Null Bandiera di un Jingling Johnny del reggimento di fanteria "Herzog Karl von …

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Bandiera di un Jingling Johnny del reggimento di fanteria "Herzog Karl von Mecklenburg-Strelitz (6° Prussia orientale) n. 43, Germania, 1890 circa. Tessuto di seta chiaro a più strati (piccoli strappi isolati) decorato con frange dorate su quattro lati e due nappe dorate agli angoli inferiori. Al centro del dritto l'aquila prussiana con piume imitate di stoffa fine marrone e ali nere di stoffa ricamata, circondata da un elaborato ricamo in argento dorato (in parte scurito) con foglie di quercia, intrecciato con lo stendardo ricamato con il nome del reggimento "Infant Regt. Herzog Karl v. Mecklenburg-Strelitz (6. Ostpr.) No. 43". Sul rovescio, il simbolo del sovrano coronato "WR" in un elaborato ricamo in argento dorato (in parte scurito) in mezzo a ramoscelli di alloro e di palma. Sulla parte superiore una lunga apertura orizzontale in pelle bianca con bordo ripiegato per l'asta in ottone dorato con cordoncino arrotondato dorato per il fissaggio al Jingling Johnny nel becco dell'aquila. Leggermente danneggiato in alcuni punti, tracce di età. Dimensioni della tela circa 30 x 38 cm. Estremamente raro e in condizioni complessivamente buone. L'unità adottò il nome "Herzog Karl von Mecklenburg-Strelitz" iscritto sulla bandiera a mano per ordine di Guglielmo II il 27 gennaio 1889. Condizione: II

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Bandiera di un Jingling Johnny del reggimento di fanteria "Herzog Karl von Mecklenburg-Strelitz (6° Prussia orientale) n. 43, Germania, 1890 circa. Tessuto di seta chiaro a più strati (piccoli strappi isolati) decorato con frange dorate su quattro lati e due nappe dorate agli angoli inferiori. Al centro del dritto l'aquila prussiana con piume imitate di stoffa fine marrone e ali nere di stoffa ricamata, circondata da un elaborato ricamo in argento dorato (in parte scurito) con foglie di quercia, intrecciato con lo stendardo ricamato con il nome del reggimento "Infant Regt. Herzog Karl v. Mecklenburg-Strelitz (6. Ostpr.) No. 43". Sul rovescio, il simbolo del sovrano coronato "WR" in un elaborato ricamo in argento dorato (in parte scurito) in mezzo a ramoscelli di alloro e di palma. Sulla parte superiore una lunga apertura orizzontale in pelle bianca con bordo ripiegato per l'asta in ottone dorato con cordoncino arrotondato dorato per il fissaggio al Jingling Johnny nel becco dell'aquila. Leggermente danneggiato in alcuni punti, tracce di età. Dimensioni della tela circa 30 x 38 cm. Estremamente raro e in condizioni complessivamente buone. L'unità adottò il nome "Herzog Karl von Mecklenburg-Strelitz" iscritto sulla bandiera a mano per ordine di Guglielmo II il 27 gennaio 1889. Condizione: II

