6 370 résultats
1928Edizione originale, limitata, 750 copie, in-4° grande, pp. 220, (2), con riproduzioni in facsimile in bianco e nero e tre a colori applicate. Ex-libris Bromer. Legatura in mezza tela con titolo in oro al dorso, e tassello in carta con titolo stampato al piatto anteriore. libri arte books printing printers typography types caratteri arte della stampa editori renaissance rinascimento tipografia bodoni incunaboli
1905pp. xiii, 33 + Frontis printed on Japanese vellum. Printed in red and black throughout. Large red and black decorative initials. Some leaves ruled in red. Printed on Kelmscott hand-made paper. Uncut. Ownership of Grace M. Borden, 1907. Square 12mo. Original full paper binding. Hinges beginning to crack, but sound. Original printed paper labels on spine and front cover. Third edition. Limited Edition of only 450 copies. PRESS/W39
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.
195966 double-folded pages. Illustrated with pen-and-ink drawings by Marian Parry. Beautifully bound in parchment boards, backed in black calf, and preserved in a color designed solander case. Slipcase with a couple of minor stains. Inked ownership of Jefford F. Oller, the original subscriber, on front fly leaf. Number 420 of an edition limited to only 1500 copies, signed by the artist. A fine copy of this handsomely produced edition of the great classical Greek play. It would make a great gift. W42
First edition, 3 vols., 4to (270 x 185 mm), [6], vi, [2], ccxxv, [1], 410, [2]; [4], 535, [3]; [4], 544, [4]pp., with half-titles, ONE OF 50 LARGE PAPER COPIES, 37 engraved plates (without the 'Presentation in the Temple' plate which was not ready at publication and occurs in only a very few copies and the 'Portrait of Los Rios' which Windle & Pippin suggest is an extra-illustration), also without the engraved portrait of Dibdin by Henry Mayer, numerous woodcuts engraved vignettes, several printed in red or blue, some mounted, some light spotting and offsetting as usual, marbled endpapers, contemporary full blue-green morocco, decorated in gilt with interlacing geometrical design on the covers, richly tooled gilt morocco doublures, flat spines lettered in gilt direct, all edges gilt, spine slightly faded, corner of lower board of vol. II bumped, some slight edge-wear to bindings otherwise a handsome set. A fine copy of the rare large paper issue of the author's most lavish publication and the high water of Dibdinian Bibliomania. Jackson 40; Windle & Pippin A28.
195225X22.5 cm. 34 b&w plates. Gilt hardcover. Cover bottom corners slightly worn. Rear cover slightly rubbed. Spine upper edge slightly rubbed. Pages slightly yellowing. Else in good condition.
2010This is a fine softcover copy with no wear at all. Completely clean inside and out. This is a sale catalog for an auction held at Sotheby's London on May 5, 2010. Sale code: L10409 "CORONELLI". The sale consisted of the Benevento Collection (71 lots) of important maps and atlases. All illustrated in color. Prices realized sheet included. 11" high X 8" wide, 88 pages.
1937122p. + full page lithographs by Mariette Lydis and pulled by Mourlot Freres. Top edge gold. Designed by Giuseppe Govone; printed by Marius Audin; hand-set in Inkunabula type; Rives gray hand-made paper; bound by Russell-Rutter Company in full blue buckram, stamped blind and gold from design by C. P. Hornung. Slight spotting on covers. 9 1/2 x 13 1/2 inches. Folio. Slip case bumped at top edges. Includes the Monthly Letter. Number 1465 of an edition limited to only 1500 copies, signed in pencil by the artist, Mariette Lydis. 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. W37
1937180 p. Illustrated with fifteen (15) full page original monochrome lithographs drawn on stone by Mariette Lydis, and pulled in Paris by F. Mourlot Freres. Designed by Giuseppe Govone; type hand-set in Inkunabula; on Rives gray hand-made paper, uncut. Bound by Russell-Rutter Co. in dark blue buckram stamped in blind and gold, from a design by C. P. Hornung. Slipcase slightly soiled. Number 1465 of an edition limited to 1500 copies, signed by the artist. A nice copy of this handsomely produced edition. It would make a great gift. The lithographs are alone worth the price. W37
