubert.

Nouvelle carte de l'Amerique meridionale, et des îles qui en dépendent ...Paris, Mme Vve Brue, 1834-1835. With: (2) BRUÉ, Adrien Hubert. Nouvelle carte de l'Amerique septentrionale, du Groënland et des îles qui en dépendent.Paris, Charles Picquet, 1835. All maps ca. 93 x 65 cm. With 8 large, folding, cloth-backed maps. The maps are housed in a contemporary folder of purple paste paper, which is housed in contemporary slipcase of gold-tooled brown calf on the edges, with the author and title lettered in gold on the spine, and purple paste paper sides.

[8] maps.First edition of a very large map of North and South America, published as two separate works. The maps show the latest political developments in the continents, and also clearly mark the parts that had not yet been mapped, including a large region on the border of Peru and Brazil, as well as a portion of what was then the north of Mexico. First editions of the two works are quite rare, and it is even more remarkable to find the them together. We have not been able to find them together in any sales records of the past hundred years.The work is divided in eight folding, cloth-backed maps. The ones labeled Brésil, Colombie, Rio de la Plata and Uruguay, together form a very large map of South America (Amerique meridionale). The other four maps form the map of North and Middle America (Amerique septentrionale). The maps were drawn before the Texas Revolution (1835-1836), as Texas is here still a part of Mexico. The map of North America also likely shows the very beginning of the Trail of Tears (1830-1850), which was the forced displacement of thousands of Native Americans from the southeast to a new territory west of the Mississippi River. The Choctaw, the first Nation to be removed, can be found on the map in both the old and new location, while the other four Nations (Cherokee, Chickasaw, Muscogee, and Seminole) are still mostly in the southeast.The map of South America also shows interesting developments. This is particularly the case in the northern part of the continent where Peru, Brazil, Bolivia, Colombia and Venezuela were establishing their borders. Although it was dissolved in 1830, the short lived region previously known as Gran Colombia is prominent on this map. The Atacama desert, which was the subject of a border dispute between Chile and Bolivia (1825-1879), is still drawn as Bolivian territory on the map, although it is now part of Chile. There are also multiple insets, including new South Polar discoveries and the Galapagos.With a small, white, round sticker mounted on the map of Brasil ("Propriété de l'auteur") and the map of Mexico ("Propriété acquise en 1835"), all maps with a handwritten paper label mounted on the back, with the name of the country it shows. The map labeled "Mexique" is somewhat browned and stained (primarily on the back), the other maps are very lightly browned and stained. The edges and corners of the slipcase are scuffed, with some loss of material in the corners, the paste paper has discoloured from past sunlight. Otherwise in good condition.l Ad 1: Phillips, P. L., A list of maps of America, p. 601 (year of publication misread as 1833); WorldCat 431298691, 494185499, 1389168347, 1389149780 (4 copies); Cf. Sabin 8735 (later ed.). Ad 2: WorldCat 466241697, 60460799 (2 copies).

A. Asher & Co. B.V.Professional seller

Book number: ABC_48592

Keywords: [E5FB9A6D8BD3] AMERICAS|[E5FB9A6D8BD3] AMERICAS -> [795E77327396] Cartography & Exploration|[E5FB9A6D8BD3] AMERICAS -> [C47C5905AEB0] North America & Mexico|[E5FB9A6D8BD3] AMERICAS -> [E714FD7DC113] South America|[80CBADC1D9E8] CARTOGRAPHY & EXPLORATION|[

BRUYN, Cornelis de.

Reizen van Cornelis de Bruyn, door de vermaardste deelen van Klein Asia, de eylanden Scio, Rhodus, Cyprus, Metelino, Stanchio, &c. Mitsgaders de voornaamste steden van Aegypten, Syrien en Palestina.Delft, Hendrik van Krooneveld, 1698. Large folio (ca. 38.5 x 25 cm). With an engraved frontispiece by J. Mulder, a full-page engraved portrait of the author by G. Valck, and ca. 215 numbered illustrations on 101 full-page and double-page plates (including 17 very large double-page folding plates, 6 illustrations lettered 1, 22A, 22B, 22C, A (again) and B, and 24 smaller illustrations in the text - of which 4 not part of the numbered sequence). Some of the plates are captioned, there does not seem to have been a systematic approach in adding the captions - all plates are as issued and as they appear in other copies. These plates mainly depict views and cityscapes. Contemporary mottled calf.

