6370 risultati
rif. DADAX8419220523New unknown
2014ill. Il testo, in uno svariato numero di comunicazioni, non viene usato solamente come mezzo di rappresentazione di determinati concetti, ma anche in funzione del "carattere come segno espressivo", visto come elemento formale, in grado di caricare di valore estetico i vari messaggi ( infatti determinati caratteri ci danno la sensazione di eleganza, altri di frivolezza ecc.). Ci sono caratteri da guardare e caratteri da leggere, caratteri estrosi che esigono di essere osservati al di fuori della loro insita comunicazione e caratteri più inclini alle convenzioni che ci permettono una lettura fluida e scorrevole
2018ill., br. Frutto di anni di lavoro e di ricerche, quest'opera intende offrire un esame comparato delle marche europee, dai segni mercantili del periodo antico alle figurazioni simboliche e allegoriche sempre più elaborate nel corso dei secoli. Lo studio è condotto per tipologie, corredato di riproduzioni e di adeguata descrizione. Questo secondo volume tratta nello specifico delle marche parlanti (1.575 in tutto), una delle tipologie più diffuse e interessanti. Hanno lo scopo di proporre al lettore un'immagine concettualmente collegata all'artefice del libro, come trascrizione figurata del suo nome e cognome, oppure della denominazione della tipografia e della sua insegna commerciale. Soggetti e figure sono i più svariati: personaggi biblici, santi, personaggi letterari o mitologici, simboli, allegorie, mestieri, attività, professioni, strumenti e attrezzi, animali, alberi e piante, paesaggio, luoghi, città, edifici, monumenti, costruzioni, corpi celesti, figure comuni di ogni genere, persino mesi, stagioni e numerali. Le marche parlanti si distinguono per estro e fantasia, non disgiunti a volte da un certo intellettualismo, che arricchisce la composizione di più complessi significati, evidenziati anche dai motti. La descrizione delle singole marche offre ogni possibile informazione sulle fonti testuali, erudite e iconografiche che possano consentire una corretta interpretazione e identificazione delle immagini, come documento e testimonianza del patrimonio culturale degli artefici del libro.
1932Roy. 8vo., First Edition, with a portrait frontispiece; cloth, gilt back, covers lightly age-marked else a very good, bright, clean copy. With the separately printed corrigenda slip loosely inserted. The wood-engraved frontispiece is by Joyce Francis. The works collects fifteen Baskerville letters followed by the first substantial bibliography of Baskverville's Birmingham editions. Scarce.
1984cm. 21,5 x 30, x-246 pp. con 16 figg. n.t. 1150 gr. x-246 p.
First edition, 2 vols., 4to, 173, [2]; 145, [1]pp., 100 copies (or less) printed, 2 plates, 2 facsimiles, orig. black cloth, a little worn, signs of label having been removed from upper cover and spine.
Folio (340 x 215 mm), [2], 10pp., printed on bluish paper, stitched as issued. Printed from Phillipps MS. 2670. A printed note in Latin on the final leaf apologises for the numerous for the numerous errors (errata fill all p. 10) caused by the editor not being able to compare proofs with the original, due to absence. Fenwick 112; Holzenberg 392.
First Edition, 84pp., small neat stamp to title, orig. quarter vellum, marbled paper sides, uncut.
First Edition, 16pp., woodcut frontis., introduction by Frank E. Hopkins followed by specimens of print types including: Caslon Old-Style, Commercial, Modern in various points, with a list of available publication of the Marion Press on inside cover, orig. paper wrappers, title printed on upper cover within a decorative border, uncut. Hopkins tells us in the introduction that "In October, 1896, while employed at the De Vinne Press, New York, I set up in the attic of my house a small hand-press... and named for my daughter, Marion Day... In February, 1898, I left the De Vinne Press, and set up for myself in the printing business... The types shown on the following pages are new, and most of them are in good-sized fonts."
1990rif. 27329AB3 Bände. Zürich, Argem E, 1990. 4°. (12) 688 S.; (10) 481 S.; (8) 204 S. Orig.-Pappbände.
