‎Estampes‎

‎Morley Henry‎

‎Memoirs Of Bartholomew Fair‎

‎London & New York: Frederick Warne And Co. 1859 . First edition thus. Hardcover. Very Good. 12mo; xvii 404 pages red half polished calf marbled boards <br/><br/>" This is not only the first history of BARTHOLOMEW FAIR but the first serious history of any Fair; even the general subject of fairs as far as I can learn has never been thought worthy of a book - Preface." With facsimiles and new drawings by H. Sydney Barton who "has exactly met my wish for minute faithfulness in teh copying of everything represented. . Accurate work is very hard to find. Most of the illustrations in this book are now for the first time drawn from the illuminations loose engravings or handbills in which they first appeared . - Preface." Frederick Warne And Co. hardcover‎

书商的参考编号 : 0009034

‎MORLOTTI, Ennio (Lecco, 1910 - Milano, 1992),‎

‎Senza titolo‎

‎Litografia originale Firma, data e numerazione a matita. Esemplare: 84/100. cm 56x76. pp.. . Ottimo (Fine). . Tiratura: 150. .‎

‎Morot Aime Nicholas‎

‎The Good Samaritan; by Aime Nicholas Morot 1 print from The Masterpieces of French Art‎

‎Paris: Gravure Goupil et Cie 1882. Very Good -. The sheet is 15 x 11.5 inches; the image is 10 x 7.25 inches. The print is a black-and-white image of the painting The Good Samaritan by Aim� Nicholas Morot 1850-1913. No date of publication. The series The Masterpieces of French Art was issued in the United States beginning in 1882. Portfolios containing several photogravure prints and several wood engravings were published on a monthly basis. Gravure Goupil et Cie became Boussod Valadon & Cie in 1884. This beautiful print is very scarce. In Very Good- Condition: small stain along one edge; image is clean and bright. <br/><br/> Gravure Goupil et Cie unknown‎

书商的参考编号 : 004816

‎MORRET Jean-Baptiste‎

‎La Promenade du Matin‎

‎Dédiée à S. M. Alexandre 1er, Empereur de toutes les Russies. Le tableau représente François de Salignac de La Mothe Fénelon. en feuille Moyen Paris Basset 1806 39,5 x 53,5 cm‎

‎édition originale‎

书商的参考编号 : 14327

‎MORSE (Robert)‎

‎A Catalogue of the Extensive and Choice Collection of Prints, Formed by the Late Robert Morse... Sold by Auction, by Mr. Thomas Dodd... On Wednesday, May 15, 1816, & Twenty-seven Following Days. [Smith & Davy, Printers]. 1816. vii,[i],191,[1]pp., title-page and text browned, margins worn, 3,602 lots. [Bound with:] A Catalogue of the Extensive and Valuable Library of Books, of Robert Morse... Sold by Auction, by Mr. Thomas Dodd... On Thursday, 20th of June, 1816, and Seven Following Days.‎

‎[ii],47,[1]pp., title-page and text browned, margins worn, nineteenth century half calf, rubbed, upper cover detached, 1,608 lots.‎

‎Morse, John D.‎

‎Prints in and of America to 1850: Winterthur Conference Report, 1970‎

‎Light wear and spots to cover; interior pages clean and unmarked; tight binding. 356 pages. Black and white illustrations. Sixteenth Annual Winterthur Conference, 1970.‎

‎MORÉ de PONGIBAUD, Cte de‎

‎Le Chartrier de Fontenay - Le Berseur de Fontenay - Le vicomte de blangy - De Moré de Pontgibaud - 1734 - 1892‎

‎CAEN, Imp; H.Delesques, 1913 - In-4 - Broché - Tiré à 100 ex sur papier vergé - Illustrations PP HT - XIX-585 pages - fortes mouillures - Saffroy II, 29691‎

‎Mosai prints by‎

‎Japanese Propaganda Woodblock Print Book Kagoshima Senkyu 2 Volumes‎

‎March 1877 Meiji 10. Good. Depicting the Satsuma Rebellion. Each volume 17.5 by 11.5. Together 32 pp. 31 of which have woodblock prints. The Satsuma Rebellion was the last major uprising of Samurai against the newly formed Meiji government. The rebellion was the subject of the Tom Cruise movie "The Last Samurai". Covers with brightly colored woodblock prints. <br /><br /> books‎

书商的参考编号 : 005438

‎Moser, Johann Jacob‎

‎Die gerettete völlige Souverainete der löblichen Schweitzerischen Eydgenossenschafft oder gründlicher Beweiss, dass in dem Westphälischen Frieden von dem H. Römischen Reich der löbl. Eydgenossenschafft ...‎

