London, JackBiblio.com
6.970 Ergebnisse
1910Best.-Nr. 042330New York: The Macmillan Company 1910. 1st Edition 1st Printing. Hardcover. Near Fine. Xii 272 Pp. First Edition. Light Brown Cloth Printed In Black With Title "Theft" And Authorjack London" In Box At Top Of Spine "The Macmillan Company" In Three Lines At Bottom Of Spine.; The Primary Binding Is In Maroon And White Cloth Variants Identified In Sisson/Martins In Gray Cloth And Olive Cloth But This Is An Unreported Variant In Light Brown Cloth; All Of The Plain Cloth Bindings Are Probably Remainder Bindings. One Of 900 Copies Only Of The First Printing With Broken Type On Pp 47 And 65. Near Fine Clean Hinges Tight Lettering Strong No Fraying No Marks Slight Dust And Discoloration To Cloth. The Macmillan Company hardcover
Best.-Nr. 8403Péking, Henri Vetch, MCMXXXV. 1 volume in-4, XXI-184-(22) pp., illustré de 115 planches hors texte en couleurs et de figures dans le texte, bibliographie et index. Edition limitée à 320 exemplaires dont 300 sur papier Croxley de luxe (exemplaire numéro 96). Bel exemplaire, broché, couverture illustrée avec image contrecollée, bords des plats effrangés mais intérieur très propre, très bon exemplaire.
1996Best.-Nr. x-0750704632Falmer Pr 1996. Hardcover. New. 1st edition. 205 pages. 9.75x6.50x1.00 inches. Falmer Pr hardcover
Best.-Nr. 10318Kelly and Walsh, Limited, Shanghai, MCMXXX. 1 volume in-4, XXXI-177 pp., featuring one hundred and fifteen full page plates in colour, rebound in modern red leather, a very good copy. Some discrete stamps from Kansas Library ans signature from Arlington.
Best.-Nr. 5024Péking, Henri Vetch, MCMXXXV. 1 volume in-4, XXI-184-(22) pp., illustré de 115 planches hors texte en couleurs et de figures dans le texte, bibliographie et index. Edition limitée à 320 exemplaires dont 300 sur papier Croxley de luxe (exemplaire justifié sans numéro). Bel exemplaire, reliure moderne plein cuir tabac, couverture illustrée conservée avec image contrecollée, quelques menus défauts sur les 2 derniers feuillets.
1802Best.-Nr. ALDR0443Zürich, bei Orell, Geßner, Füßli und Compagnie 1798-1802. Gest. Frontisp. (H. Lips sculp.), XIV, 1 nn. Bl., 565 S.; Titelbl., 584 S.; Titelbl., 548 S.; Titelbl. 584 S.; Titelbl., 534 S.; Titelbl., 542 S.; Titelbl., 579 S., Titelbl., 666 S. mit gestochenen Titelblattvignetten (H. Lips sculp.) Halblederbände d. Zeit, mit je zwei Rückenschildchen und Rückenzierlinien in Goldprägung, Einbanddeckel mit Kiebitzpapier überzogen, Vorsätze aus zweifärbig bedrucktem Buntpapier, Ecken und Kanten bestoßen, Einbanddeckel fleckig, berieben und beschabt, Rückenleder meist abgerieben und etwas rissig, hinteres fliegendes Vorsatzblatt des dritten Bandes fehlt. Seiten überwiegend nur mäßig vergilbt, teilw. gering gebräunt, sonst wenig fleckig. Mit eingeklebtem, sorgfältig beschriftetem Kärtchen am vorderen Vorsatz d. ersten Bandes (? stand in Beethovens Bibliothek und wurde von ihm viel und oft gelesen. Auch in Goethe?s Bücherei war diese Ausgabe vorhanden.), e. alten Kastensignatur auf d. Rückseite d. Porträttafel und einzelnen Buntstiftanstreichungen im Text. ADB 6,346f. Blinn. Shakespeare - deutsch 28,C 80* - erster bis achter Band der zwölfbändigen zweiten Ausgabe von Eschenburgs Übersetzung der dramatischen Werke W. Shakespeares. Der Literaturhistoriker J. J. Eschenburg (1743-1820), leistete Bedeutendes für die Literaturwissenschaft und verfasste u. a. einige, mehrfach aufgelegte Lehrbücher zu diesem Thema. "Das größte Verdienst erwarb er sich durch seine Uebersetzung der Shakespeare?schen dramatischen Dichtungen (?Shakespeare?s Theatralische Werke übersetzt?. Zürich 1775-1784. 