[22], 397, [9] pp.First edition, printed on large paper, of De Bruyn’s journey through Egypt, Syria, the Holy Land, Rhodes, Cyprus, Scio, and Turkey. This beautifully illustrated copy in an attractive binding was the result of de Bruyn’s extensive travels through the Mediterranean and Middle East. The Reizen door de vermaardste Deelen van Klein Asia by the Dutch portrait painter and traveller Cornelis de Bruyn (1652- ca. 1727) ranks among the most excellent, accurate and detailed travel accounts to the Middle East of the seventeenth and eighteenth century. Starting in 1674, he departed from the Netherlands and travelled through the Levant, including Italy. He spent seven years in the Levant before settling in Italy in 1685 and eventually returning to the Netherlands in 1693. The value of this work lies in its engravings, which were created based on De Bruyn's drawings. These engravings include folding panoramas of cities such as Alexandria, Sattalia, Constantinople, Bethlehem, Jerusalem, Rhodes, and Chios. His illustrations of the most important towns, landscapes and people stand out both in terms of accuracy and level of detail. He also travelled to Egypt, where he climbed to the top of a pyramid and left his signature. De Bruyn secretly made drawings of Jerusalem, which was then part of the Ottoman Empire. His drawings of Palmyra were copies. He continued his journey to Cyprus and stayed with Dutch merchants in Smyrna and Constantinople. From 1684 onward, he collaborated with painter Johann Carl Loth in Venice before returning to The Hague in 1693 to sell his souvenirs.De Bruyn was both a skilled visual artist and knew how to write captivating prose. During his time in Rome, he joined the Bentveughels, a group of Dutch and Flemish painters where he received the nickname “Adonis”. After spending two and a half years in Rome, he embarked on a journey to the Near East in 1677. His travels took him to various destinations including Turkey, several Greek islands, Egypt, Palestine, Syria, and Cyprus. In 1684, he travelled to Venice and spent eight years working alongside the German painter Carlo Loth. Finally, in 1693, he returned to The Hague and oversaw the publication the present work.With two bookplates (of Dr. A.M. Ledeboer and the "Collectie Buijnsters-Smets") and a small label with a manuscript annotation ("met platen avant la lettre", incorrectly claiming the copy contains plates avant la lettre) on the front paste-down. With occasionally manuscript underlining of the text and a small near contemporary manuscript annotation in the margins (see for example leaf 73). A very good copy with joints professionally restored. Slightly foxed and browned throughout, some folds of the plates show minor fraying or very small, insignificant tears, the plate of Jerusalem comes from another copy. Otherwise in good condition. A remarkable illustrated work detailing 17th-century travel through Asia.l Boucher de la Richarderie I, 245; Cat. NHSM 257; Howgego to 1800 B177; Lipperheide Ci48; Röhricht 1184; STCN 832277576; Tiele 207; WorldCat 31685072; cf. Blackmer 225 (French ed. of 1714).

A. Asher & Co. B.V.Professional seller

Book number: ABC_47605

Keywords: [4C531C9794C4] AFRICA|[4C531C9794C4] AFRICA -> [1B215D78AF1D] Central & West Africa|[4C531C9794C4] AFRICA -> [C98C41A79B35] North Africa & Egypt|[9EE06DC76F16] ASIA|[9EE06DC76F16] ASIA -> [H9DK9EDSCHIJ] Central & West Asia|[80CBADC1D9E8] CARTOGRAPHY & EXP

[COSTUMES - MILITARY - EUROPE]. ENGELBRECHT, Martin & C.P. MAJ.

[115 contemporary hand-coloured engraved plates picturing 18th-century European military life].Augsburg, Martin Engelbrecht, ca. 1742. Folio. 115 engraved and magnificent hand-coloured plates, highlighted with gold and silver, drawn by C.P. Maj and executed and printed by the Augsburg engraver and art publisher Martin Engelbrecht (1684-1756). With separately printed engraved captions consisting of a (sometimes 2-line) title and a poem of 4 or 5 lines in French below each plate (except plates 55-56 which have a German caption printed below and a French caption in the plate), pointing out the characteristics of the man depicted. Modern red morroco, marbled sides.

115 plates.Extremely rare suite with 115 hand-coloured plates of the protagonists of the Austrian Succession wars. This collection of costume plates is very rare: neither Lipperheide nor Colas records it and we find only a few separate plates on the market and in libraries. We find only 7 sets recorded in the last 100 years with varing make-up and number of plates.The work was apparently also published and sold with the title Theatre de la milice etrangere: Schau-Bühne verschiedener bisher in Teutschland unbekant gewester Soldaten von ausländischer Nationen, also published by Engelbrecht (ca. 1746?), but with other, bilingual French and German captions printed below the plates. The plates show us lively pictures of the protagonists, especially of the foreign mercenaries, in action - often fiercely and ruthlessly - on the battlefields of 18th-century Europe during the War of the Austrian Succession and the first and second Selesian wars (ca. 1740-1748), the last Great Power conflict with the Bourbon-Habsburg dynastic conflict at its heart, and marked by the rise of Prussia as a major power.Thirty engravings are devoted to the Habsburg monarchy's military border, including a portrait of their famous commander Colonel Baron Francis von der Trenck (1711-1749), while fifteen more show Scottish Highlanders (“Montagnards d’Ecosse”), eleven Hungarian foot soldiers (“Tolpatches”), six Prussian Hussars from the regiment of Baron Johann Daniël von Menzel, including a portrait of him, six Fantasins (infantry from Carlstadt (Karlovac, Croatia), Uhlanen (light Polish-Lithuanian cavalry), Hajduk (irregular infantry), Dalmatians (Morlachs), Serbs and Croats (Varasdin). There are plates of officers and commanders as well as common soldiers, many fighting on horseback; some soldiers waving the flag of their unit, or playing the flute, trumpet, drums or bagpipes. Some are depicted with their wives (or mistresses) and children, including a plate of a sutler (someone who sold provisions); many apear against an interesting background picturing camps, cities, fortresses and soldiers cooking or being punished.Paper edges slightly soiled, otherwise in very good condition. A set of 115 very rare numbered plates of military costumes.l Cf. Friedrich Schott, Der Augsburger Kupferstecher und Kunstverleger Martin Engelbrecht und seine Nachfolger: ein Beitrag z. Gesch. D. Augsburger Kunst- und Buchhandels von 1719 bis 1896 (1924), 2354-2474 (3 sets with 95, 20 & 6 ll.); WorldCat (2 copies of the Theatre de la milice etrangere); not in Catalogue de costume militaires. Autriche-Hongrie (Paris 1928); Colas; Hiler; Lipperheide.