‎Tübingen, Johann Heinrich Philipp Schramm, 1731. Kl.-4°. 52 S.; 84 S. Pappband der Zeit mit goldgepr. Rückenschild u. einfacher Rückenvergoldung. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 5837B‎

‎Barth 1972. - Vgl. ADB 372-382 (für Moser). - Einzige Ausgabe der den 13 Kantonen gewidmeten Abhandlung des Staatsrechtlers Johann Jacob Moser (1701-?), die während dessen Tübinger Professur entstand. Moser war auch ein fruchtbarer Schriftsteller. "In den fünf- bis sechshundert Bänden, die er hat drucken lassen, behandelte er nach Art der damaligen Polyhistoren, die verschiedenartigsten Gegenstände. Von bleibender wissenschaftlicher Bedeutung ist nur was in seine Specialfächer, das deutsche Staatsrecht und das europäische Völkerrecht einschlägt (...) Kein Publizist des Reiches hat uns ein so zuverlässiges urkundl. Material hinterlassen als M." (ADB). - Mit Anstreichungen u. Marginalien von alter Hand.‎

书商的参考编号 : 5837BB

‎Moser, R. u. Weber, R‎

‎Gutachten über die Vorlagen der Bodensee-Toggenburgbahn vom Juni 1906.; Vernehmlassung der Bodensee-Toggenburgbahn vom Juli 1906.‎

‎o.J.(um 1906). 4°. 26 S. Orig.-Heft + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden + (mit kleineren Einrissen).‎

书商的参考编号 : 1398DB

‎MOSNER (Ricardo).‎

‎Amor Brujo.‎

‎Gravure sur bois imprimée sur Arches signée en bleu en bas à droite et justifiée 2/40 ex. (42/56 cm). Bon état.‎

‎Acteur au théâtre ou au cinéma (pour Stephen Frears notamment), Ricardo Mosner (Buenos Aires, 1948) a aussi bénéficié de nombreuses expositions en Amérique et en Europe pour ses travaux de dessinateur, de peintre, ou de sculpteur. En tant qu'affichiste, il a travaillé pour le music-hall, notamment pour Passion fodder, Orchestre rouge, Castafiore Bazooka ou les Rita Mitsouko (Marcia Baïla).‎

书商的参考编号 : awd-178

‎Mother Goose. Wood Engravings By Philip Reed‎

‎Mother Goose and Nursery Rhymes‎

‎Atheneum. Used - Good. Shows some signs of wear and may have some markings on the inside. Atheneum unknown‎

书商的参考编号 : GRP94424231

‎Mott, Frank Luther‎

‎The old printing office. With wood engravings by John DePol‎

‎This is a fine hardcover copy bound in gray quarter cloth and brown and white patterned paper, with no wear at all. Completely clean. With wood engravings in reddish brown by John DePol. This is a limited edition of 125 copies, this copy is number 11. Not signed. 9" high X 6" wide, unpaginated. An additional printed paper spine label is tipped in to the inside rear cover. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.‎

‎MOUILLERON, Adolphe (1820-1881) d'après É. HÉDOUIN‎

‎LES BOHÉMIENNES‎

‎Marchant, Alliance des Arts 19° LES BOHÉMIENNES, Lithographie d'Adolphe MOUILLERON (1820-1881) d'après É. HÉDOUINDimensions de l'image : 198 x 158 mmDimensions de la feuille : 320 239 mmVisitez nous sur antharedeschuyter.frRare ! Recommandation importante : la plupart de mes envois se font en recommandé avec assurance. Si à la livraison le colis présente des signes de détérioration il est important de le signaler au facteur ou au livreur et d'émettre des réserves, seul moyen de faire fonctionner la garantie.‎

‎Bon état Remises possibles sur les achats en lot, achetez plusieurs objets à la fois ! Reçoit sur rendez-vous pour consultation des ouvrages.‎

书商的参考编号 : 3760

‎Mountfield, David / Short, Robert [Foreword]‎

‎Illustrated Marquis de Sade : Justine and Juliette - All the Prints.‎

‎285x225 mm. 110 pages. Gilt hardcover with dust jacket. Cover corners slightly bumped. Else in good condition.‎

‎MOURGUE Pierre‎

‎Chez Perugia ou Le Bottier à la mode (pl.34, La Gazette du Bon ton, 1924 n°7)‎

‎- Lucien Vogel éditeur, Paris 1924, 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. Gravure originale réalisée pour l'illustrat‎

‎MOURGUE Pierre‎

‎La Promenade au Palais-Royal. Redingote "Directoire" (pl.18, La Gazette du Bon ton, 1921 n°3)‎

