The First Reader in Spanish

Teresa De La Parra, Teresa De La Parra: Ifigenia, Stockcero 2008 ; weicher Einband / soft cover ISBN: 193476812X
Ifigenia: Diario de una senorita que escribio porque se fastidiaba (Diary of a young lady who wrote because she was bored, 1924) is the first of two novels by the Venezuelan writer Teresa de la Parra (Paris, 1889-Madrid, 1936). Her second, much shorter novel, Las memorias de Mama Blanca (1929), was one of the few authored by a woman to be admitted to the Spanish American canon before the radical rereading of the tradition by feminists in the 1970s and 80s. Ifigenia, however, was long neglected, in part, due to the controversy it ignited when it first appeared and its subtle and even deceptive use of a first person narrative. Recently, the contemporary Mexican novelist Carmen Boullosa has described Ifigenia as "one of the most convincing, intelligent, and seductive novels in [the Spanish] language," and called its republication "an elemental and necessary act of literary justice." In her own times, Teresa de la Parra mingled with the European and Latin American avant garde, but resisted its fascination while taking note of its lessons. Instead, she opted to respect the basic narrative rules of the 19th century, but used these to describe a very modern conflict: women's need for economic and intellectual independence, and the tragic and far from edifying fate reserved for those who fail to achieve it. Eugenia, the novel's young, naive, but ambitious, intelligent, and well-read protagonist/narrator, tells her own story, at first in a confidential letter to her best friend, and then, to the ever forgiving indulgence of "Dear diary." The narration is by turns witty, even mockingly funny, presumptuously self-important, and poignant as it reveals the temptations and doubts of an all too inexperienced young woman pressured to choose among too few alternatives. Eugenia's confessional tale takes us on a mesmerizing tour through the confined universe of an upper class senorita in the Caracas of the early 1920s. At first her journey seems a safe and even promising one, but soon enough the reader discovers that her comparatively privileged world bears little resemblance to paradise. To grow, to mature, to understand, in this world mean to eschew ones better judgment, to become diminished, to live life as a string of renunciations. The title hints at sacrifice. To join this social order is to become a sacrificial victim, true, but the voice we listen to (socially constructed, like all voices) is compelling proof that everything urgently needs to be rethought. The novel itself forces us to rethink, and paradoxically does so by appearing to respect the very rules that suffocate its heroine. In this edition Elizabeth Garrels (MIT) provides a critical foreword and notes to assist the reader in discovering the richness and complexity of this longtime underestimated novel. Spanisch,

de 408S. 22,86 x 15,49 x 2,79cm

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(Herausg.): Austin Val Verde: A Montecito Masterpiece, Balcony Press, ISBN: 1890449393
leichte Lagerspuren Kurzbeschreibung\nMontecito, California is home to some of America's most spectacular private residences. Most amazing perhaps is Val Verde, the house built in 1915 on a breathtaking seventeen-and-one-half-acre coastal plot by American architect Bertram Goodhue. Besides its status as the most preserved of the great early-twentieth-century Southern California estate properties, Val Verde also bears the distinction of being the earliest American free-standing single-family house in the Spanish Colonial Revival style. Austin Val Verde: A Montecito Masterpiece is the first book to reveal the full extent and richness of Val Verde's architecture, interiors, and gardens. The book includes never-before-published color photographs of the house and its gardens by the late Berge Aran that capture the enchanting spirit of this American architectural icon and give the reader the rare opportunity of exploring this wonderful place, inside and out. \n\nSynopsis\nMontecito, California is home to some of America's most spectacular private residences. Most amazing perhaps is Val Verde, the house built in 1915 on a breathtaking seventeen-and-one-half-acre coastal plot by American architect Bertram Goodhue. Besides its status as the most preserved of the great early twentieth-century Southern California estate properties, Val Verde also bears the distinction of being the earliest American free-standing single-family house in the Spanish Colonial Revival style. Austin Val Verde: A Montecito Masterpiece is the first book to reveal the full extent and richness of Val Verde's architecture, interiors, and gardens. The book includes never-before-published color photographs of the house and its gardens by the late Berge Aran that capture the enchanting spirit of this American architectural icon and give the reader the rare opportunity of exploring this wonderful place, inside and out. , ISBN-13: 9781890449391

