1.281 Ergebnisse
1913Best.-Nr. 89076Librairie Hachette et Cie | Paris 1913 | 23 x 29.5 cm | relié
1806Best.-Nr. 001310Paris Imprimerie de P. Didot l'Aîné 1806
1538Best.-Nr. 338977Basilae: In officina Heruagiana 1538. Collection first published by Froben 1518. A1-Z8: 393 5 pp. 8vo. Late 17th-century stamped-calf binding loss to head and foot of spine title page with borders drawn on it some loss to title page not affecting text annotated throughout some worming needs to be resewn and binding reattached title page should be repaired. Provenance: Johannis Miller. Collection first published by Froben 1518. A1-Z8: 393 5 pp. 8vo. With ownership signaure to the title page: "Ex Libris Johannis Miller pret. 1s. 0d Anno Dm 1693" a further ownership signature to the recto of the last leaf "Ex Libris Johannis Miller A D 1688" and annotations throughout the text. Rev. John Miller 1666-1724 was commissioned fort chaplain of the New York companies in 1692 spending 1692-1695 in New York: "Miller was the sole officiating Episcopal clergyman in the entire province of New York during the three years of his residence; his activities as evinced by contemporary records and his familiarity with all inhabited parts extended beyond the confines of the city." During this time he wrote extensive notes about New York and drew a map of the fort. When his returning vessel was overtaken by French Privateers he threw his documents overboard to destroy the intelligence contained therein. He later rewrote many of his observations and redrew the map from memory it's retained in his manuscripts at the British Museum from George Chalmers in 1842 and was later published in Valentine's 1842-3 Manual. He returned to England where he was given the post of vicar of Effingham gaining a reputation as a "worthy and respectable vicar" and "a man of research." His library was still "preserved with great care" by his successor in the beginning of the nineteenth century then consigned and sold in New York by Bangs and Company in 1894. A number of his books have found their way into prominent libraries and collections Stokes' Iconography; Paltsits Victor Hugo intr. "New Yorke Considered and Improved A.D. 1695 by John Miller" Electronic Texts in American Studies 17. The present work seems to have gone from him to another owner Richard Norton and then to Thomas Norton; the second page has the ownership signature and note: "Thomas Norton pretium / Thomae Dicitur Fr Richard". Thomas Norton could be Thomas Norton 1684-1748 Whig Member of Parliament of Ixworth Abbey Bury St. Edmunds Suffolk; the grandson of Col. Richard Norton M.P. 1615-1691 intimate friend of Cromwell; and nephew of Maj. Richard Norton. Contents include: Aesopi Fabulatoris vita Aesopi Fabulae Gabriae Graeci Tetrasticha Ex Aphthonij Sophistae exercitamentis Ex Philostrati imaginibus fabulae Ex Hermogenis exercitamentis / Prisciano interprete Ex Auli Gellij libro secundo capite undetrigesimo Apologus Aesopi Phrygis memoratunon inutilis Homeri Ranarum et murium pugna heavily annotated Musaeus De Ero et Leandro annotated Expositio capitvm admonitoriorum aedita ex tempora ab Agapeto Hippocratis Iusiurandum GaleÅmyomachia hoc est Felium & murium pugna annotated with translations from the Greek. USTC 608058 In officina Heruagiana unknown books
1793Best.-Nr. 19695London: John Stockdale 1793. FIRST EDITION FIRST ISSUE. Gay Vol. II includes the advertisement leaf following the title page and publisher's advertisement on verso of final text leaf for an edition of Barlow's Aesop and Stockdale fables of Aesop no dates noted. Engraved title page in each volume plus 112 plates in the Aesop and 70 plates in Gay 12 by William Blake; plates with blank leaves as guards. A large paper copy bound in polished mottled calf with matching flyleaves gilt-ruled around the edges and inner dentelles gilt decorated spine. All edges gilt. Interior has some light offsetting from plates as usual. First edition first issue of both works with the long "s" throughout. An exquisite set. John Stockdale unknown
1793Best.-Nr. 19695London: John Stockdale 1793. FIRST EDITION FIRST ISSUE. Gay Vol. II includes the advertisement leaf following the title page and publisher's advertisement on verso of final text leaf for an edition of Barlow's Aesop and Stockdale fables of Aesop no dates noted. Engraved title page in each volume plus 112 plates in the Aesop and 70 plates in Gay 12 by William Blake; plates with blank leaves as guards. A large paper copy bound in polished mottled calf with matching flyleaves gilt-ruled around the edges and inner dentelles gilt decorated spine. All edges gilt. Interior has some light offsetting from plates as usual. First edition first issue of both works with the long "s" throughout. An exquisite set. John Stockdale unknown books