1990This is a fine hardcover copy in a fine dust jacket with no wear at all. Completely clean inside and out. No marks anywhere. Edited by Helms, assisted by Arta Valstar-Verhoff. A major reference on this important De Stijl artist, graphic designer and teacher at the Ulm Hochschule fur Gestaltung. Chronology. Exhibition history. Bibliography. Illustrated in color and black & white. 10" square, 427 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
1945pp.xxvii, 198 (1) + Twelve plates by Gordon Ross, hand colored by Charlize Brakeley. Designed by Richard W. Ellis; printed at Aldus Printers; set in Monotype Calson Old Face; on Liampre French Paper. Bound by Russell-Rutter Co. in full floral printed chintz. Heavy slipcase. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine example of this wonderfully entertaining English classic. It would make a great gift. W35
1961pp. (19), 177 + Plates after oil paintings by Michael Ayrton. Designed by Adrian Wilson; printed by A. Colish; set in LEC Special Janson and American Unical; Curtis Antique paper. Bound by Russell-Rutter Co. in brown natural finish cloth, backed in crimson cowhide leather, gold. Folio. Slipcase shows the slightest wear. Number 769 of an edition limited to only 1500 copies, signed by the artist. A very fine copy of these great classic dramas. It would make a wonderful gift. **PRICE JUST REDUCED! W38
1979pp. xii, 52; xviii, 62. Illustrated with text drawings and wood engravings. Green silk moire endpapers. All edges gold gilt. Original green page ribbon. 4to. 390 mm. Original full green leather binding gold decorated in an over-all design of birds in flight. Spine with same gold design and raised bands. Hardbound. Very beautiful, crisp copy. Original bookplate from the Easton Press, left blank. This Collector's Edition is published in advance for the subscribers of the Easton Press collection of "The 100 Greatest Books Ever Written". **PRICE JUST REDUCED! PRESS/W75 # 300PR.
1941Two volumes. 729 p. + Color illustrations by John Austen. 4to. Dust jacket. Floral slipcase. Designed, printed and bound by John Johnson at the Oxford University Press; set in Monotype Series Number One; on William Nash Special Paper. Bound floral paper boards with a green linen gold back. Number 413 of an edition limited to only 1500 copies, signed by the artist. A very fine copy of this handsomely produced edition. It would make a wonderful gift. W42
1936Two Volumes. Illustrated with lithographs in many colors and pen drawings by Barnett Freedman; set in monotype Walbaum on Dickinson Mills paper. Top edges gold. 8vo. 5 5/8 x 9 inches. Bound by Oliver Simon at The Curwen Press in full mulberry linen, stamped black and gold. Original decorated purple slip case houses both volumes, spine darkened and slightly worn. Number 413 of an edition limited to only 1500 copies, signed by the illustrator, Barnett Freedman. Though the slip case has some wear, this is a very good set. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W98
1982pp. 155, (3) + An Original Lithograph and eleven monochrome plates by Jack Levine. 4to. Binding by A. R. Horowitz & Sons, in full black natural-finish book linen stamped in gold with a Levine vignette. Slipcased. Designed by Howard I. Galla; printing at the Wild Carrot Letterpress; set in Monotype Walbaum; on Mohawk Superfine Paper. Number 342 of an edition limited to only 2000 copies, signed by both the artist and the editor. A very fine copy of this handsomely produced edition of the great German play. It would make a wonderful gift. W37
1945pp. (vi), 131 (1) + Great colored plates printed in offset lithography by Duenewald Printing. Designed by Richard Ellis; printed at Aldus Printers; set in Linotype Caslon Old Style; on Worthy Special Paper. Bound by Russell-Rutter Co. in quarter brown morocco leather over wood-grain boards. Wood-grain paper solander case, worn at extremities. Number 794 of an edition limited to only 1500 copies, signed by the artist. Handsomely produced edition. It would make a wonderful gift. W35
