US Government Printing Office U SBiblio.com
8,063 results
1993ref. bing45mm892U.S. Government Printing Office 1993. Wrappers. Very good. Prompt shipment with tracking. we ship in CLEAN SECURE NEW boxes Very good in wrappers. Clean pages. Some creasing. 1223pp. U.S. Government Printing Office unknown
1882ref. ST12705Paris: A. Quantin 1882. UNIQUE COPY ON VELLUM printed for M. A. Werlé. 206 x 140 mm. 8 1/8 x 5 1/2". xxxii 247 pp. 1 leaf colophon.With a bio-bibliographical notice by Fernand Drujon. Pleasing burgundy Jansenist crushed morocco by Canape et Corriez stamp-signed in gilt on front turn-in dated 1930 on rear turn-in raised bands turn-ins richly gilt marbled endpapers all edges gilt on the rough. Decorative head- and tail-pieces throughout and eight engraved plates comprised of a frontispiece portrait in four states one on vellum three on paper and an allegorical vignette also in four states. Verso of front free endpaper with ex-libris of Jean Furstenberg. ◆Two small dark spots to upper cover a couple of leaves with naturally occurring minor discoloration to vellum but A FINE COPY--especially clean fresh and bright internally and in a lustrous unworn binding. Given its illustrious provenance and its singular status as the only copy printed on vellum this is a quintessentially bibliophilic copy of the poems of French cleric and diplomat Cardinal François-Joachim de Pierre de Bernis 1715-94. Admired as a witty epigrammist at the court of Louis XV where Madame de Pompadour presided Bernis composed poems on such conventional themes as love and the natural world but also verses contemplating manners and mores fashion independence and love of country. Since none of his poems was published before his death he was not widely known as a poet during his lifetime but in another sphere he performed important service to his country as France's ambassador to Rome. He provided shelter and succour there for refugees from the French Revolution earning the papal epithet "Protector of the Church of France." The present work was printed for Count Alfred Werlé whose father had inherited the Veuve Clicquot Champagne house from the Widow Clicquot. Alfred took over the operation in 1884 and greatly expanded the Veuve Clicquot-Ponsardin vineyards. The volume subsequently passed into the library of the great collector Jean or Hans Furstenberg 1890-1982 who put together one of the finest collections of 18th century books ever assembled. In 1974 the Furstenberg collection was sold en bloc to Dr. Otto Schäfer whose marvelous library had already become distinguished for its fine and historic bindings. A. Quantin unknown books
1915ref. 52611915 Illustré par des bois gravé de F. CHALANDRE, Imprimerie Nouvelle l’Avenir ,1915 ; in-12, 90 pp..RELIURE demi-percaline, plat: papier bradel , dos lisse, pieces de titre et decors dorés. Tirage limité à 250 exemplaires, dont 3 sur Japon, 2 sur Chine, 25 sur Hollande et 220 sur vélin. Celui ci est un exemplaire sur PAPIER DE CHINE marqué "exemplaire d'essais", avec 3 DEDICACES : la premiere de l'auteur avec un envoi à Georges Perdriat : "pour Charles Perdriat , en amitié entière et remerciements certains , ce livre pour une bonne part: son oeuvre.Novembre 1915." puis: une dedicace de F.Chalandre, et enfin une derniere de Charles Perdriat qui poursuit la mention "exemplaire no: essai .... " photos sur demande
1936ref. 20387Paris, Les Editions Nationales, 1936 ; in-16 (195 mm), broché ; 31, [1] pp., [1] ff. bl., couverture rouge.
1866Five volumes, complete. FIRST EDITION of the poems of Prosper Blanchemain, BEAUTIFULLY PRINTED FOR THE SOCIETE DES BIBLIOPHILES FRANCOIS (founded 1820), the first and greatest of all French bibliophile societies, of which Blanchemain was a member. Edition limited to 55 numbered copies, of which this is ONE OF 29 COPIES PRINTED ON FINE DUTCH LAID PAPER FOR THE 29 MEMBERS OF THE SOCIETE DES BIBLIOPHILES. This copy printed for noted bibliophile Count Henry de Chaponnay. Large 8vo. Beautifully bound in half havana morocco and marbled boards. Vicaire I, 815-6. The SociÈtÈ des Bibliophiles had only 29 members (including five "associÈs Ètrangers" and each member got only one copy of each of its publications. Thus members' copies, like this one, appear on the market very rarely. A stunning example of fine printing and fine binding.