13 Bde. Zweite Auflage 1798-1806. 12 Bde.) E. hat das Verdienst, die erste vollständige Uebersetzung geliefert zu haben, und...(war) überhaupt der erste Deutsche..., welcher sich an diese große Aufgabe wagte,...Treue in der Uebersetzung und Gründlichkeit in den kritischen Bemerkungen (haben) ihn zum Bahnbrecher für alle späteren Uebersetzer Shakespeare?s gemacht..." (ADB). Das Frontispiz zeigt ein Porträtmedaillon des Dichters mit der Namensunterschrift William Shakspere(!), Porträt u. Titelblattvignetten wurden vom Schweizer Kupferstecher Johann Heinrich Lips (1758-1817) gestochen (Vgl. Thieme-B. 23,279)
1835Best.-Nr. 3706Paris Hippolyte Souverain 1835 in-8 reliure signée Paris, Hippolyte Souverain, 1835 (impr. de Casimir). 22,5 x 14 cm (R), in-8, 2ff. (faux-titre, titre) - 229 pp. - 1 f. (table) - frontispice par Edouard May gravé à l'eau-forte et tiré sur Chine, reliure de plein maroquin rouge carmin, dos à 5 nerfs, auteur, titre et date dorés, caissons à froid, filets à froid sur les nerfs, doubles filets à froid en encadrement sur les plats, doubles filets dorés sur les coupes, dentelle intérieure, doré sur témoins (reliure signée de Pétrus Ruban et datée 1903).
1921Best.-Nr. 021493New York: Samuel French 1921 First printing of the first edition publisher's original binding 157pp. with 3pp. ads. Signed and inscribed by Durant on the FFEP: to Mrs. Jesse Lasky wife of the co-founder of Paramount Studios Jesse Lasky includes a typed letter signed by Durant to Mrs. Lasky dated in year of publication. Some toning to spine light rubbing/wear to spine ends and corners and a bookplate on front paste-down else book in fine condition. Samuel French hardcover
1819in-8°; 30 volumi in mezza pergamena con angoli e doppio tassello al dorso, tagli in rosso, bella legatura solida. Il primo con ritratto.
1710In 8°; Serie di 6 opere, un legno al frontestpizio, molte note manoscritte nel testo. Legatura in piena pelle con tassello, titolo e fregi in oro al dorso. Tagli in rosso.
1948Best.-Nr. 62147Los Angeles, Pazifische Presse, in Zusammenarbeit mit Mary S. Rosenberg, New York, 1948. 4 Bl., 108 S. Gr.-8vo. Schwarzes OHLdr. mit goldgeprägtem Deckeltitel u. weinroten Deckelbezügen.
Best.-Nr. 18882Paris, Librairie José Corti, 1948. In-+12, 149 pp., broché, couverture originale imprimée (petits manques et déchirures à la couverture, dos insolé).
1793in-8°. pp. XXIV 64. Marca editoriale al fronte. Tre finissime tavole di Boizot incise all’acquaforte da Baquoy, Le Roy, Patas. Su carta azzurrina. L’autore dichiaratamente di ispira al ben noto poema omonimo di Gessner. Rilegatura originale in pelle, con impreziosimenti in oro ai piatti e al dorso, tagli in oro. Precede il testo una poesia autografa dell’autore.
1958Best.-Nr. 3114Paris Gallimard 1958 in-8 broché Paris, Gallimard, 1958. 21 x 14,5 cm, 2 forts volumes in-8, 447 - 422 pp., brochés.