A. Asher & Co. B.V.Professional seller

Book number: ABC_46049

Keywords: [04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [G91CNMP078RQ] Drawings, Prints & Watercolours|[7F0260752519] EUROPE|[7F0260752519] EUROPE -> [C3F2680F4119] Central & Eastern Europe|[7F0260752519] EUROPE ->

EGE, Otto F (compiler & author of the annotations).

[Drop-title:] Fifteen original oriental manuscript leaves of six centuries. [Binding title:] Fifteen original oriental manuscripts.[Cleveland, Ohio?], [Cleveland Institute of Art or Western Reserve University?], [ca. 1952]. 15 manuscript leaves (in one case a fragment of a scroll) of various formats and sizes, some glazed (see the detailed list of contents for specific dimensions), 7 written on straight-forward laid paper (European and non-European), 6 more problematic (probably all non-European), 1 on straight-forward wove paper (no. 14, supposedly made in Russia) and one on vellum (no. 7), most rubricated and/or decorated in various colours, some decorated or highlighted in gold. Each manuscript leaf is mounted (hinged on one edge to allow access to both sides of the leaf) in a passe-partout (46.5 x 33 cm) and each has a letterpress slip (10 x 18 cm) with explanatory text tipped onto the foot of the passe-partout. The publication has no title-page but includes a letterpress folio leaf that serves as a table of contents and has the drop-title given above (the present copy contains two copies of that contents leaf). The display typeface used in the letterpress leaves (and on the portfolio) is the 1938 Libra by the Dutch designer Sjoerd de Roos, inspired by uncial manuscripts. Publisher’s original portfolio (48.5 x 34 x 4.5 cm) covered with black cloth with on-lays in black and red on the front and the author’s name in white and title in red on the spine, with three pairs of black ties (one on the inside) and a label on the inside of the right black flap giving information about the limited edition: "Edition limited to forty numbered sets of which this is No 33".

[1] leaf (plus a duplicate) plus 15 original manuscript leaves mounted in white passe-partouts.Copy number 33 (from a limited edition of 40) of Ege’s famous portfolio containing a collection of 15 leaves from oriental manuscripts, written between the 12th and 18th centuries. The press run had to be limited because some of the manuscripts probably had no more than about 40 leaves.Otto Frederick Ege (1888-1951) was the dean of the Cleveland Institute of Art, a lecturer on the history and the art of the book at Western (later Case Western) Reserve University in Cleveland and a famous (or infamous) biblioclast. He was one of the key figures in creating a market for medieval manuscript leaves in America during the 20th century. Between 1917 and his death in 1951, Ege acquired, broke up and subsequently dispersed hundreds of medieval and other interesting manuscripts and early printed books, wanting to give as many private collectors and public institutions as possible the opportunity to own these individual leaves. He was convinced that his purpose of inspiring as many people as possible by bringing them in contact with historical and artistic heritage, justified the means of scattering the manuscript leaves. In fairness to Ege, these were almost certainly incomplete manuscripts to begin with, though one could wish he had provided a detailed description of each manuscript before breaking them up and disbursing them, and his publications did make them available, albeit in the limited form of a single leaf, to a much greater audience than could have hoped to see, let alone own original manuscripts of this sort. Fortunately, people are now more reluctant to break up early manuscripts, but that also means that similar publications are less likely to appear in the future. Beginning in the 1940's, Ege compiled his most famous portfolios as two limited editions in press runs of 40 copies each: one portfolio with western medieval manuscript leaves and the present one with 12th to 18th century oriental manuscript leaves.The present portfolio includes leaves from 15 manuscripts produced from the 12th to the 18th century, in Egypt, Iran, the Byzantine/Ottoman Empire, Persia/Iran, Russia, Tibet and other places. These mainly religious texts were written in several different languages, including Arabic, Syriac, Armenian, Ethiopic, Persian, Tibetan, Greek and Church Slavonic. Two of the fragments, one in Greek and one in Church Slavonic, even include music notation (neumes). Although the publication names no publisher and gives no date of publication, Ege compiled it himself and wrote the notes about each manuscript leaf, but it is said to have been published after (probably soon after) his death in 1951 (the description of Ege as “late dean of ...” is slightly ambiguous, but may indicate that he had died). His brief notes on the manuscripts lack many details and are often not reliable (particularly the dating), so we have tried to make some additions and corrections in our detailed list of the contents. One of the Cleveland institutions where he worked probably published the portfolio. It is listed in the National Union Catalog of pre-1956 imprints. As Ege intended, many of his portfolios and other fragments were sold and distributed worldwide. Beinecke Rare Book & Manuscript Library at Yale University acquired his personal collection, including 50 unbroken manuscripts, for their special collections in 2015.A detailed list of contents is available upon request.The portfolio, the two copies of the contents leaf and the 15 passe-partouts with the manuscript leaves are in very good condition. A detailed condition report of the 15 manuscript leaves included in the detailed list of contents, available upon request.l WorldCat 15372178 (7 copies), 78768040 (2 copies), 1322443218 (1 copy).