1647ref. LITTFRAXVIIE5101023Paris - Chambéry, Bibliothèque Mazarine - Editions Comp'act, "La Bibliothèque volante", 21 x 29,5, 2004, 224 pages cousues sous couverture rempliée imprimée. Iconographie noir & blanc. Préface d'Henri-Jean Martin.
1803ref. 45991803 demi-rel. veau cerise (passée), (milieu XIXe). in-12, XXIV, 299pp. et 57pp., Paris Stéréotype d'Herhan an XI = 1803,
1873ref. 000143France Imprimerie Particulière (Bruxelles, Imprimerie J. H. Briard) 1873
1912ref. 008133Paris Imprimerie Gambart 1912 In-12 Broché
1826ref. 21434[Paris, Ambroise Dupont et Cie, 1826 (Paris, imp. J. Tastu)] ; in-8 (247 mm), demi maroquin à grain long à coins bleu-outremer, dos à grands décors de rocaille dorés, titre doré, filet doré sur les plats, tête dorée (Thierry succ. de Petit) ; [1] f. de titre, 344 pp., vignettes gravées sur bois dans le texte, celui-ci est dans une large bordure végétale gravée.
1882ref. ST12705Paris: A. Quantin 1882. UNIQUE COPY ON VELLUM printed for M. A. Werlé. 206 x 140 mm. 8 1/8 x 5 1/2". xxxii 247 pp. 1 leaf colophon.With a bio-bibliographical notice by Fernand Drujon. Pleasing burgundy Jansenist crushed morocco by Canape et Corriez stamp-signed in gilt on front turn-in dated 1930 on rear turn-in raised bands turn-ins richly gilt marbled endpapers all edges gilt on the rough. Decorative head- and tail-pieces throughout and eight engraved plates comprised of a frontispiece portrait in four states one on vellum three on paper and an allegorical vignette also in four states. Verso of front free endpaper with ex-libris of Jean Furstenberg. ◆Two small dark spots to upper cover a couple of leaves with naturally occurring minor discoloration to vellum but A FINE COPY--especially clean fresh and bright internally and in a lustrous unworn binding. Given its illustrious provenance and its singular status as the only copy printed on vellum this is a quintessentially bibliophilic copy of the poems of French cleric and diplomat Cardinal François-Joachim de Pierre de Bernis 1715-94. Admired as a witty epigrammist at the court of Louis XV where Madame de Pompadour presided Bernis composed poems on such conventional themes as love and the natural world but also verses contemplating manners and mores fashion independence and love of country. Since none of his poems was published before his death he was not widely known as a poet during his lifetime but in another sphere he performed important service to his country as France's ambassador to Rome. He provided shelter and succour there for refugees from the French Revolution earning the papal epithet "Protector of the Church of France." The present work was printed for Count Alfred Werlé whose father had inherited the Veuve Clicquot Champagne house from the Widow Clicquot. Alfred took over the operation in 1884 and greatly expanded the Veuve Clicquot-Ponsardin vineyards. The volume subsequently passed into the library of the great collector Jean or Hans Furstenberg 1890-1982 who put together one of the finest collections of 18th century books ever assembled. In 1974 the Furstenberg collection was sold en bloc to Dr. Otto Schäfer whose marvelous library had already become distinguished for its fine and historic bindings. A. Quantin unknown
Folio (218 x 304 mm). 101 ff., final blank. With woodcut printer's device at the end and numerous woodcut initials. Modern red morocco, blindstamped to style, with gilt spine and inner dentelle. Marbled endpapers. All edges sprinkled in red. In cloth slipcase. A rare medical compendium drawing strongly on the Arabic physicians who dominated the medieval medical schools of France and Northern Italy, including the author's treatise on fevers (fol. 68 ff.), based on Avicenna, who is variously quoted. Some of the surprisingly modern ailments discussed include tinnitus (fol. 40), diabetes (fol. 61), and manic depression (an extensive chapter, fol. 13-16). This is the third edition of the collection first published thus in 1501 (not counting the only incunabular edition of 1485). "Concoreggio, born in Milan around 1380, was made professor in Bologna in 1404 before teaching at the Universities of Pavia, Florence and (in 1439) Milan. His works are composed after the model of the Arabs, without much personal observation, and were published as a collection after his death in Pavia around the year 1440" (cf. Hirsch). - Some waterstaining to margins (more pronounced near beginning). Bound in a sumptuous modern morocco binding decorated with rollstamps showing Renaissance heads, likely for the 20th-century physician and collector Piergiorgio Borio (his bookplate on the front pastedown). Only 3 copies in Italy (Biblioteca comunale dell'Archiginnasio Bologna; Biblioteca Angelica Roma; Biblioteca Casanatense Roma). Edit 16, CNCE 14741. Durling 1008. Hirsch VI, 645. Sangiorgio, Cenni storici sulle due Università di Pavia e di Milano (1831), p. 57f. Brambilla I, 128. Astruc 211.