Best.-Nr. 4200Armand colin, 1889, 91, 92, ,93,96,, 99, gr. in-8vo, ca 350 p. par volume , reliure percaline rouge, richement decorée , toutes tranches dorees, six tomes dans un etat extraordinaire, angles superbes (biseautés) on peux juste regreter des rousseurs interieures , rare de trouver un ensemble dans un etat pareil , photos sur demande , possibilité de division du lot
Best.-Nr. 19889Paris, Librairie Charpentier et Fasquelle, 1910. In-8, 244 pp., basane havane de René Lalique, premier plat gaufré d'un coq et du titre, dos long (quelques épidermures, petites déchirures et taches à la couverture).
1916Best.-Nr. 22028Paris, Librairie Hachette, 1916 ; cartonnage rouge-orangé double in-8 du type "à un éléphant", dos type F, dit "au phare", deuxième plat de type "R", toutes tranches dorées ; [8], 368 pp. et six hors-texte en noir et blanc.
1922Best.-Nr. 047776London Uk: Selwyn & Blount / Chapel River Press 1922. 1st Edition 1st Printing. Hardcover. Very Good/Good. 87 Pp. Light Grey Boards With Spine And Front Cover Paper Labels Lettered In Brown. First Printing. Quite Scarce; Fraying At Ends Of Spine Boards Beginning To Split Along Spine Gutters. Paternal Inscription Dated 1931 With Recipient's Elaborate Pasadena Blindstamp On Verso And Recto Respectively Of The Front Free Endpaper. Quite Scarce. In The Illustrated Dust Jacket Which Is Worn And Torn Darkened And Slightly Soiled From Handling Small Losses At Corners No Loss Of Lettering Or Design. Torahiko Kori 1890-1924 Left Tokyo University Without Graduating To Join The Editorial Staff Of Shirakaba A Literary Magazine In 1909. Early In His Short Literary Career Kori Torahiko Became An Enfant Terrible Of The Shirakaba School A Group Of Writers And Artists Whose Works Reflected The Liberal Democratic And Humanistic Spirit Of The Taisho Era 1912-1926. At The Age Of Twenty Kori Began Editing And Publishing With Yanagi Muneyoshi Soetsu Founder Of The Mingei Movement And Around 1923 Became A Frequent Contributor To The Major Literary Magazines Of The Day. In 1909 Kori Torahiko Won First Prize In The Contest Held By Taiyo Sun Magazine With His Play Titled "The Matsuyama Family" Which Brought Him Into Prominence As A Promising Dramatist. His Fame Was Established When The Imperial Theatre Staged His Play Dojoji 1912. The Following Year He Left For Europe. At London Kori Met Esther Sainsbury The Poetess And They Remained Friends Till His Death. He Wrote Plays In London; His First Drama To Be Staged There Was "Kanawa" Iron Ring 1917. Another Of His Plays "Toils Of Yoshitomo" Ran For Three Weeks At The Little Theatre London. Other Plays Similarly Staged Were "Saul And David" And "Absalom." "The Toils Of Yoshitomo" Was Translated Into Several European Languages Including German French And Italian. He Was One Of The Few Japanese Writers Who Worked Abroad. Despite His Close Association With The Shirakaba School Kori In His Taste For Romantic And Decadent Literature Was At Odds With The Prevailing Shirakaba Partiality For Realist Literature Particularly That Of Tolstoy. In His Mature Prose Style Kori Also Turned Away From The Shirakaba Writers' Tendency To Sinewy Colloquialism And Airy Realism In Favour Of A More Flowery Convoluted Prose Style À La D'Annunzio Or Walter Pater. An Unattributed Evaluation States " In Japan One Lone Voice Persisted In Hailing The Greatness Of Kori Long After His Early Death. Mishima Yukio Saw In Kori'S Plays The Essence Of Tragedy. Mishima Rated Kori As The Natural Successor To Such Classic Japanese Tragedians As Zeami Chikamatsu And Mori Ogai. Mishima'S Modern Noh Plays Was Written In Implicit Homage To Kori And Stands Today As A Continuation Of Many Of The Themes That Kori Reworked So Successfully In His Dramas. Shiga Naoya Concluded His Reminiscence Of Kori With His Regret That He Had Let Kori Go To England. "Kori