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[SAXONY]. Saxoniae ducum caesarib. creand. viivirum; et caeserorum a Friderico I. ad Christianum II. fratres et agnatos. Genuinae effig: Cum collect. et epigramm. Marci Henningi. A. Augsburg, Ex caelatura et officina. Dominicus Custos eiconoge, 1601.
Good copy with the engravings printed on large folio leaves from the library of Jean de Boulonois, the rector of the Gymnasium at Abbeville, North-Western France: ownership's entry dated 1608 on the first title.- (Some browning at places; some waterstaining in the upper margin; with many very interesting annotations in contemporary handwriting (in nrs. 7-10) containing mostly biographical data and verses on some of the persons depicted).

Folio. Contemporary full brown calf, both sides magnificently tooled in gold with a floral roll along the edges and four cornerpieces, an oval gilt coat of arms in a wreath with the motto 'Ad Aethera virtus' in the centre, spine profusely gilt in compartments and lettered in gold.The coat of arms is of Jean de Boulonois a clergyman from the College at Abbeville and so the book was in his possession ('un chevron charge de trois besants (boules=Boulonnois) acc. de trois etoiles'). With engraved title-page, full-page map of Saxony and Thüringen in a cartouche, full-page coat of arms of the Saxomian king, and engraved dedication, beautifully engraved head- and tailpieces and 21 engraved portraits (ca. 182 x 128 mm.) of Saxonian monarchs and dukes from Frederik I Bellicosus till Johannes Ernestus II. 34 lvs. (2) <B>GENEALOGIA </B>serenissimor. Boiariae ducum et quorundam genuinae effigies. A Wolffg. Kiliano Aug. aeri incisae.Augsburg, Johann Praetorius for Dominicus Custos, 1605. Folio. 16 leaves.Engraved title-page, 9 engraved half-page portraits (176x122mm.) by Wolfgang Kilian (1581- Augsburg -1662) who worked for this step-father Dominicus Custos. After Custos's death in 1616 Kilian founded his own printer's shop. Printer's device of Dominicus Custos on the verso of the last leaf. Origianl edition of these beautiful portraits.(Thieme-Becker, XX, p. 302-3; A. Hämmerle, Die Augsb. Künstlerfam. Kilian (1922)).(3) <B>HENNINGUS, Marcus</B>.Tirolensium principum comitum ab an. Virg. partus M.CC.XXIX usque ad ann. MDC. genuinae eicones. Singulorum insignia: quorundam emblemata.Augsburg, Johannes Praetorius for Dominicus Custos, 1599. Folio. 38 leaves with the last blank.Engraved title-page, engraved dedication and full-page engraved coat of arms, engaved map of Tirol in cartouche and 28 full-page portraits (ca. 220x140mm.). Original edition of this work on the monarchs of Titol. In the same year there appeared also two editions printed by Johan Schultes for Dominicum Custos.(Jöcher-Adel., II, col. 1917; VD 16, H 1932).(4) <B>BARLANDUS, Adrianus</B>.Chroniques des ducs de Brabant, composees par adrian Barlande, rhetoricien de Louvain, et nouvellement enriches de leurs figures & pourtraits. Par la despense & vigilance de Jean Bapt. Vrient.Antwerp, Jean Baptist Vrints, 1603. Folio. (18), 192, (6) pp. With engraved coat of arms on the title, engraved dedicatioon, double-page map of Brabant, dated 1599 and 36 full-page portraits (ca. 208x136mm.). First French edition of this historical work by Barlandus (1486-1538) on the dukes of Brabant. The origianl Latin edition appeared in 1526 under the title Rerum gestarum a Brabantiae ducibus historia.(Bibl. Belg., I, p. 173).(5) <B>MARTIN, Cornelius</B>.Les genealogies, et anciennes descentes des forestiers et comtes de Flandre, avec brieves descriptions de leurs vies et gestes le tout recueilly des plus veritables, approvees et anciennes croniques et annales qui se trouvent, par Corneille Marti Zelandoys, et ornees de portraicts figures et habitz selon les facons et guises de leurs temps, ainsi quelles ont estie trouvvees es' plus anciens tableaux, par Pierre Balthasar, et par Luimesme, mises en lumiere.Antwerp, Jacques Mesens for Jean Baptist Vrints, 1598. Folio. (6), 120 pp.With engraved title-page, engraved dedication and map of Flandres, 40 full-page portraits (ca. 205x142mm.) and an engraved allegorical plate with an engraved poem by Ch. de Navieres underneath on the last leaf.With poem 'for the reader' by Jan van der Noot.Second edition of this fine series of portraits of the counts and foresters of Flanders. The first edition was printed in Antwerp by A. Bax for Pierre Balthasar in 1580.(Belg. Typogr. 2060).(6)<B> GALLE, Philippus</B>. Les vies et alliances des comtes de Hollande et Zelande, seigneurs de Frise.Antwerp, Christoffel Plantin for Philippus Galle, 1586. Folio. 