1822ref. ST17561London: Published for the Proprietor by Longman Hurst Rees Orme and Brown 1822 1823. FIRST EDITION ONE OF 227 COPIES. 288 x 220 mm. 11 3/8 x 8 5/8". 3 p.l. vi 2 100 8 103-118 pp. 2 leaves. Pleasing 20th century rich green crushed morocco gilt-framed covers and smooth spine gilt lettering to spine edges untrimmed. In a burgundy calf-backed clamshell box meant for this book but for some reason substantially larger green morocco title label on spine. WITH 60 ENGRAVED ILLUSTRATIONS as called for in Abbey 48 PRINTED IN COLORS including decorative title page dedication with Earl Spencer's coat of arms six plates with a total of 18 color ink specimens two type specimen plates four engravings of printing presses Columbian Press in two states one before letters nine defaced plates printed recto-verso and six headpieces three color printed 28 engraved plates printed in colors: five in a single block six in two to four blocks 14 in five to nine blocks and three full-color in 13 14 and 29 blocks respectively as called for in the contents and in Abbey. Front pastedown with the bookplate of the Robin Collection. Abbey Life 233; Ray "England" 99. Occasional mild thumbing otherwise nothing but the most trivial imperfections--quite a fine copy internally clean and fresh with pleasing colors in a very appealing unworn binding. This virtuoso production was in Ray's opinion Savage's magnum opus a work that was "both a highly idiosyncratic volume and a notable landmark in the history of color printing from wood." Printer and engraver William Savage 1770-1843 was in Ruari McLean's words "the first true colour printer of the nineteenth century in England." One of his great innovations which made possible color printing as seen here was a new formulation of ink. DNB reports "Printing ink in England at that time was of a very poor quality and Savage by various experiments made a printing ink without any oil in its composition. This made it more serviceable for artistic work and easier to manufacture." Savage's inks transferred so cleanly from the engraved wooden block to the paper that the blocks did not have to be wiped between impressions--speeding up the process considerably especially when as here one image could require up to 29 colored blocks. The oil-free inks were also less inclined to smear or to bleed through the paper. While Savage's elaborate methods were not economically viable for mass printing of color-illustrated works his improvements to printing ink and his use of multiple blocks paved the way for the use of chromolithography. The engravings in this work are rare because the work was strictly limited and because Savage despite some protests fulfilled his promise to subscribers that all the blocks would be destroyed. While the plate count in the work can vary from copy to copy the present item collates as indicated by the table of contents and includes Clymer's Columbian Press plate in two states as called for by Abbey. This work appears on the market from time to time but seldom in the kind of agreeable condition seen here. Published for the Proprietor by Longman, Hurst, Rees, Orme, and Brown unknown
Third edition, 8vo, viii, 168 + 24pp., of adverts, engraved frontis., orig. green cloth, a little faded and worn.