1687Best.-Nr. 30747London: H. Hills jun. for Francis Barlow 1687. Second Barlow Edition. Hardcover. Good . Folio 30.8 by 19.4 cm. 10 40 40 17 2-221 3: table pp; engraved title letterpress title engraved arms of the dedicatee William Cavendish Earl of Devonshire; engraved portrait of Aesop; 30 of 31 numbered full page copperplate engraved plates in the Life; 110 half page engraved plates accompany the fables. 18th-century paneled calf expertly rebacked retaining original backstrip borders and spine tooled in gilt. Light staining and scuffs to covers. Occasional light stains and smudges throughout mostly marginal; a few careful repairs at torn margins; professional repair at margin plate 2 just encroaching on printed surface; 3 cm perforation in plate Fable XII; moderate staining at plate Fable XLVIII; Text block good with otherwise clean plates complete but for the so-called 'indecent' or 'scandalous' plate 17 often defaced or lacking. A good or better copy handsomely bound. Second Barlow edition of these superbly illustrated Fables of Aesop first published in 1666. Each of the 110 fables include a half-page engraving text fable and moral in both French and Latin along with new captions in English by Aphra Behn. The English Life of Aesop is likely a reissue of the original sheets from the small-paper copies of the 1666 edition; the French Life is a new version. They are interspersed with thirty full-page plates mostly signed by Thomas Dudley the unsigned plates were engraved by Barlow. According to his contemporary the engraver and antiquary George Vertue Francis Barlow d. 1704 came from Lincolnshire and apprenticed in London to the portrait painter William Shepherd. Early and late in his career Barlow designed sets of natural history plates which were etched by Wenceslaus Hollar Richard Gaywood Jan Griffier and Francis Place. These prints proved to be an important source for artists and craftsmen of succeeding generations. Along with his engravings for Edward Benlowes's Theophilia 1652 the present suite of illustrations for Aesop's Fables are considered to be Barlow's finest. The preliminary drawings reside in the British Museum. While Barlow's house at "the Golden Eagle in New-Street near Shoo-lane" was burnt in the great fire the copper plates for the volume survived. ODNB. Provenance and annotations: "The Gift of Rich. Wesley Esq to his Son Garret Wesley Year of Christ 1741" entered in black ink at the front endleaf; Garret's entry appears beside the imprint at the title and his "cypher" substitution chart for Greek and English letters appears beneath the gift dediction. A later owner "E.R." has noted in pencil at the pastedown that this book belonged to R. and G. Wesley "ancestors of the Wellesley Family see the autographs for the letter afterwards to the Marquis Wellesley Revnd Dr Wellesley at whose sale I bought it." At the front pastedown is the bookplate of George Aiken Batchelder 1860-1936 who was Vice President E. H. Rollins & Sons Bonds San Francisco California. The bookplate partially obscures another note in pencil which appears to mention the absence of the 'indecent' plate. References: ESTC R22991; S. O'Connell "Barlow Francis" in: ODNB online; Press Reference Library Western Edition Notables of the West vol. I p. 163 International News Service 1913. Full title and imprint: AEsop's fables with his life: in English French and Latin. Newly translated. Illustrated with one hundred and twelve sculptures. To this edition are likewise added thirty one New figures representing his life. By Francis Barlow. London: Printed by H. Hills jun. for Francis Barlow and are to be sold by Chr. Wilkinson at the Black-boy against St. Dunstan's Church in Fleet-street Tho. Fox in Westminster-hall and Henry Faitborne at the Rose in St. Paul's Church-yard. M.DC.LXXXVII. 1687. H. Hills jun. for Francis Barlow hardcover