A. Asher & Co. B.V.Professional seller

Book number: ABC_47136

Keywords: [9EE06DC76F16] ASIA|[9EE06DC76F16] ASIA -> [H9DK9EDSCHIJ] Central & West Asia|[403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS|[403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS -> [C351C9CFA94C] Manuscripts & Documents|[G8L0P27N9XV3] MIDDLE EAST & ISLA

GHEYN, Jacob II de.

The exercise of armes for calivres, muskettes, and pikes. After the ordre of his Excellence Maurits Prince of Orange Count of Nassau etc. Governour and captaine generall over Geldreland, Holland, Zeeland, Utrecht, Overijssel, etc. Sett forthe in figures by Jacob de Gheyn. With written instructions for the service of all captaines and comaundours. For to shewe hereout the better unto their jong or untrayned souldiers the playne and perfett maner to handle these armes.The Hague, [1607 (added in manuscript on the title page)]. 3 parts in 1 volume. Folio (ca. 37 x 27 cm). With engraved title page with at the head of the page the coat of arms of the dedicatee, Prince Henry Frederick, eldest son of King James I of England within a wreath of lilies and roses, which - together with the title and the imprint were engraved on 3 separate slips of paper pasted over areas left blank for that purpose; and 117 (including one repeat) expertly engraved plates (ca. 26 x 19 cm): 42 numbered plates in part 1, 43 partly-numbered plates in part 2 and 32 numbered plates in part 3. All engravings including the engraved title-page are magnificently coloured and highlighted in gold and silver by a contemporary hand. The plates show exercises with the arquebus (part 1), musket (part 2), and pike (part 3). Mid-19th-century gold-tooled half (faded) red morocco and red cloth sides, gilt edges, marbled endpapers, bound in 1840-ca. 1860 by the celebrated British bookbinder Robert Riviere (1808-1882) with his stamp "Bound by Riviere" in the bottom outer corner of the verso of the first flyleaf.