75, (3) pp.With title vignette of the Dutch Virgin in an enclosure, engraved by Philippus Galle in 1578 and 36 full-page portraits (ca. 208x122mm.) of the counts of Holland and Zealand, engraved, also in 1578, by Philippus Galle after the drawings by Michael Thibaut. Second edition (with a French title-page) of the plates that originally illustrated the famous historical work by Michael Vosmeer: Principes Hollandiae et Zelandiae (Antwerp, Christ. Plantin, 1578)(Sellink, I, p. 65; II, Plates 2,48-9; not in Belg. Typogr.)(7) <B>PASSE the elder, Chrispijn de</B>.Effigies regum ac principum, eorum scilicet, quorum vis ac potentia in re nautica seu marina prae caeteris spectabilis est ... Summa diligentia et artificio depictae, et tabellis aeneis incisae a Crispiano Passaeo Zelando. Adiectis in singulas hexastichis Matthaeiae Quadi chalcographi.(Cologne, 1598).(1 katern: 6 leaves with the text in letterpress: 'Initium artis navigandi, eiusque praecipui autores et acto', dated: Coloniae, 1598, ipso die Theophoriae.)With engraved title-page, 4 added engravings of ships and 2 engraved celestial maps (Imagines coeli septentrionales and Meridionales) and the 18 portraits (ca. 138x100mm.)belonging to this edition. Added are the beautiful portrait of Fredrik Henry (Hollstein 728) and a second portrait of Maurits (Hollstein 789, dated 1600) and 2 other portraits, pasted on the versos of two portraits: the portraits of Christian IIII of Denmark and Francis Drake, opposite the portraits of the same men by Van de Passe), most of them signed by Crispijn van de Passe and dated 1595-1598.(Hollstein, XV, nr. 850).Added are 27 (out of 51) portaits of political figures and authors from the Low Countries from:(8) <B>GALLE, Philippus</B>.Illustrium Galliae Belgicae scriptorum icones et elogi.Antwerpen, Philippus Galle, 1604.Without a title-page. The portraits (ca. 172x118mm.) are: Viglius Zuichemus (19), Gabriel Mudaeus (20), Franciscus Balduinus (21), Jodocus Damhouder (22), , Jacobus Raevardus (23), Petrus Peckius (24), Joannes Wamesius (25), Joh. Goropius Becanus (31), Joannes Beverus Hanno (34), Erasmus (35b), Augustinus Hunnaeus (35), Patrus Nannius (36), Cornelius Valerius (37), and 38-51 (a.o. Willem Canter (40), Jan Lievens (41), Ogier Ghislain de Busbeck (44), Abraham Ortelius (45), Janus Secundus (46), Nicolaus Grudius (47)), Macopedius (48)). all with engraved poem by Franciscus Raphelengius or A. Miraeus, Jac. Rol, Janus Lernutius and others underneath.(Sellink, II, p. 231-3)(9) <B>GALLE, Philippus</B>.Virorum doctorum de disciplinis benemerentium effigies XLIIII a Philippo Galleo.Antwerp, Philippus Galle, 1572.Engraved title-page, 26 (out of 44) engraved portraits (ca. 175x 123mm.) on large paper.Among the very first works Phillip Galle published at Antwerp were two large series of portraits, indicating that the genre was very dear to him and that he must have held high hopes on its commercial success. One of them is a re-edition of his series of the Virorum doctorum effigies published in Haarlem in 1567 of which, however, no complete copy is known; perhaps it was even never published in his final form. The new and revised compilation of 44 portraits - all of which are engraved by Phillip Galle himself) consists of an engraved title-page with two female personifications holding a banderolle with the inscription 'Sapientiae hominum cultrici P.', referring to the everlasting memory of human wisdom (Sellink, fig. 2,11) and the table of contents with the 'Approbatio' in letterpress. The preface by Galle (2 pp.) is lacking. Then follow 26 (out of 44) portraits with the inscriptions underneath engraved in the copperplates: being the second issue (1572b edition). These verses were by the Spanish humanist Benito Arias Montano. Among the 26 portraits are those of Aeneas Silvius, Benito Arias Montano, Bilibaldus Pirckheimer, Christ. Plantin, Dante, Petrarca, Hadrianus Junius, Bocaccio, Joh. Douza, Joh. Fischer, Louis Vives, Petrus Apianus, Petrus Bembus and Rembertus Dodonaeus. This 1572 edition aims at providing the contemporary reader with a selection of the foremost humanits and scholars of the time.(Sellink, I, p. p.48-53, II, App. 2B; Belg. Typogr. 1219).(10) Added are 40 (out of 50) portraits (ca. 170x124mm.) from the 1587 edition, the promised supplement to the 1572 edition: the nrs. 1 (Thomas Aquino). 2, 5, 8-9, 11 (Lamb. Hortensius), 12, 13 (Andreas Scott (both versions), 14-22, 29 (Carolus Clusius), 30-31, 32 (Aldus Manutius), 33-36, 37 (Aretino), 38, 39 (Gerard Mercator), 40 (Seb. Münster), 41-46, 48-50, + Franciscus Simenius, Cardin. Hispaniae.(Sellink, I, p. 53-7; II, App. 2C; Belg. Typogr. 1211).