1956pp. (xvii), 113 (1). Small folio. Designed, printed, and bound by Ward Ritchie. Set in Intertype Waverly; on Linweave Paper, deckle edged. Bound in paper boards decorated by the artist, backed in brown cloth. Slipcase covered in rice paper, slightly soiled. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine example. From Wiki: The story is told in the first person by John Wiltshire, a British copra trader on the fictional South Sea island of Falesá. Upon arriving on the island, he meets a rival trader named Case, who (in an apparently friendly gesture) arranges for him to be "married" to a local girl named Uma in a ceremony designed to impress the natives but to be completely non-binding in the view of Europeans. Wiltshire soon discovers that Uma has a taboo attached to her which causes all the other natives to refuse to do business with him, to Case's profit. He also hears rumors of Case having been involved in the suspicious deaths of his previous competitors. Although realising that he has been tricked, Wiltshire has genuinely fallen in love with Uma, and has their marriage legalised by a passing missionary. Wiltshire gradually learns that Case's influence over the villagers stems from their belief that he has demonic powers, as a result of his simple conjuring tricks as well as strange noises and visions they have experienced at a "temple" he has built in the forest. Upon investigating, Wiltshire finds that these experiences are also tricks produced by imported technologies such as luminous paint and Aeolian harps. Wiltshire sets out that night to destroy the temple with gunpowder. Case confronts him and the two men fight, resulting in Case's death. The story concludes with Wiltshire several years later living on another island, still happily married to Uma, worrying about what will happen to his mixed-race children. Stevenson saw "The Beach of Falesá" as the ground-breaking work in his turn away from romanticism to realism. Stevenson wrote to his friend Sidney Colvin: 'It is the first realistic South Seas story; I mean with real South Sea character and details of life. Everybody else that has tried, that I have seen, got carried away by the romance, and ended in a kind of sugar candy sham epic, and the whole effect was lost - there was not etching, no human grin, consequently no conviction. Now I have got the smell and look of the thing a good deal. You will know more about the South Seas after you have read my little tale than if you had read a library.' In an unusual change for Stevenson, but in-line with realism, the plot of the story is less important, rather the realistic portrayal of the manners of various social classes in island society is foregrounded; it is essentially a novel of manners. As Stevenson says to Colvin in a letter, "The Beach of Falesá" is "well fed with facts" and "true to the manners' of the society it depicts." Other than the island itself which is fictional, it contains the names of real people, real ships and real buildings which Stevenson was familiar with from his personal travels in the South Seas. W42 L
1986This is a fine softcover copy with no wear at all. Completely clean. This catalog was prepared to accompany the exhibition at the Moore College of Art, Rhode Island School of Design from November 7 to December 17, 1986. Texts by Paul Rand, Armin Hofmann and Kenneth Hiebert. Illustrated in black & white. Checklist of the exhibition. This exhibition of posters included work by Armin Hofmann, Robert Buchler, Andre Gurtler, Emil Ruder, Max Schmid, Wolfgang Weingart, Hans-Ulrich Alleman, Lawrence Bach, Hermann Bausch, Igildo G. Biesele, Sigrid Bovensiepen, Philip Burton, Inge H. Druckrey, Gerhard Forster, Dan Friedman, Steff Geissbuhler, Karl Gerstner, April Greiman, Jorg Hamburger, Kurt Hauert, Kenneth Hiebert, Andreas His, Dorothea Hofmann, Dennis Ichiyama, Werner John, Heinz Krohl, M.S. Kuster, William Longhauser, Manfred Maier, Pierre Mendell, Reinhart Morscher, Fridolin Muller, Peter Olpe, Ruth Pfalzberger, Robert Probst, Klaus Sandforth, Heinz Schenker, Ulrich Schierle, Beat Schifferli, Ursula Schilling-Stolzenburg, Georg Staehelin, Hans Tanner, Peter von Arx, Willi Wermelinger, Gerhild Kahmann Zwimpfer, and Moritz Zwimpfer. Each designer gets one illustration except Armin Hofmann who gets seven. Exhibition checklist. Bibliography. 8" high X 10" wide, 48 pages. This book will be securely packed and shipped with tracking.
1963réf. 94803New York : Rathenau Hamburg : Hauswedell [in Komm.] [1964] c 1963. 25 Bl. ; 29,5*21,5 cm. OLeinenband, OSchuber.
1930np. Orange wood cuts designed and printed by Kam Young Wong. Wide margins. Uncut. Square 8vo. Original cloth backed patterned paper boards. Original paper label. Hardbound. Printed in a very small edition by Kam Young Wong. Short story about a man of modest means who comes into a small inheritance that "impelled him towards some seemingly harmless extravagances. In particular it led him to patronize local art as represented by the tattoo-needles of Signor Andreas Pincini. Signor Pincini was, perhaps, the most brilliant master of tattoo craft that Italy had ever known, but his circumstances were decidedly impoverished, and for the sum of six hundred francs he gladly undertook to cover his client's back, from collar-bone down to waist-line, with a glowing representation of the Fall of Icarus." Nice copy. PRESS/W32 x 2c.