1687Best.-Nr. 30747London: H. Hills jun. for Francis Barlow 1687. Second Barlow Edition. Hardcover. Good . Folio 30.8 by 19.4 cm. 10 40 40 17 2-221 3: table pp; engraved title letterpress title engraved arms of the dedicatee William Cavendish Earl of Devonshire; engraved portrait of Aesop; 30 of 31 numbered full page copperplate engraved plates in the Life; 110 half page engraved plates accompany the fables. 18th-century paneled calf expertly rebacked retaining original backstrip borders and spine tooled in gilt. Light staining and scuffs to covers. Occasional light stains and smudges throughout mostly marginal; a few careful repairs at torn margins; professional repair at margin plate 2 just encroaching on printed surface; 3 cm perforation in plate Fable XII; moderate staining at plate Fable XLVIII; Text block good with otherwise clean plates complete but for the so-called 'indecent' or 'scandalous' plate 17 often defaced or lacking. A good or better copy handsomely bound. Second Barlow edition of these superbly illustrated Fables of Aesop first published in 1666. Each of the 110 fables include a half-page engraving text fable and moral in both French and Latin along with new captions in English by Aphra Behn. The English Life of Aesop is likely a reissue of the original sheets from the small-paper copies of the 1666 edition; the French Life is a new version. They are interspersed with thirty full-page plates mostly signed by Thomas Dudley the unsigned plates were engraved by Barlow. According to his contemporary the engraver and antiquary George Vertue Francis Barlow d. 1704 came from Lincolnshire and apprenticed in London to the portrait painter William Shepherd. Early and late in his career Barlow designed sets of natural history plates which were etched by Wenceslaus Hollar Richard Gaywood Jan Griffier and Francis Place. These prints proved to be an important source for artists and craftsmen of succeeding generations. Along with his engravings for Edward Benlowes's Theophilia 1652 the present suite of illustrations for Aesop's Fables are considered to be Barlow's finest. The preliminary drawings reside in the British Museum. While Barlow's house at "the Golden Eagle in New-Street near Shoo-lane" was burnt in the great fire the copper plates for the volume survived. ODNB. Provenance and annotations: "The Gift of Rich. Wesley Esq to his Son Garret Wesley Year of Christ 1741" entered in black ink at the front endleaf; Garret's entry appears beside the imprint at the title and his "cypher" substitution chart for Greek and English letters appears beneath the gift dediction. A later owner "E.R." has noted in pencil at the pastedown that this book belonged to R. and G. Wesley "ancestors of the Wellesley Family see the autographs for the letter afterwards to the Marquis Wellesley Revnd Dr Wellesley at whose sale I bought it." At the front pastedown is the bookplate of George Aiken Batchelder 1860-1936 who was Vice President E. H. Rollins & Sons Bonds San Francisco California. The bookplate partially obscures another note in pencil which appears to mention the absence of the 'indecent' plate. References: ESTC R22991; S. O'Connell "Barlow Francis" in: ODNB online; Press Reference Library Western Edition Notables of the West vol. I p. 163 International News Service 1913. Full title and imprint: AEsop's fables with his life: in English French and Latin. Newly translated. Illustrated with one hundred and twelve sculptures. To this edition are likewise added thirty one New figures representing his life. By Francis Barlow. London: Printed by H. Hills jun. for Francis Barlow and are to be sold by Chr. Wilkinson at the Black-boy against St. Dunstan's Church in Fleet-street Tho. Fox in Westminster-hall and Henry Faitborne at the Rose in St. Paul's Church-yard. M.DC.LXXXVII. 1687. H. Hills jun. for Francis Barlow hardcover books
1913Best.-Nr. 89076Paris: Librairie Hachette et Cie 1913. Fine. Rackham illustrates the father of the Western fable Librairie Hachette et Cie Paris 1913 23 x 29.5 cm relié Illustrated edition with compositions by Arthur Rackham 13 in colour tipped in with captioned tissue guards and 52 black-and-white illustrations in the text one of 55 copies on japon signed by Arthur Rackham on the limitation page deluxe issue. Publishers full vellum binding flat spine gilt-lettered with gilt-stamped animals upper cover gilt-stamped with the title and an illustration of animals top edge gilt uncut lower cover silk ties preserved. A fine copy of the works of the most celebrated fabulist illustrated by Arthur Rackham one of the rare copies on japon. Provenance: Maurice Feuillet with his manuscript ex-libris on the half-title. A renowned press illustrator notably for major judicial cases but also an art critic and founder of the Figaro artistique Feuillet remains famous for his courtroom sketches at the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899. Â Librairie Hachette et Cie hardcover