[4]; [2]; [3] ll.Splendid copy of this very rare English edition of De Gheyn's illustrated major military manual, with the plates in their first state, before they were numbered and with some details added during the colouring stage instead of being engraved (several puffs of smoke in the illustrations). The present copy is one of the three "presentation copies" of the first English edition (New Hollstein, The De Gheyn family, II, p. 159, 1b).The history of the publication of the book is complex. It appears that Count Johann II of Nassau-Siegen (1561-1623) commissioned De Gheyn in about 1596 to publish the work, together with, or with the support of, his nephew, the great military commander and Stadtholder Prince Maurice who had re-organised the army of the Dutch Republic. Many copies have the engraved date “1607” on the title-page changed to “1608”, suggesting that this may have been the true date of issue. The same “title-border” was used for the various early editions with the engraved texts on slips of paper to be pasted onto the places left blank on the engraved title-page. Different coats-of-arms were used for the different languages. The Dutch issues show for instance the coat-of-arms of Prince Maurice.This work is of the highest interest for military history regarding the early 17th century. It constitutes a simple, transparent, and well-illustrated manual for the instruction of recruits in the rapid and skilful handling of “calivers” (an obsolete name for the arquebus), muskets, and pikes, which had proven to be essential for the successful and revolutionary way of warfare introduced by Prince Maurice through reforming the Dutch army by introducing exercises and strict discipline in the past years. Fully coloured copies like the present were produced largely for princes and other important persons and were probably coloured by De Gheyn himself who was certainly responsible for the high standard of the colouring. In our copy the title is in the first undated state. All the early editions use the same main plate for the title-page, so the text and arms for the editions in various languages and with various dedications were engraved on three separate slips of paper to be pasted over blank spaces: for the coat of arms (above), the engraved title (centre), and the imprint and privilege (below). The book met immediate success and makes a considerable contribution to our knowledge of military history. The large format editions like the present were followed in 1609 and 1619, by smaller quarto editions with woodcut copies of the original engravings. The present copy varies slightly from other similar copies, in that the compiler of this particular copy added plate 34 in part two twice (unfortunately omitting part 2 plate 2 in that process) and adding 2 plates with minor variants to this copy (part 2 plates 29 and 35). Arguably, this makes the present copy even rarer.The provenance of the present copy is impressive to say the least. It was most likely the presentation copy from De Gheyn for Robert Cecil, first Earl of Salisbury (1563-1612), judging by the paper slip mounted on the recto of the second flyleaf which contains in early 17th-century manuscript the following text: "For my Lord ye(?) Earl(e) of Salisbury". This note is accompanied by a later, more extensive annotation below the slip of paper reads: "This appears to have been a presentation copy to Robert Cecil, Earl of Salisbury. The above inscription was on the fragment of a flyleaf, and is probably the autograph of the author - De Gheyn. [signature]". Robert Cecil was Secretary of State to Queen Elisabeth I of England and King James I of England. In 1608, around the time the present work was published, Cecil was appointed Lord Treasurer. Furthermore, the splendour of the expert and strictly contemporary colouring of all engravings including the title-page prove that the present copy was made for a very important person like a nobleman or high statesman. Other bookplates show that the present work was, at least, part of two other collections. The first of the two is Christopher Turnor (1809-1886) with his bookplate on the front pastedown, who was an English Conservative Party politician, MP for South Lincolnshire between 1841 and 1847, founder of Stoke Rochford Hall, and the son of English antiquarian, author, and politician Edmund Turnor (1755/56-1829). The second of the two is Hermann Marx (1881-1947), a famous German-born stockbroker and banker, and a noted book and print collector. His "very choice and valuable library" was auctioned by Sotheby's in 1948.With the book plate of Christopher Turnor on the front pastedown, the book plate of Hermann Marx on the recto of the first flyleaf, and the paper slip with the 17th-century dedication to the Earl of Salisbury (with the 19th-century(?) note below) on the recto of the second flyleaf. The numbers of the plates are added in a contemporary hand, since the plates here appear in their first (unnumbered) state. The first plate of each part also contains Gheyn’s signature ("J. De Gheyn. in.") in manuscript instead of as part of the engraving. The binding shows some signs of wear (some rubbing along the edges, corners and the spine and fading of the leather and cloth on the front board and spine), plate 2 in plate in part 2 has been replaced by a duplicate of plate 34 from the same part, internally some minor marginal browning or staining, but the coloured and highlighted engravings remain fine and clean. Overall in very good condition.l Cockle 79; Keynes, ‘New observations on Jacques de Gheyn’s “The Exercise of Arms”’, in: The Print Collector’s Newsletter, 13 (1983), pp. 211-212; Kist, Commentary to the facsimile of the Dutch edition (1971); Lipperheide, nos. 2057-2060; Meij, Jacques de Gheyn II als tekenaar, p. 12, nos. 15-20 (pp. 45-47); Muller, Historieplaten, no. 1117 (& Suppl.); New Hollstein, The De Gheyn family, nos. 340-457 (descriptions and illustrations of all plates); Regteren Altena, Jacques de Gheyn, Three generations, vol. 2, pp. 64-78, nos. 342-464; Simoni, ‘A present for a Prince’, in: Ten studies in Anglo-Dutch relations (1975); STCN 85107989X (3 copies); cf. Jähns, pp. 1005-1007 (other eds.).

A. Asher & Co. B.V.Professional seller

Book number: ABC_48580

Keywords: [04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [H9DK8KRLJRV2] Caricature, Costume & Satire|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [G91CNMP078RQ] Drawings, Prints & Watercolours|[KCVDN0K9X7XL] MI

[GLOBES - TERRESTRIAL & CELESTIAL]. CRUCHLEY, George Frederick.

Cruchley's new terrestrial globe from the most recent and best authorities, exhibiting the discoveries in equatorial Africa, North Pole, and the new settlements and divisions in Australia, New Zealand, California, Texas &c.London, George Frederick Cruchley, [ca. 1850]. With: CRUCHLEY, George Frederick. Cruchleys new celestial globe on which is accurately laid down the whole of the stars and nebule contained in the astronomical catalogue of the Reverend Mr. Wollaston F.R.S. Also from the authorities Flamstead, De la Caille, Hevellus, Bradley, Herschel, Maskelyne, &c. and the limits of each constellation determined by a boundary line.London, George Frederick Cruchley, [ca. 1850].A matching pair of terrestrial and celestial globes (53 cm diameter) each made a hollow paper-marché core (2 hemispheres, joined at the equator), covered with a layer of plaster and 12 hand-coloured, engraved gores, showing the terrestrial geography and celestial bodies in great detail. Each globe mounted in a mahogany tripod stand on small wheels. With a compass (diameter: 25 cm) at the base of each stand; graduated brass meridian ring and engraved graduated horizontal rings (paper pasted on the mahogany frame) showing the months of the year, the zodiac signs and wind directions.