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Leibniz, Gottfried WilhelmPrincipia Philosophiae (i.e. Monadologie). In: Actorum Eruditorum ... Supplementa Tomus VII. Leipzig, Breitkopf, 1721. S. 500-514. (Und:) Des Herrn Gottfried Wilhelm von Leibnitz Lehrsätze über die Monadologie &c. In: Acta Eruditorum anno MDCCXXI, S. 94/95 (Christian Wolffs Rezension). Zus. mit einem weiteren Jg. (1720) u. einem weiteren Supplement (VI, 1721) in 2 Bänden. 8°. Pgt. d. Zt. mit span. Kanten, 1 Bd. mit Farbschnitt u. goldgepr. RTitel (etw. berieben, tls. fleckig). Philosophie Leibniz, Gottfried Wilhelm Principia Philosophiae (i.e. Monadologie). In: Actorum Eruditorum ... Supplementa Tomus VII. Leipzig, Breitkopf, 1721. S. 500-514. (Und:) Des Herrn Gottfried Wilhelm von Leibnitz Lehrsätze über die Monadologie &c. In: Acta Eruditorum anno MDCCXXI, S. 94/95 (Christian Wolffs Rezension). Zus. mit einem weiteren Jg. (1720) u. einem weiteren Supplement (VI, 1721) in 2 Bänden. 8°. Pgt. d. Zt. mit span. Kanten, 1 Bd. mit Farbschnitt u. goldgepr. RTitel (etw. berieben, tls. fleckig). Erste lateinische Ausgabe des Hauptwerkes der Leibniz'schen Philosophie in der Übersetzung Christian Wolffs, die für die Verbreitung von Leibniz' Philosophie von großer Bedeutung war, da der ursprüngliche, auf Französisch und nur für einen kleinen Kreis von Gelehrten verfasste Text nicht vor 1840 im Druck erschien. Eine nur in sehr geringer Auflage gedruckte und dementsprechend seltene deutsche Übersetzung von Hermann Köhler aus dem Jahr 1720 kursierte praktisch nur unter der Hand. Hier zusammen mit Wolffs anonym erschienenen Rezension der deutschen Übersetzung der "Monadologie", die enormen Einfluss auf die Rezeption des Textes bis in die Moderne ausübte. "Until the XXth century, criticism about Leibniz's 'Principles of Nature and Grace' and 'Monadology' has been characterised by a number of mistakes and misunderstandings, which have roots in the circumstances surrounding the genesis of these manuscripts. As a consequence, erroneous information about these texts was included in an anonymous review, published in 1721 in the 'Acta eruditorum' of Leipzig. Research on primary sources proves that the author of this review (who was in fact the author of the latin translation of the Monadology, published immediately afterwards) was Christian Wolff, who was in possession of a copy of Leibniz's manuscript as early as 1717. Wolff's initiative of translating the Monadology can be seen as part of a cultural strategy aiming to prevent any idealistic interpretation of Leibniz's monadological thought. From this point of view, to consider the theory of pre-established harmony as based on a system of strictly dualistic metaphysics was an essential element of Wolff's philosophical strategy."(Antonio Lamarra: Contexte génétique et première reception de la "Monadologie". Leibniz, Wolff et la doctrine de l'harmonie préétablie). - Die Acta 1720 u. 1721 mit einigen meist gefalt. Kupfertafeln. - Papierbedingt leicht gebräunt, 1 Bd. mit Stempel der Gymnasialbibliothek zu Torgau, der andere an Schnitt u. Vorsatz stockfleckig, sonst insg. wohlerhalten. 2 vols. containing (among others) the first Latin edition of Leibniz's Monadology and the review by Christian Wolff. Contemp. vellum, 1 vol. with col. edges and gilt stamped title to spine (somewhat rubbed, partially stained). - First Latin edition of the main work of Leibniz's philosophy in Christian Wolff's translation, which was of great importance for the dissemination of Leibniz's philosophy, as the original text, written in French and only for a small circle of scholars, did not appear in print until 1840. A German translation by Hermann Köhler from 1720, which was only printed in a very small number of copies and was correspondingly rare, was practically only circulated by hand. Here, together with Wolff's anonymously published review of the German translation of the "Monadology", which exerted an enormous influence on the reception of the text right up to the modern age. "Until the XXth century, criticism about Leibniz's 'Principles of Nature and Grace' and 'Monadology' has been characterised by a number of mistakes and misunderstandings, which have roots in the circumstances surrounding the genesis of these manuscripts. As a consequence, erroneous information about these texts was included in an anonymous review, published in 1721 in the 'Acta eruditorum' of Leipzig. Research on primary sources proves that the author of this review (who was in fact the author of the latin translation of the Monadology, published immediately afterwards) was Christian Wolff, who was in possession of a copy of Leibniz's manuscript as early as 1717. Wolff's initiative of translating the Monadology can be seen as part of a cultural strategy aiming to prevent any idealistic interpretation of Leibniz's monadological thought. From this point of view, to consider the theory of pre-established harmony as based on a system of strictly dualistic metaphysics was an es

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Bisson, EduardFeengestalt. Ca. 1900. Crystoleum auf konvexer Glasplatte. 27 x 18 cm. Signiert. Im Rahmen der Zeit gerahmt. Bisson, Eduard Feengestalt. Ca. 1900. Crystoleum auf konvexer Glasplatte. 27 x 18 cm. Signiert. Im Rahmen der Zeit gerahmt. Bei der Technik des Crystoleum wird ein Albuminabzug auf die Innenseite einer konvexen Glasplatte geklebt. Im Folgeschritt wird die Papierunterlage des Abzuges abgerieben, sodass nur die transparente Emulsion zurückbleib. Im Anschluss wurde die Arbeit rückseitig dann von Hand in Ölfarben koloriert. Crysstoleen waren zwischen den 1880er - 1910er Jahren sehr beliebt. - Edouard Bisson war ein französischer Maler des Fin de Siècle. Er ist vor allem für seine ätherischen Frauendarstellungen bekannt, bei denen er sich auf die Überhöhung einer stilisierten Form weiblicher Schönheit konzentrierte und die stillistisch stark an die Präraffaeliten erinnern. Bisson stellte merhmals im Pariser Salon aus und gewann 1900 die Bronzemedaille auf der Weltausstellung. - Auf dem Glas punktuell mit wenigen und oberflächlichen Kratzern. Insgesamt gut. Crystoleum on convex glass plate. Signed. Framed in a frame of the time. - In the Crystoleum technique, an albumen print is glued to the inside of a convex glass plate. In the following step, the paper backing of the print is rubbed off so that only the transparent emulsion remains. The work was then coloured on the reverse side by hand in oil paints. - Edouard Bisson was a French painter of the Fin de Siècle. He is best known for his ethereal depictions of women, in which he concentrated on the exaggeration of a stylised form of female beauty and which are strongly reminiscent of the Pre-Raphaelites in terms of stillness. - On the glass with few and superficial scratches in spots. Overall well preserved.

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