Should Have Stayed And Worked In Japan. If He Had He Might Not Have Died So Young.' Kori'S Early Death Was Undeniably Tragic But Given His Long History Of Sickness And The Fact That He Received The Best Medical Treatment Available At The Time His Premature Death Would Have Been Unavoidable Whether He Had Been In Japan Or Europe. Had Kori Never Left Japan He Might Now Be Known As A Renowned Writer Of The Shirakaba School But Because He Left For Europe And Britain We Have The Toils Of Yoshimoto Arguably The Greatest Dramatic Achievement By A Japanese Playwright ". Selwyn & Blount / Chapel River Press hardcover
Best.-Nr. elala2431London: 1856-57. MORTON John Maddison 1811-1891. How Stout Youre Getting! A Farce In One Act. 8vo. pp. 23. London: Thomas Hailes Lacy nd. Nicolls V 495. MORTON John Maddison. Betsy Baker! Or Too Attentive By Half. A Farce. In One Act. 8vo. pp. 19. etched frontis. London: Thomas Hailes Lacy nd. Nicolls V 495. MORTON John Maddison. The Two Bonnycastles. A Farce. In One Act. 8vo. pp. 21. London: Thomas Hailes Lacy nd. Nicolls V 495. YATES Edmund 1831-1894 & N.H.HARRINGTON. A Night At Notting Hill And Original Apropos Sketch. In One Act. 8vo. pp. 14. London: Thomas Hailes Lacy nd. Nicolls V 404. MADDOX J.M. A Fast Train! High Pressure!! Express!!! A Short Trip. 8vo. pp. 20. London: Thomas Hailes Lacy nd. Nicolls V 472. MORTON John Maddison. A Thumping Legacy. A Farce. In One Act. 8vo. pp. 18. London: Thomas Hailes Lacy nd. Nicolls IV 362. .OXENFORD John. Family Failing A Farce In One Act. 8vo. pp. 30. London: Thomas Hailes Lacy nd. Nicolls V 509. MORTON John Maddison. John Dobbs. A Farce In One Act. 8vo. pp. 22. etched frontis. by T.H.Jones. London: Thomas Hailes Lacy nd. Nicolls V 363. TWENTY MINUTES With A Tiger. A Farce In One Act Adapted From The French. 8vo. pp. 24. London: Thomas Hailes Lacy nd. Nicolls V 760. MORTON John Maddison. Whitebait At Greenwich. A Farce. In One Act. 8vo. pp. 21. London: Thomas Hailes Lacy nd. Nicolls V 495. TAYLOR Tom 1817-1880. Blighted Being. A Farce In One Act. Adapted From The French Vaudeville Une Existence Décolorée. 8vo. pp. 24. London: Thomas Hailes Lacy nd. Nicolls V 592. TAYLOR Tom. Still Waters Run Deep An Original Comedy In Three Acts. 8vo. pp. 58. London: Thomas Hailes Lacy nd. Nicolls V 592. MORTON John Maddison. Grimshaw Bagshaw And Bradshaw. A Farce In One Act. 8vo. pp. 21. London: Thomas Hailes Lacy nd. Nicolls V 495. OXENFORD John. Twice Killed A Farce In One Act. 8vo. pp. 24. etched frontis. by Findlay. London: Thomas Hailes Lacy nd. Nicolls IV 367. BROUGH Robert Barnabas 1828-1860. Medea; Or The Best Of Mothers With A Brute Of A Husband. A Burlesque In One Act. 8vo. pp. 33 1. London: Thomas Hailes Lacy nd. Nicolls V 278. DANVERS H. A Comic Scene Inculcating And Entitled A Conjugal Lesson. In One Act. 8vo. pp. 18. London: Thomas Hailes Lacy nd. Nicolls V 336. LILLIE Hubert. As Like To Peas. A Farce In One Act. 8vo. pp. 28. London: Thomas Hailes Lacy nd. Nicolls V 459. TAMING A TIGER A Farce In One Act Adapted From The French. For Private Representation. 8vo. pp. 20. London: Thomas Hailes Lacy nd. Nicolls V 760. MORTON John Maddison. Slasher And Crasher! An original Farce. In One Act. 8vo. pp. 21. etched frontis. London: Thomas Hailes Lacy nd. Nicolls IV 363. MORTON John Maddison. Done On Both Sides A Farce In One Act. 8vo. pp. 36. etched frontis. London: Thomas Hailes Lacy nd. Nicolls IV 363. HORNE Lenox. Two Heads Are Better Than One. A Farce In One Act. 8vo. pp. 16. London: Thomas Hailes Lacy nd. Nicolls V 426. BUCKSTONE John Baldwin 1802-1879. A Kiss In The Dark. A Farce. In One Act. 8vo. pp. 17. London: Thomas Hailes Lacy nd. Nicolls IV 275. JERROLD William Blanchard 1826-1864. Cool As A Cucumber. A Farce In One Act. 8vo. pp. 26. London: Thomas Hailes Lacy nd. Nicolls V 436. BROUGH William 1826-1870. Trying It On. A Farce In One Act. 8vo. pp. 22. London: Thomas Hailes Lacy nd. Nicolls V 278. bound in 19th century half calf gilt back covers detached head of spine chipped scattered foxing. Manuscript list on front free-endpaper of Pieces acted Winter Season/56 Spring Season/57 & scattered notes. All presumably were published by Thomas Hailes Lacy in 1856-57 London: [1856-57] unknown