192516p. Large red initials throughout. Full page illustration. Wide margins. Uncut. XLib. 8vo. Original cloth backed paper binding, very faded and worn. Hardbound. Limited Edition printed by Edwin and Robert Grabhorn for the Lantern Press. Number 112 of only 500 copies. PRESS/W32
1955pp. xvi, 281. Illustrated with tinted pencil drawings by Raymond J. Holden; designed by Carl Purington Rollins; printed at The Printing-Office of the Yale University Press; set in monotype Caslon; Curtis ivory-tone paper. Inked ownership of Jefford F. Oller on front fly leaf. 7 x 10 1/2 inches. Bound by Russell-Rutter Company in full cream buckram, gold-stamped, leather spine label, with drawings by the artist embedded in front and back covers. Original slip case. Fifteen hundred copies have been made, of which this is copy number 420 and it is signed by the illustrator, R.J. Holden. Fine. Fine Books from the Limited Editions Club make great gifts. SHELF W89
1931réf. DEMO007006ISan Francisco: The Limited Editions Club 1931. Limited edition. Hardcover. Good. 4to 243 pages calf spine marbled bds. extremities worn Signed by the printer John Henry Nash. Copy 905 of 1500 numbered copies. A printer's book about a printer. Frontispiece portrait etched by William Wilke. With the Newsletter laid in. "There was no such thing as Franklin's 'autobiography' until well into the nineteenth century. . Franklin wrote his autobiography at four different times in his life and for many years only the first part circulated in print in a version based on an unauthorized and unrevised copy of his manuscript. That first part went only up to his 25th year ." Included here are Notes by John Bigelow who was the first editor to collect and publish all four parts of Franklin's Autobiography. "It is our profound conviction . that this book is the finest instance of book making which we have yet sent to our members that it is the best and most satisfying book production of all the twenty-seven volumes which we have had!" - LEC Monthly Letter #30 Nov. 1931. The Limited Editions Club hardcover
1974réf. 007725Zürich, The Graphis Press, 1974. 119 S. Großformatiger Orig.-Pappband. Dreisprachige Ausgabe: Englisch, Deutsch und Französisch. Das Titelblatt mit kleinem Besitzvermerk, sonst gut erhaltenes Exemplar mit nur leichten Gebrauchsspuren.
1992This is a very good softcover copy with almost no wear. Completely clean inside and out. Spine not creased, binding firm. Introduction by Jentsch. Essays by Vincenzo Filacavai and Luciano Caruso. Bibliography. 549 illustrated books catalogued in this survey. Illustrated in color and black & white. 12" high X 8" wide, 341 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
2006réf. 242441New York: Watson-Guptill Publ. 2006. 230 S., zahlr. Schriftmuster-Abb. 4° Kart.mS. Umschlag lichtrandig*.
1914réf. BIBG0175London, The Studio 1914. 4°. 276 S. m. zahlreichen, teilweise farb. Abb., OLn., Einband etwas fleckig, Seiten teilweise feuchtigkeitsrandig.
1914réf. BUBV0151London/Paris/New York, "The Studio" Ltd. 1914. 4°. 4 Bl., 276 Seiten. Mit zahlr., teils farbigen Abb. auf Tafeln u. im Text. Grauer OLn. mit Einbandgoldprägung u. Kopfgoldschnitt. Innengelenke (gewichtsbedingt) angeplatzt, im Ganzen gutes Exemplar der gesuchten Leinenausgabe.
280X220mm 408pp. hardcover. dust jacket. cover and spine worn and slightly stained. spine slightly fading. corners and spine edges slightly bumped. dust jacket worn and damaged on edges. wrinkled, scratched and slightly stained. inner cover and pages edges yellowing. pages slightly yellowing and pages edges slightly stained. b/w and coloured pictures. afterword in english. dedication. else in good / good- condition.
1973IN HEBREW WITH ENGLISH INTRODUCTION. Includes colored plates. 22x28 cm. 408 pages. Hardcover in dust jacket. Several pages slightly age stained. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
1965réf. 1302833Cambridge (Mass.), The Harvard Crimson, 1965. Gr.-8vo. 189, (1) pp. with some illustr. Orig. cloth.
1971This is a very good softcover copy with almost no wear. Signed by Seymour Adelman on the first page, the half-title page, and briefly inscribed. Otherwise completely clean inside and out. It was long ago fitted with a mylar protector so the covers are pristine. Introduction by Adelman. Descriptive catalog by Clive Driver. And a tribute by Maurice Sendak. Illustrated with 48 black & white and 2 color plates. 270 works in the exhibition, all catalogued and in the checklist. 12" high X 9" wide, 78 pages.
