‎Engravings‎

‎SIMEON Fernand‎

‎La Lettre surprise (pl.3, La Gazette du Bon ton, 1920 n°1)‎

‎- Lucien Vogel éditeur, Paris Février 1920, 18x24cm, une feuille. - Original color print heightened with gold, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur rehaussée à l'or, tirée sur papier vergé, signée en bas à gauche de la planch‎

‎SIMEON Fernand‎

‎Un peu beaucoup (pl.34, La Gazette du Bon ton, 1920 n°5)‎

‎- Lucien Vogel éditeur, Paris Juin 1920, 18x24cm, une feuille. - Original color print, printed on vergé paper, non signed. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, non-signée. Gravure originale réalisée pour l'illustration de La Gazette du bon ton‎

‎SIMEON Fernand‎

‎Vous avez vu ? Cette petite. Robe de promenade en Parquetine de Rodier. (La Gazette du Bon ton, n°4. Année 1920 - Planche 24 )‎

‎- Lucien Vogel éditeur, Paris 1920, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, the signature does not let identify the artist. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé, la signature ne permet pas d'identifier l'artiste. Gravure orig‎

‎SIMEON Mario‎

‎La Partie de cache-cache. Robe en ruban. (La Gazette du Bon ton, n°1. Année 1921 - Planche 1 )‎

‎- Lucien Vogel éditeur, Paris 1921, 19,5x25cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur tirée sur papier vergé et signée dans la planche par l'auteur en bas à gauche. Gravure originale réalis‎

‎Simler, Josias:‎

‎Helvetiorum respublica. Diversorum autorum, quorum nonnulli nunc primum in lucem prodeunt.‎

‎Leiden, Ex Officina Elzeviriana (Bonaventura & Abraham Elzevier), 1627. 12°. 535 (1) S., (16) S. Index, (1) S. Privileg. Mit gest. figürlichem Titel (Rütlischwur), signiert P.S. Etwas späteres Pergament.‎

‎Haller IV, 409. – Barth 17193. – Willems 278. – Simler's (1530-1576) berühmtes Werk «De Republica Helvetiorum» in zwei Büchern bildet den Hauptteil der vorliegenden Ausgabe (S. 26–484). Ferner enthalten sind: Brevis Helvetiae Geographica descriptio, ex Francisco Guillimanno & Osualdo Molitore, Helvetiae; Soli naturae, ex Henrico Glareano; De Fluvis aliquot Helvetiae; Danielis Heremita Belga De Helvetiorum ... epistola ad D. Ferdinandum Gonzagam Mantua fil. Eine von drei Ausgaben mit demselben Erscheinungsjahr. – Alter hs. Eintrag auf Titel, Stempel auf Titel verso, teilw. etwas fleckig, knapp beschnitten, Widmung auf Vorsatz.‎

Bookseller reference : 5159CB

‎SIMON J.-P.‎

‎L’Ingénuité‎

‎D’après un tableau de Brun. Belle épreuve très légèrement coloriée. En feuille Très bon Avant 1815 37,5 x 29,5 (52 x 40)‎

‎édition originale‎

Bookseller reference : 5246

‎SIMON Lucien‎

‎Les Marguilliers‎

‎Belle épreuve parue dans le numéro 8 (décembre 1897) de l’Estampe Moderne. Notre épreuve porte le timbre sec de l’Estampe Moderne en bas à droite. L’Estampe Moderne a paru de mai 1897 à avril 1899. en feuille Très bon Paris L’Estampe Moderne. 1897 27 x 35 cm.‎

Bookseller reference : 6124

‎SIMON Mario‎

‎Les Soeurs jumelles. Robes trois voiles (pl.34, La Gazette du Bon ton, 1922 n°5)‎

‎- Lucien Vogel éditeur, Paris 1922, 18x24cm, une feuille. - Original color print, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, tirée sur papier vergé, signée en bas à droite de la planche. La Gazette du bon ton, l'une des plus belle‎