1782Best.-Nr. 0005107London: Printed for the Author and sold by S. Hooper 1782. First edition. Hardcover. Fine. Engraved frontispiece. 12mo; xvi 192 pages modern quarter sheep extra gilt spine marbled boards. Rare. First issue without the "Additional Subscribers" Eddy & Fleeman Preliminary handlist of books to which Dr. Samuel Johnson subscribed 48. After a military career Parker prospered as a theatrical performer and raconteur treading the boards throughout the British Isles. "His wit humour and knowledge of the world rendered him at one time an indispensable appendage to convivial gatherings of a kind - DNB." Dr. Johnson Sir Joshua Reynolds and others befriended him and both are listed here in the Subscriber's List. He was a prominent Freemason. Included here is his Dissertation on Masonry dedicated to George Montagu. ESTC T128727. Engraved frontispiece. Printed for the Author, and sold by S. Hooper hardcover
1899Best.-Nr. 0005331London: J. M. Dent & Co. 1899. The Larger Temple Shakespeare. Hardcover. Very Good . Plates cuts. Duodecimos half crimson calf raised bands extra glt spines: bound by Morrell Bindery London for E. P. Dutton Co. in New York. 1899 - 1904. This is the text of the Cambridge Edition with textual changes by Sir Israel Gollancz. Vol. 12 is The Sonnets and Poems with a biography of the Bard and Notes. Extensively illustrated in black & white and color. Note: lacks vol. 8 containing Henry 8 Troilus & Coriolanus. Illustrated with Plates cuts. Jaggard SHAKESPEARE BIBLIOGRAPHY p. 555 . J. M. Dent & Co. hardcover
1980Best.-Nr. 100146Dallas: Pressworks 1980. First edition limited to 376 copies signed by Warren & illustrator Bill Komodore of which 350 were numbered and meant for sale and 26 lettered meant for use of the contributors and publisher. This copy is one of the 26 lettered issue. Copy "W ." Quarter cloth and paper-covered boards in acetate dustwrapper. With actetate inserts protecting color illustrations laid-in as issued. 4 pp music score by Alexie Haieff in stapled printed wraps laid-in as issued. Fine condition. Lettered copies are not commonly available. Hardcovers. 8vo - over 7¾" - 9¾" tall. Limited Edition. Pressworks hardcover
1980Best.-Nr. 100146Dallas: Pressworks 1980. First edition limited to 376 copies signed by Warren & illustrator Bill Komodore of which 350 were numbered and meant for sale and 26 lettered meant for use of the contributors and publisher. This copy is one of the 26 lettered issue. Copy "W ." Quarter cloth and paper-covered boards in acetate dustwrapper. With actetate inserts protecting color illustrations laid-in as issued. 4 pp music score by Alexie Haieff in stapled printed wraps laid-in as issued. Fine condition. Lettered copies are not commonly available. Hardcovers. 8vo - over 7¾" - 9¾" tall. Limited Edition. Pressworks hardcover books
1545Full Title: P. TERENTIA AFRI POET LEPIDISSIMI COMOEDIAE: Andria, Eunuchus, Heavtontimorvmenos, Adelphi, Hecyra, Phormio, ex emendatissimis ac fide dignissimis codicibus summa diligentia castigat, metris in suum ordinem recte restitutis, ac uarijs lectionibus in margine appositis ex collatione prostremarum editionum Aldini & Gryphiani exemplaris. Elenchum interpretum, qui in had comoedias docte simul & erudite scripserunt, proxima subinde pagina demonstrabit. Eorum qu in his interpretum commentarijs annotata sunt, index amplissimus. pp. [22], 154 [i.e. 308], 117 [i.e. 234, [8]. Lacks two leaves of front matter (*2 & *3). Various errors in pagination as recorded in other examples. Folio. 