1822ref. ST17561London: Published for the Proprietor by Longman Hurst Rees Orme and Brown 1822 1823. FIRST EDITION ONE OF 227 COPIES. 288 x 220 mm. 11 3/8 x 8 5/8". 3 p.l. vi 2 100 8 103-118 pp. 2 leaves. Pleasing 20th century rich green crushed morocco gilt-framed covers and smooth spine gilt lettering to spine edges untrimmed. In a burgundy calf-backed clamshell box meant for this book but for some reason substantially larger green morocco title label on spine. WITH 60 ENGRAVED ILLUSTRATIONS as called for in Abbey 48 PRINTED IN COLORS including decorative title page dedication with Earl Spencer's coat of arms six plates with a total of 18 color ink specimens two type specimen plates four engravings of printing presses Columbian Press in two states one before letters nine defaced plates printed recto-verso and six headpieces three color printed 28 engraved plates printed in colors: five in a single block six in two to four blocks 14 in five to nine blocks and three full-color in 13 14 and 29 blocks respectively as called for in the contents and in Abbey. Front pastedown with the bookplate of the Robin Collection. Abbey Life 233; Ray "England" 99. Occasional mild thumbing otherwise nothing but the most trivial imperfections--quite a fine copy internally clean and fresh with pleasing colors in a very appealing unworn binding. This virtuoso production was in Ray's opinion Savage's magnum opus a work that was "both a highly idiosyncratic volume and a notable landmark in the history of color printing from wood." Printer and engraver William Savage 1770-1843 was in Ruari McLean's words "the first true colour printer of the nineteenth century in England." One of his great innovations which made possible color printing as seen here was a new formulation of ink. DNB reports "Printing ink in England at that time was of a very poor quality and Savage by various experiments made a printing ink without any oil in its composition. This made it more serviceable for artistic work and easier to manufacture." Savage's inks transferred so cleanly from the engraved wooden block to the paper that the blocks did not have to be wiped between impressions--speeding up the process considerably especially when as here one image could require up to 29 colored blocks. The oil-free inks were also less inclined to smear or to bleed through the paper. While Savage's elaborate methods were not economically viable for mass printing of color-illustrated works his improvements to printing ink and his use of multiple blocks paved the way for the use of chromolithography. The engravings in this work are rare because the work was strictly limited and because Savage despite some protests fulfilled his promise to subscribers that all the blocks would be destroyed. While the plate count in the work can vary from copy to copy the present item collates as indicated by the table of contents and includes Clymer's Columbian Press plate in two states as called for by Abbey. This work appears on the market from time to time but seldom in the kind of agreeable condition seen here. Published for the Proprietor by Longman, Hurst, Rees, Orme, and Brown unknown books
1946ref. 3120665London: Odhams Press Limited 1946. 448 Seiten. Mit zahlreichen Illustrationen. Gr. 8° (22,5-25 cm). Orig.-Leinenband. [Hardcover / fest gebunden].
4to (295 x 235mm), ff. 22, each a sample of colour printing, design or paper stock, orig. card covers, tied with cord. "This portfolio is designed... for ready reference whenever you are planning a catalog, booklet of mailing piece."?Introduction. OCLC locating a single copy at Delaware University.
1926ref. 153639Leipzig, Leipziger Buchbinderei, 1926. M. 16 Abb. u. 8 Buntpapiermustern. 104 S. OLwd. m. Deckeltitel. Einbd. etwas angestaubt.
1875ref. 162354Berlin, Springer, 1875. 4°. M. 5 lith. Taf. u. 267 Textholzschn. XVI, 650 S. Hlwd. m. goldgepr. Rtit. Einbd. etwas berieben, Rücken fleckig. Ohne Titelblatt (durch Kopie ergänzt) u. Vorsatz. Papierbed. gebräunt.
ref. 2166Gauthier Villars 1904
1896ref. 11894Pont de Vaux, Imprimerie Gambin, 1896 ; in-16, broché ; 74, (4), (2) pp., couverture rose imprimée.
1904ref. DZN-2152Paris Gauthier-Villars 1904, in-4 (28X23 cm), 162 pages.141 figures in-texte. Modeste demi toile postérieure bleue à coins tachée; des rousseurs.
1908ref. 144540Couverture souple. Broché. 25 x 32 cm. 32 pages de texte, plus les planches. Petit manque au dos
ref. 64240, Brepols, 2024 Hardback, 464 pages, Size:216 x 280 mm, Illustrations:106 col., Language: English. ISBN 9782503604633.
1585ref. 39802Paris, Guillaume Chaudiere, 1585. In-8 réglé (11 x 18 cm) de (8)-399-(13) ff. (sign. a8 A-Z8 Aa-Zz8 AAa-EEe8 FFf4), maroquin souple brun, dos lisse semé de fleurs de lys orné d’un médaillon ovale figurant la Crucifixion, titre et devise royale « Spes mea Deus » en pied de dos, médaillon de la Crucifixion répété sur les plats, triple filet à froid d’encadrement, oeillet de fil ocre, tranches dorées (reliure de l'époque).