A pair of Cruchley's large, highly detailed library globes, showing the most accurate and up-to-date mid-nineteenth-century terrestrial and celestial data. While the terrestrial globe precisely portrays the earth divided into the mid-19th-century nations and states, the celestial globe shows a more wonderous, imaginative depiction of the heavens. Mythical figures and the signs of the zodiac are depicted among the constellations in a captivating way.George Frederick Cruchley (1796/97-1880) was an English map-maker, publisher, book- and map seller, based in London. He started out as an apprentice with the renowned English cartographer, engraver and publisher Aaron Arrowsmith (1750-1823). After Arrowsmith's death, Cruchley established his own business in London. He particularly made a name for himself by acquiring the stock of the acclaimed firm of John Cary (ca. 1754-1835) and publishing his own maps and globes alongside Cary's. Apart from his globes is Cruchley best known for his detailed plans of London. Three years before his death in 1880, he auctioned off his remaining stock, which was largely acquired by the firm of Gall and Inglis, who continued publishing Cruchley's maps until the early 20th century.Both globes show slight signs of wear, mainly around the poles, on the horizontal ring and some small spots on the celestial globe; most of the gores have been professionally restored, cleaned and revarnished, thus the text and images remain clear. Overall in very good condition.

A. Asher & Co. B.V.Professional seller

Book number: ABC_47247

Keywords: [80CBADC1D9E8] CARTOGRAPHY & EXPLORATION|[80CBADC1D9E8] CARTOGRAPHY & EXPLORATION -> [D1FD79398985] Atlases, Charts, Maps & Globes|

GRANDES ESCALES MARITIMES, LES.

(Acta) de la réunion organisée par la Société Jean Bodin & la Commission Int. d'Histoire Maritime, Bruxelles et Anvers 1968. Thème du Congrès: étude historique et comparative des 'grandes escales maritimes'. N.pl., 1968. 4to. ca. 190 p. Wrs. (Ca. 45 lectures on harbours, of which 8 on harbours in antiquity)

Antiquariaat Fragmenta SelectaProfessional seller

Book number: 29203

Catalogue: Ancient History

Keywords: Antike

HENDERSON, William Augustus.

The housekeeper’s instructor; or, universal family cook. Being an ample and clear display of the art of cookery in all its various branches ... Likewise the making and keeping to perfection British wines, and proper rules for brewing malt liquor. … To which is added the complete art of carving.London, W. & J. Stratford, [ca 1790?]. 8vo. With an engraved frontispiece and 11 engraved plates (2 folding), mostly showing carving techniques or how to arrange the dishes on the table during suppers. Contemporary half calf, marbled paper sides, red morocco spine label.

456, [24] pp.One of the first editions of a best-selling English cookery book written by William Augustus Henderson, which was published in 17 editions up to 1823. The book contains the most diverse 18th-century recipes, from soups and broths to ragouts, stews and vegetables to pastry and other sweet foods, such as puddings, cheesecakes and pancakes. It also discusses several cooking techniques, such as pickling, collaring and potting and other methods to preserve, meat, fruit and vegetables.Binding a little worn, a few bits of the marbled paper lost at the corners. First leaves slightly browned, frontispiece a little loose and some small holes and tears in the subscriber's list (neither affecting the text or plates).l ESTC T127430; cf. Bitting, p. 224 (other eds.); Vicaire, col. 441 (1811 ed.).

A. Asher & Co. B.V.Professional seller

Book number: L52FSEX79ECK

Keywords: [BFFF1D78AE20] HISTORY, LAW & PHILOSOPHY|[BFFF1D78AE20] HISTORY, LAW & PHILOSOPHY -> [ABC_000681] Women Studies|[G8L0ANJLZU76] MEDICINE & PHARMACY|[G8L0ANJLZU76] MEDICINE & PHARMACY -> [G8L05113H1Z6] Gastronomy & Tobacco|

HOGENDORP, Dirk van.

[Autograph letter by Dirk van Hogendorp to the Amsterdam solicitor J. de Vries jr.].[Amsterdam], 12 July 1833. 8vo (ca. 19,5 x 22,7 cm). Text within a black border, which does not continue along the lower edge of the sheet.

[4] pp.Letter by a member of one of the most respectable families of the Netherlands, Dirk van Hogendorp (1797-1845), the son of Gijsbert Karel van Hogendorp (1762-1834), one of the famous “Driemanschap” (Triumvirate) that invited Willem Frederick, the eldest son of Stadtholder William V to become Prince of the new independent Netherlands in late 1813; after 1814 as King William I of the Kingdom of the Netherlands. In this letter to the Amsterdam solicitor J. de Vries, Dirk van Hogendorp asks for a favour: to frame and present a petition on behalf of the mother of a certain Pieter Penser to the Amsterdam Court asking to postpone Pieter’s sentence of 2 months in prison to October or November of 1833. Pieter was a servant on a barge in the inland navigation who had, together with a notorious queer-basher, severely mistreated two men who had approached him - a “beau garçon” - in a suspicious way. The mother who was dependent on the income of her son, couldn’t miss the money her son could earn in the summer.Only slight fraying to the outer edges, with remnants of a black wax seal, the work was folded in the past. The letter is overall in very good condition.