‎SINGER, H.W‎

‎Das Kupferstichkabinet (der) Sammlung Lanna Prag. Wissenschaftliches Verzeichniss. Zweiter (u. letzter) Band.‎

‎(Prag, Selbstverlag, 1895. Gr.-8vo. Titel, 2 Bl., 517, (5) S., 16 Tafeln m. 26 Abbildungen in Lichtdruck auf aufgewalztem China. OHlwdbd m. goldgeprägtem Rückentitel (Einbd etwas berieben, Innengelenke gelockert, Bildstempel a. d. Vorsatz, Verlagsadresse überklebt mit "Joseph Baer & Co. Frankfurt am Main, Rossmarkt 18", darunter der Stempel "Bibliothek Allgemeine Zeitung, München", Titel leicht fingerfleckig, Tafeln gering braunfleckig).‎

‎In kleiner Auflage erschienene wissenschaftliche Beschreibung der Kupferstiche der berühmten Sammlung Lanna, die 1909 - 1911 bei Lepke in Berlin versteigert worden ist.- Vorliegender Band enthält 4354 Nummern: Das 16. und 17. Jahrhundert: Jan Muller - Zündt. Italienische Stiche. Italienische Helldunkelholzschnitte. Holländische Radierungen. Englische, französische und holländische Helldunkelholzschnitte. Die Bildnisstecher Ludwigs des XIV und Andere. Schabkunst, Punktiermanier, Aquatinta, Farbendrucke usw. Das 18. Jahrhundert. Das 19. Jahrhundert. Kupferstiche und Holzschnitte in gebundenen Werken. Mit Registern der Stecher und Holzschneider, der Maler und Künstler deren Werke als Vorlage dienten, der Verfasser, Verleger, Drucker usw., der Bildnisse sowie der Wappen, Ornamente usw.‎

Bookseller reference : 1310520

‎Singer, Hans Wolfgang‎

‎Der Kupferstich. Hans W. Singer / Sammlung Illustrierter Monographien, Bd. 15.‎

‎Bielefeld ; Leipzig : Velhagen & Klasing 1904. 142 S. : Mit 107 Abb., darunter 6 farb. Einschaltb. ; 4°, Eigentümersignatur auf Vorsatzblatt Kart., Softcover/Paperback, Gebrauchsspuren am Einband, Papier etwas wellig, sonst guter Zustand‎

‎Buchkunde +++++ 30 Jahre Antiquariat Christmann in Wiesbaden +++++ Wir liefern außer nach Deutschland, nur noch nach Schweiz / Holland / Belgien / Italien / GB / USA / +++ We now only deliver to Switzerland / Holland and Belgium / Italy / GB / USA +++ Keine Lieferung nach Österreich ++++‎

Bookseller reference : 15664

‎Sir Augustus Wollaston Franks Edward Russel James Gambier Howe British Museum Dept. of Prints and Drawings Sidney Colvin‎

‎Franks Bequest: Catalogue of British and American Book Plates Bequeathed to the Trustees of the . 1904 Leather Bound‎

‎2019. Leather Bound. New. Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine. Reprinted in 2019 with the help of original edition published long back 1904. This book is printed in black & white sewing binding for longer life Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. Lang: - English Pages 467. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. FOLIO EDITION IS ALSO AVAILABLE. hardcover‎

Bookseller reference : LB1111002602189

‎Sir Augustus Wollaston Franks Edward Russel James Gambier Howe British Museum Dept. of Prints and Drawings Sidney Colvin‎

‎Franks Bequest: Catalogue of British and American Book Plates Bequeathed to the Trustees of the . 1904 Hardcover‎

‎2020. Hardcover. New. Lang: - English Pages 467. Reprinted in 2020 with the help of original edition published long back 1904. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Bookseller reference : 1111002602189

‎Sir Augustus Wollaston Franks Edward Russel James Gambier Howe British Museum Dept. of Prints and Drawings Sidney Colvin‎