‎- Lucien Vogel éditeur, Paris 1921, 18x24cm, une feuille. - Original color print heightened with palladium, 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 au palladium, tirée sur papier vergé, signée en bas à droite de la pla‎

‎MOURGUE Pierre‎

‎La Visite à l'Ermitage. Cape en ruban (pl.49, La Gazette du Bon ton, 1921 n°7)‎

‎- Lucien Vogel éditeur, Paris 1921, 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 belles et des pl‎

‎Moutafchieva, Irina, Staff‎

‎Hungarian Graphics from the Collection of the National Gallery for Foreign Art‎

‎12 loose leaf prints ( 12" wide x 16.5" high) on heavy paper in a paper cover illustrated with a print on the front and representations of the enclosed prints on the back from an exhibition at the gallery of the publisher. One sheet of text by Ms. Moutafchieva in three languages: Russian, Bulgarian and English. Prints are by the following artists: Istvan Szonyi, Gyula Hincz, Karoly Reich, Kalman Csohany, Csaba Rekassy, Gyula Feledy, Arnold Gross, Janos Kass, Margit Agotha, Imre Kovacs, Gabriella Molnar, Bela Tassy. Three are in color and the remainder in b&w, as produced. Publication date is not listed and estimated.‎

‎Mowat Farley Text by / Blackwood David Prints and Drawings by‎

‎Wake of the Great Sealers‎

‎Atlantic Monthly Press c 1973-01-01. Hardcover. Good. 11.7000 inches 10.5000 inches. Dust jacket wear all pages clean. Atlantic Monthly Press c hardcover‎

书商的参考编号 : mon0001388394

‎Mozart.-‎

‎Wolfgang Amadeus Mozart.‎

‎Zürich, Orell, Füssli und Comp. 1866. Gross-8°. 24 S. Mit 2 Portraits auf 1 lithogr. Tafel von H. Bodmer u. J. Lier. Orig.-Broschur (Deckel lose, stockfleckig). = "Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich", Nr. 54.‎

‎Die Tafel zeigt 2 sich gegenüber stehende Brustbilder Mozarts, das eine nach einem 1770 in Verona gemalten Bilde, das andere nach dem Familienbilde im Mozarteum zu Salzburg. - Vereinzelt leicht stockfleckig. Buchblock gebrochen.‎

书商的参考编号 : 27261AB

‎MUCHA (Alfons).‎

‎L'Estampe Moderne - N°4 - Août 1897.COUVERTURE ORIGINALE DE LIVRAISON SEULE (pas d'estampe à l'intérieur).‎

‎1898 P., Imprimerie Champenois, 1897, 1 couverture recto-verso in-folio (format replié : 410 x 310 mm), papier épais gris.Parfait état.‎

‎Couverture du N°4 de cette publication mensuelle qui était proposée en livraisons refermant chacune 4 estampes originales.Superbe composition dAlfons Mucha au plat supérieur représentant une femme à chevelure longue tenant une plume, imprimée en vert sur papier gris.‎

书商的参考编号 : 13742

‎MUCHA Alphonse Mucha Alphonse‎

‎XXème EXPOSITION DU SALON DES CENT. Les Maitres de l'Affiche Pl. 94‎

‎Pars Imprimerie Chaix 1897 Planche N°94, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon (Our plate is one of the few copies printed on Japanese paper, original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches en lithographie, des plus belles affiches illustrées des grands artistes français et étrangers. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales données en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire d'une des très rares épreuves imprimées sur papier Japon, du tirage de tête (Our plate is one of the few copies printed on Japanese paper) ( Photographies sur demande / We can send pictures of this book on simple request )‎

‎Très bon Pas de couverture Édition spéciale‎

书商的参考编号 : 24136

‎Mueller Hans Alexander‎

‎How I Make Woodcuts & Engravings‎

‎New York NY: American Artists Group 1945. Main title: How I make woodcuts & wood engravings by Hans Alexander Mueller. Published/Created: New York American artists group inc. 1945. Description: 5 p. l. 3-96 p. 1 l. illus. part col. 24.5 cm. . Cloth. Very Good/No Jacket. 8vo. American Artists Group Hardcover‎

书商的参考编号 : ArtTech3011

‎MUELLER HANS ANDERSON WITH WOOD ENGRAVINGS BY‎

‎The Four Gospels Of Matthew Mark Luke And John‎

‎The Peter Pauper Press Mount Vernon. Hardcover no dustjacket. Reading copy. Signed by the woodcut artist. Contains large readable print fo easy reading. Page size is 8"x12". Text is in black print with the names of the Gospel authors and page number in crimson. The Peter Pauper Press, Mount Vernon hardcover‎

书商的参考编号 : 70502X1