A. Asher & Co. B.V.Professional seller

Book number: 1901

Keywords: [403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS|[403A2955597B] AUTOGRAPHS, DOCUMENTS & MANUSCRIPTS -> [B46CA4E81CA8] Autographs & Letters|[BFFF1D78AE20] HISTORY, LAW & PHILOSOPHY|[BFFF1D78AE20] HISTORY, LAW & PHILOSOPHY -> [7D9788317463] Law & Politics

LAEN, Adolf van der & Hendrik de LETH.

Afbeeldinge van het out adelyk huis Middachten, op de Veluwe, in Gelderlant. Zoo in een generael, als veele particuliere gezichten der gebouwen, tuinen, plantadien enz. toebehorende den hoogwelgeboren heere, den heere Reinhart, baron van Reede, heere Van Ginkel, Middachten, Zuilenburg, Rouwenberg, Burghman tot den Niënburg enz. ... [title-print:] Verscheyde schoon en vermaakelyke gesichte[n] van 't adelyk huis van Middagten ...Amsterdam, Andries & Hendrik de Leth, [ca. 1725/31]. Oblong folio (ca. 29 x 23 cm). With the title-print and 19 (of 21) numbered engraved views (ca. 16 x 20 cm), printed on laid paper without watermarks and mounted on wove paper. All prints captioned in Dutch and French below the image, except for the title-print, which is captioned in Dutch only. 20th-century half maroon cloth and maroon paper.

[4] ll. plus title-print & 19 of 21 numbered views.Rare print series showing the estate Middachten and its surroundings in the Veluwe region in the province of Gelderland in the Netherlands, near Arnhem, here presented in a 20th-century album. The fine engravings, drawn and engraved by Adolf van der Laen and Hendrik de Leth, and published by De Leth and his father Andries, show a bird's eye view of the whole estate and more detailed scenes of the house, stables and gardens, as well as beautiful vistas of the broader surroundings. The estate Middachten dates back to 1190, and the castle and grounds have been in possession of the same family since the 13th century. With the bookplate of Th[eodoor]. J[ohan]. Verrijn Stuart (1868-1930), director of the typefoundry Lettergieterij “Amsterdam” ca. 1906 to his death, on the front paste-down. The letterpress leaves and prints have been trimmed (with no loss except the name "G. Tysens" below his laudatory verse in the preliminaries) and mounted on wove paper. Lacking prints 4 and 8 and very slightly browned, otherwise in very good condition.l Springer, pp. 46-47; STCN 184535468 (4 copies); WorldCat 69000793, 470418374, 920795864 (10 copies); not in Hunt & De Jong, The Anglo-Dutch garden in the age of William and Mary (1988).

A. Asher & Co. B.V.Professional seller

Book number: ABC_46671

Keywords: [04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [1FF65578C362] Architecture & Gardens|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [G91CNMP078RQ] Drawings, Prints & Watercolours|[L12BKU763RAL] LOW COUN

MARTIALIS, Marcus Valerius.

[Epigrammata]. (Colophon: Venice, Aldus Manutius, December 1501). 8vo (16 x 10 cm). With 15 (mostly 6-line) spaces with printed guide letters left for manuscript initials. Except for an occasional word in Greek, the book is set entirely in the world's first italic printing type (with small upright capitals, which are also used, usually letterspaced, for running heads, headings, the opening line of each liber, etc.). Francesco Griffo cut it for Aldus, who uses it here 8 months after he introduced it in his Virgil. Tanned sheepskin (ca. 1700?), gold-tooled spine and board edges.

[381], [3 blank] pp.First Aldine edition of Martial's epigrams, the fifth book in Aldus's series of octavo classics set in the world's first italic type, introduced with his octavo edition of Virgil in April 1501. While the octavo format was not new, it had been most common in devotional works and rarely if ever used for classics. Aldus used this format and the small and narrow italic type primarily for works in verse, which had fairly short lines. Perhaps for that reason, he also departed from what were then the normal proportions of sheets of paper. Aldus himself notes in the 1501 octavo edition of Juvenal and Persius that the books in this format "may be more conveniently held in the hand and learned by heart (not to speak of being read) by everyone", suggesting that they are both more portable and less expensive. He therefore met the needs of the growing market of students, as well as men of business who wished to be fashionably intellectual or simply enjoyed good literature. Martial's epigrams, written between AD 86 and 103, provide not only a masterly model of Latin poetic style, but also a window into classical Roman society in the early years of the Empire, often relating situations and problems encountered in daily life and how people react to them, whether wisely or foolishly. With an early owner's inscription struck through at the head of the first page and a few contemporary and later manuscript notes. Also on the first page are some attractive calligraphic trials (ca. 1700?). The initial B in the space left for that purpose at the opening of Martial's preamble appears to have been written by the same hand. With occasional water stains, browning or foxing, not severe and mostly confined to a few scattered quires, so still in good condition. A crack running nearly the whole length of the spine has been repaired, and some cracks remain in the hinges.l Adams M689; Ahmanson-Murphy I, 37; Dibdin, Greek and Latin classics II, p. 229; Renouard, Annales ... Alde, p. 30, no. 7; USTC 841150.