‎Franks Bequest: Catalogue of British and American Book Plates Bequeathed to the Trustees of the . 1904 Hardcover‎

‎2020. Hardcover. New. Lang: - English Pages 413. Reprinted in 2020 with the help of original edition published long back 1904. This book is Printed in black & white Hardcover sewing binding for longer life with Matt laminated multi-Colour Dust Cover Printed on high quality Paper re-sized as per Current standards professionally processed without changing its contents. As these are old books we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set then it is only single volume if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Any type of Customisation is possible with extra charges. Hope you will like it and give your comments and suggestions. hardcover‎

Bookseller reference : 1111002571571

‎SITWELL Pauline‎

‎Green Song. Poems and Wood Engravings 150 COPIES WERE PRINTED‎

‎Roy. 8vo., First Edition, with frontispiece and wood-engravings (a number full-page) in the text; rose boards, backstrip with printed paper label, uncut, a near fine copy. EDITION LIMITED TO 150 NUMBERED COPIES SIGNED BY THE AUTHOR (THIS COPY NO. 53).‎

‎Skira Color Prints‎

‎Daumier‎

‎New York: Skira Color Prints Book. Near Fine. Folio. 4to - over 9�" - 12" tall. Set of 6 prints short biography in folio. Edges of folio sunned interior not affected. Skira Color Prints Hardcover‎

Bookseller reference : 005410

‎Skira Color Prints‎

‎Modigliani‎

‎New York: Skira Color Prints Book. Near Fine. Folio. 4to - over 9�" - 12" tall. Set of 6 prints short biography in folio. Slight sunning to portfolio extremities artwork not affected. . Skira Color Prints Hardcover‎

Bookseller reference : 005411

‎Skira International / Skira Color Prints‎

‎Chinese Painting‎

‎Skira International / World Publishing Company. As New. Portfolio with 8 Loo. FREE UPGRADE to Courier/Priority Shipping Upon Request � � IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - 4 page brochure on Chinese paintings with notes on 6 of the 8 color plates included in the packet. Skira International / World Publishing Company unknown‎

Bookseller reference : 37588

‎Sky Prints‎

‎Sky Prints Aviation Enroute Atlas A Companion to Instrument Sectional or WAC Charts‎

‎St. Louis MO: Sky Prints. Very Good. 1968. B&W Illustrations; This is an oversized paperback book with a spiral binding. The book is in Very Good condition and was issued without a dust jacket. The covers are heavy plastic The text pages are clean and bright. . Sky Prints paperback‎

Bookseller reference : A36435

‎SMEDT Marc de‎

‎L'érotisme chinois‎

‎Solar Solar 1984, In-4 cartonnage éditeur sous jaquette illustrée, 96 pages. Reproductions couleur. Bon état‎

‎Toutes les expéditions sont faites en suivi au-dessus de 25 euros. Expédition quotidienne pour les envois simples, suivis, recommandés ou Colissimo.‎

Bookseller reference : 9993482

‎Smeth, Henrici‎

‎Prosodia quae sybillarum positione & diphtongis carentium quantitates. sola veterum Poetarum auctoritate, adductis, demonstrat. Editio decimaoctava (18. Auflage).‎

‎Frankfurt, Jona Rosa, 1660. 8 nnr. Blätter, 652 Seiten. Mit gestoch. Porträt und Wappen. Dekorativer Halbpergament-Einband der Zeit mit goldgeprägtem Rückentitel. Tadelsfrei.‎

‎*Smet A Leda, Heinrich ADB 34, 478f. 1537-1614. Arzt und Philologe, Professor in Heidelberg.‎

Bookseller reference : 702417

‎SMITH JARED; ECKMAIR FRANK C. WOOD ENGRAVINGS‎

‎Walking The Perimeters Of The Plate Glass Factory‎

‎Birch Brook Press Delhi: 2001. Softcover. Brand new book. An eloquent powerful and sometimes unsettling poetic exploration of the changes that time imposes on our personal as well as national histories helping to shape or even deform the individual the family and the wider social milieu in America. Birch Brook Press, Delhi: 2001 paperback‎