[SW: Netherlands; Germany; Armorial Bindings; History; Portraits]

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MURPHY, James Cavanagh, with text by T. Hartwell Horne. The Arabian Antiquities of Spain. London. Cadell & Davies. 1813 (1815).
"The interesting but imperfect descriptions of the remains of Arabian Art, exhibited in the volumes of some modern travellers, as existing in the once renowned Mohammeden cities of Granada, Cordova, and Seville, excited in the author an ardent desire to visit them. He accordingly embarked for Spain, and arrived at Cadiz early in May, in the year 1802; whence he proceeded to Granada, through lower Andalusia. The Governor of the Alhambra, desirous that the knowledge of its splendid architectural remains should be accurately transmitted to posterity, obligingly facilitated the author's access to that royal palace, at all hours of the day; while he was employed in the agreeable task of measuring and delineating its interior works. Equal facilities were offered at Cordova, the remains of whose celebrated Mosque and Bridge were delineated in the former part of the present volume. Seven years were unremittingly devoted to these delightful pursuits; and since the author's return to England in 1809, nearly seven years more have been wholly given to preparing for publication the present work.The admirers of the Arts are here presented with the result of fourteen years continued labour, executed at an expense of many thousands of pounds; - in the hope that, by the union of the graphic art with the descriptions of the engravings annexed, such facilities will be afforded, as shall enable the reader to form an accurate estimate of the very high state of excellence, to which the Spanish Arabs attained in the Fine Arts, while the rest of Europe was overwhelmed with ignorance and barbarism." (Introduction).Murphy, who began his working life as a bricklayer, went on to become one of the architects consulted over additions to the House of Commons. He journeyed to Cadiz in 1802 and this work is the result of his studies. It is notable for his accomplished drawings of the Moorish architecture at Cordova and the Alhambra. The completion of the work was actually superintended by Horne, since Murphy died in 1814 before the final publication.

Large folio. Red morocco-backed marbled boards, banded spine wih title gilt in seven compartments, a.e.g. Engraved title, introduction with list of plates verso, description of plates (pp. 21, (1)), 102 engraved plates (numbered 1-97, including plate VIII nos. 1 & 2, plate LXXIX appears twice, with the second being a detail from the first, plate LXXX also appears twice with the second being a detail from the first and plate LXXXVI which appears three times, with the second two plates being details from the first) plus engraved title to the second part, 'Description of the Palace of the Alhambra'.

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