A. Asher & Co. B.V.Professional seller

Book number: AB3GZB5NT60T

Keywords: [94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING & PRINTING|[94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING & PRINTING -> [FB20CDE518CF] Book History, Calligraphy & Printing|[KCRG291IIT91] EARLY PRINTING & MANUSCRIPTS|[KCRG291IIT91] EARLY PRINTING & MANU

OTTO VAN PASSAU.

Boeck des gulden throene of der xxiiij ouden. Utrecht, [printer with monogram "tC"], [30 March] 1480. Folio. With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large manuscript initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross. Contemporary (Utrecht?) blind-tooled calf over wooden boards, each board in a panel design with the central part ruled in a lozenge pattern with about 200 impressions of 4 small separate stamps; re-backed, with modern morocco title label.

[4], 197 ll.First Dutch edition of Otto van Passau's devotional work (dated 20 days after the original German edition), the first Dutch book extensively illustrated with woodcuts. The Gouda Dialogus Creaturarum was published a month or two later, in June 1480. Each of the 24 chapters opens with a woodcut illustration, showing a pious woman (the loving soul) taking advice from a king (the 24 elders of the Apocalypse). In each chapter one of 24 biblical wise men (the elders of the Apocalypse) teaches the soul how to live as a good Christian. Our copy is richly and beautifully adorned with decorated initials supplied by hand and is rubricated throughout. The work was immensely popular and there are many manuscripts and early editions in both German and Dutch. Our first edition of the Dutch translation is of the utmost importance for the history of the text: serving as the source for all subsequent Dutch editions (as well as manuscripts). Some library stamps at foot of first leaf. In very good condition, with some tears and small holes in leaves repaired, first and last leaves thumbed; final blank lacking. Re-backed, and with the leather restored where the fastenings were formerly attached. Beautiful large-margined copy from the Broxbourne Library (bookplate at the end).l BMC IX, p. 14; Campbell 1342; Goff O-124; Hain 12131; HPT I, p. 47; IDL 3462; ILC 1674; Oates 3331; Polain (B) 2940; Proctor 8861; Schmidt, Die vierundzwanzig Alten Ottos von Passau (Leipzig 1938); 500ste verjaring boekdrukkunst in de Nederlanden (Exh. Utrecht/Brussels 1973), 153.

A. Asher & Co. B.V.Professional seller

Book number: 6204

Keywords: [04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [G91CNMP078RQ] Drawings, Prints & Watercolours|[94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING & PRINTING|[94684889A2BD] BOOK HISTORY, EDUCATION, LEARNING &

[PERKOIS, Jacob and Johannes Hubertus PRINS].

[Print series from: Verzameling van verschillende gekleede mans- en vrouwen-standen, ter oefening van jonge schilders en liefhebbers, naar 't leven geteekend]. [Rotterdam, J. Immerzeel, 1818 (engraved ca. 1790)]. 4to or cut down folio. A series of 32 (of 33) numbered full-page aquatint and stipple-engraved prints. Lacking plate 5, which has been replaced by an aquatint of a woman cleaning fish by Hermanus Fock. With 2 extra prints loosely inserted: colour-printed versions (inked a la poupée) of plates 20 and 25. Mid-19th-century half maroon sheepskin.

33 engr. ll.An aquatint and stipple-engraved print series of costumes and professions. They were drawn by Perkois (1756-1804) and Prins (1757-1806) ca. 1790 and engraved by Sallieth (1749-1791) as models for young artists to follow. The 1818 publication indicates that they had previously been issued individually but never before collected for publication in book form. The two loosely inserted prints have the exposed skin of the faces, necks, arms and hands printed in a soft shade of red with the rest in black, inked a la poupée. With a tear in one plate, not affecting the image (repaired with tape), 3 plates foxed and a few others with minor foxing, but still in very good condition.l Cat. Kunsthist. Bibl. Rijksmuseum Amsterdam II, p. 777; Colas 2311; Landwehr, Colour plates 389; Lipperheide Gb 46 note.

A. Asher & Co. B.V.Professional seller

Book number: 1418

Keywords: [04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [34ED9446A42A] Art & Art History|[04F65CFF5112] ART, ARCHITECTURE & PHOTOGRAPHY -> [H9DK8KRLJRV2] Caricature, Costume & Satire|