1915pp. xxvii, 72 + Portrait frontis printed on Japan vellum. Title page printed in red and black. Text decorated with large red initials. Uncut and partially unopened. Japan vellum endpapers with facsimile of the front wrapper of the first edition (1880). Printed on hand-made Van Gelder paper. Inked ownership of Carlton Potter Small. Folio. Original Japan vellum spine and corners over blue paper boards, deeply gold lettered. Original gold lettered spine label. Original dust jacket. Hardbound. Limited Edition of only 250 copies. Beautiful copy of one of Mosher's finest productions. Mosher himself considered it one of his best productions. Bishop 183. **PRICE JUST REDUCED! PRESS/W39
1934pp. xxi, [3], 228, [2] + 10 Color plates and many chapter headings by Rockwell Kent. Large 8vo. The typography was designed by Elmer Adler; hand-set in Garamond type; on Worthy Special Paper. Bound by George McKibbin & Son in full ivory silk, with a lithograph design by Mr. Kent. Binding slightly faded. No slipcase. Number 1465 of an edition limited to only 1500 copies, signed by the artist. A truly wonderful book that should be on every modern reading list. It would make a great gift. W36
1981pp. xx [ii], 70 (1) + Illustrated with one double-page and four full-page photographs by Richard Benson, superbly printed in a 300 line screen process by Meriden Gravure Co. Small folio. Designed by Stephen Stinehour; printed by Michael & Winifred Bixler; set in Monotype Dante; on soft-white Mohawk smooth wove paper. Bound at the Stinehour Press in full silver-gray Dutch natural finish cloth, stamped in blue and blind. Original glassine wraps. Original blue paper covered cloth slipcase. The beautiful endpaper designs and slipcase decorations are reproduced from original paste papers designed by Carol Blinn. Copy number 1848 of and edition limited to 2,000 numbered copies signed by the photographer, Richard Benson. "Bright, volatile, short-lived and hard-drinking, Crane was in some ways an archetype of the Roaring Twenties author. Crane is best known for The Bridge (1930), an epic vision of American life with the Brooklyn Bridge as a central image. Crane is often compared to Walt Whitman, both for his modern American sensibilities and for the homoerotic imagery some find in his work. In sheer style Crane also resembled T.S. Eliot, whom he admired. Crane committed suicide by leaping from the S.S. Orizaba in 1932. Slipcase has some soiling on the top and bottom edge. There is also a small (less than 1/2") loss of colored paper in the lower corner of the slipcase. A brilliantly photo illustrated work. It would make a great gift. W37
1799Two volumes. pp. (2)[Advertisement for this, and other stereotyped editions, issued in various sizes on papers of different qualities, 226 (2)[Publisher's advertisement]; 219. Foxed. 24 mo. Lovely calf backed boards binding. FR3?
1960pp. xi, 316 (1) + Powerful double page color illustrations by Edward Bawden. 4to. Designed by John Dreyfus; printed and bound at the Cambridge University Press; set in Monotype Barbou; on Abbey Mills Chariot Paper. Full ivory buckram binding with guilloche design stamped in blue on the spine. Handsome matching slipcase. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine copy of this handsomely produced edition. It would make a wonderful gift. W42
1910Ten Volumes. Frontis illustrations with tissue guards. Pictorial title pages ruled in red and printed in red and black. Uncut. Top edges gold. Bookplates of John Abram Fritz. Extra paper labels tipped in rear. 8vo. Original full red buckram bindings, some wear. Original spine labels, slightly chipped. Hardbound. Nice set. SET/W47
1935pp. xviii, 413. Illustrated with linoleum cuts in colors by Valenti Angelo; designed and printed by Edmund B. Thompson at The Hawthorn House; hand-set in Bulmer type on Worthy special paper. 4to. 6 x 9 3/8 inches. Bound by George & Son in half polished black calfskin, stamped with genuine palladium, marbled paper sides. Original silver slip case, rubbed and somewhat worn, but not split. Inked ownership of Jefford F. Oller, the original subscriber, on front fly leaf. Includes the Monthly Letter. Number 420 of an edition limited to only 1500 copies, signed by the artist, Valenti Angelo. Though the slip case is rubbed, this is a fine copy. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W35