320 mm. Old full vellum binding. Double and triple column Latin text in Italic and Roman. Great many bold woodcut illustrations of the scenes appear throughout the volume, and add to its charm. The various early paper 'repairs' to the title probably cover up old ownerships. Written some time after these repairs is an ink manuscript notation: Della Libreria de S(an) Vincenzo (in Tuscany). CEdit Iniquos - which seems to identify the text and/or editing as unjust, evil, and/or wicked. not too unusual for pagan works. On the front flyleaf is the 18th or 19th century autograph ownership of A. Wallis (unidentified). Publius Terentius Afer (195/185-159 BC), better known in English as Terence, was a playwright of the Roman Republic, of North African descent. His comedies were performed for the first time around 170-160 BC. Terentius Lucanus, a Roman senator, brought Terence to Rome as a slave, educated him and later on, impressed by his abilities, freed him. Terence apparently died young, probably in Greece or on his way back to Rome. He only wrote six plays. All survived, and are printed here. In this famous 1545 edition of Terence, Scoto, provided three summaries for the action of each scene by different humanist scholars of note. The innovation was immediately popular. The basic layout problem in the case of Terence was that the text consists of short scenes with much back-and-forth badinage while the apparatus was typically very lengthy. Early printers of these texts arranged the commentary for each scene all around the base text, creating a window or windows for the words of Terence. The resulting window-and-frame layouts are visually very lively, with each spread slightly different from the last, depending on the length of the commentary with respect to the text. As the sixteenth century progressed, however, it became more usual to employ a simple two-column format that placed the base text of each scene first and the commentary afterwards, alternating but running continuously from column to column. The four columns on a spread owned variety and visual interest because the text of Terence was set in larger type and more generously leaded than the commentary, but the result was rarely as handsome as the older layouts. This two-column format took over because it was much easier to set, correct, revise, and reprint than a window-and-frame. Similarly, fewer and fewer options were exercised in ornamenting and illustrating the folio text as the century wore on. Virtually the only ambitious editions from this point of view are this 1545 Scoto and the 1553 Cesano. These books preserve something of the grace of earlier folios, with scene-by-scene illustrations that characterized some folio editions in the fourteen nineties. Illustrations of individual scenes disappeared entirely after the 1555. The wonderful woodcuts are valued mainly for what they tell us of the Italian stage in the 15th and 16th century. BM STC Italian p. 664. ADD1 Safe
1937Best.-Nr. 14616London: Limited Editions Club / Curwen Press. Very Good with no dust jacket. 1937. First Edition Thus. First Printing. Hard Cover. Limited Edition Copy No. 4 of only 1500 signed by the illustrator on the colophon page. Publisher's full cream/white cloth with a single gilt decoration on cover. In slipcase. Illustrated with 12 watercolor plates by Marie Laurentis. Translated from French with an Introduction by Edmund Grosse. Marie Laurencin 1883 1956 was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d'Or. Spine mildly soiled cover lightly marked former owner's name written on ffep. Slip case has light watermarks and soiled but sturdy else very good. VERY GOOD/VERY GOOD. . Watercolors. 4to 11" - 13" tall. xi 214 pp. Signed by Illustrator . Limited Editions Club / Curwen Press hardcover