Bookseller reference : 15474X1

‎SMITH TOM; ECHMAIR FRANK C. WOOD ENGRAVINGS‎

‎Waiting On Pentecost‎

‎Birch Brook Press Delhi: 1999. Softcover. Brand new book. An engaging cycle of unorthodox interpretations of Biblical stories. Each poem imagines its way out of a Biblical quote and the effect is astonishing.- Portland Press. ISBN: 0913559539. Birch Brook Press, Delhi: 1999 paperback‎

Bookseller reference : 15579X1 ISBN : 0913559539 9780913559536

‎Smith, Leon Polk‎

‎Collagen 1981-1983.‎

‎Berlin., Nationalgalerie Berlin., 1984. 30 x 21 cm. 39 S. Illustrierter OKarton., 68557B Erste Auflage. Kanten etwas berieben, Umschlag minimal angestaubt, sonst sehr gutes Exemplar.‎

‎Erschienen anlässlich der Ausstellung in der Nationalgalerie Berlin, Staatl. Museen Preuß. Kulturbesitz 31. Mai-29. Juli 1984. Mit farbigen Abbildungen versehen. Beiliegend ein Faltplakat der Edition & Galerie Hoffmann, zur Ausstellung von Arbeiten von 1947-1987, sowie ein Anschreiben.‎

Bookseller reference : 68557BB

‎SMOLLETT Tobias. Introduced by John SUTHERLAND. Wood Engravings by Derrick HARRIS.‎

‎The Expedition of Humphrey Clinker.‎

‎The Folio Society. London. First edition. 2018. A very clean copy in slipcase. The Folio Society. London 2018 unknown‎

Bookseller reference : 82690

‎SOLIS Y RIBADENEIRA Antonio de:‎

‎Historia de la conquista de Mexico, poblacion, y progresos de la America Septentrional, conocida por el Nombre de Nueva España. Dividida en dos tomos e ilustrada con Laminas finas.‎

‎Barcelona, Thomas Piferrer, 1771. 2 volumes petit in-8 de [24]-479 pages [16]-488 pages, plein veau moucheté brun, dos lisses ornés de filets et fleurons dorés, pièces de titre et de tomaison rouges et vertes. Petit manque à la coiffe supérieure du tome 1. Au tome 2, manque de peau à un coin et mouillure à un autre. Intérieur très frais, sans défaut.2 small in-8 volumes of [24] -479 pages and [16] -488 pages, full brown speckled calf, smooth backs decorated with gilt fillets and floral ornaments, red and green title and number label. Small wear in the turn in at the top of volume 1. In volume 2, wear of skin at one corner and waterstain at another. Very fresh interior, without defects.‎

‎Illustré d'une carte dépliante et de 7 planches hors-texte dont 5 dépliantes.Illustrated with a folding map and 7 engravings, 5 of which are folding. Antonio de Solís y Ribadeneyra (1610-1686) est un dramaturge et historien espagnol. Il est considéré comme l'un des plus grands écrivains espagnol de l'époque baroque. "Historia de la conquista de Mexico" (première édition en 1684) couvre les trois ans entre la nomination de Cortés pour commander l'armée et la chute de la ville. Le livre fut extrêmement populaire des deux côtés de l'Atlantique, il est resté, jusqu'au milieu du XIXe siècle une source importante de l'histoire latino-américaine.Antonio de Solís y Ribadeneyra (1610-1686) is a Spanish playwright and historian. He is considered one of the greatest Spanish writers of the Baroque era. "Historia de la conquista de Mexico" (first edition in 1684) covers the three years between the appointment of Cortés to command the army and the fall of the city. The book was extremely popular on both sides of the Atlantic, it remained, until the mid-nineteenth century, an important source of Latin American history.‎

Bookseller reference : 6273