Best.-Nr. 163103Verona: Officina Bodoni 1973. with the woodcuts newly engraved and coloured after a copy in the British Museum. Epilogue in English by Giovanni Mardersteig. Two volumes. Volume I: Pp. 2782blank colophon 68 pochoir woodcuts attributed to Liberale da Verona recut by Anna Bramanti; Volume II: THE FIRST THREE BOOKS OF CAXTON'S AESOP containing the fables illustrated in the Verona Aesopus of MCCCCLXXIX. Pp. 1202blank colophon; med. 8vo; green morocco spines lettered and decorated in gilt 'cloudy' vellum boards lettered and decorated in gilt the spines uniformly faded; t.e.g. others uncut; together within a brown card slipcase edges slightly worn; bookseller's small stamp at top edge of upper pastedowns; Officina Bodoni Verona 1973. One of 130 sets thus total edition 160. Barr 91. Printed on handmade paper watermarked with a goose like that of the original edition this reinterpretation of an early illustrated book printed in Verona in 1479 by Giovanni Alvise was published to mark the 50th anniversary of the Officina Bodoni. A list of the woodcuts with page numbers is loosely inserted in Volume I together with the publisher's prospectus. Volume I contains the Latin text of the 1479 edition with Accio Zucco's Italian translation. Volume II contains the fables in Caxton's translation with the first fable and the final six of the Veronese edition which Caxton did not include translated from the Latin by Betty Radice. The illustrations were coloured by hand at the Atelier Daniel Jacomet Paris. 'The Aesop cuts show a rich spectrum of colours with delicate hues that recall miniatures. Mardersteig maintained that only a great master could have made the preliminary drawings for the fable illustrations and had in mind at the outset the colouring which would give life to the linear woodcuts. This artist he identified on stylistic grounds with the miniaturist Liberale da Verona whose paintings are to be seen in the large choir-books in the Piccolomini Library in Siena Cathedra and elsewhere' Barr page 90. Officina Bodoni unknown
1912Best.-Nr. 180752London: William Heinemann 1912. Signed copy one of 520 finely bound with pictorial title block to front First Rackham edition signed limited issue and first edition of this translation; number 1191 of 1450 copies signed by the artist. "The peculiar secret of Rackham's success in seizing upon the essence of the human and portraying it in animal form which is after all the basic device of the morality is unwittingly touched upon in Chesterton's delightful introduction to the 1912 edition of Aesop's Fables: 'There can be no good fable with human beings in it. There can be no good fairy tale without them.' Rackham's genius is such that it bridges the two and carries the didactic fable into the realm of fairy story and lends to the imaginative world of fairies a tangible and convincing reality" Gettings pp. 83-84. Quarto 277 x 229 mm. With 13 tipped in colour plates as issued captioned tissue guards and 5 black and white illustrations. Finely bound by the Chelsea Bindery in reddish-brown morocco spine lettered and decorated gilt raised bands pictorial title block to front board gilt twin rule to turn-ins gilt dark green endpapers top edge gilt others untrimmed. A few leaves slightly browned and the occasional minor blemish. An excellent copy finely bound. Riall p. 111. Fred Gettings Arthur Rackham 1976. hardcover
1554Best.-Nr. 3630Nuremberg: Gedrückt zu Nürnberg durch Friderich Gutknecht 1554. FIRST COLLECTED EDITION. The first work was first printed in 1535 as "Eyn new gedichte von den Schmeichlern" VD16 S 478. The third fable appeared as a broadside ca. 1540 Weller 82 not in VD16. I have been unable to trace an earlier ed. of the second fable. Hardcover. Fine. Bound in modern vellum over boards soiled slightly bowed. The text is in very good condition with a little light dust-soiling a few small spots on the final two leaves and soiling to the verso of the final leaf. With two woodcut illustrations and a fine woodcut ornament on the final leaf. No copies traced in North America. Hans Sachs' reworkings of three traditional fables two by Aesop "The shepherd flatters the wolf" and "The hares and the frogs" and one "the envious man and the miser" by the Latin fabulist Avianus. The first woodcut shows the devious wolf hiding in his cave. The second shows the miser and envious man having their eyes gouged out. The poet and playwright Hans Sachs a shoemaker and guild master by trade was an accomplished Meistersinger of the Nuremberg School Sachs is the title character of Wagner's "Meistersinger". Sachs' songs plays and dialogues address the social concerns of his day and the effects of the Reformation on the established social order. The Fables: 1. Ein yder sehe für sich und verberg sich hinder keinen Schmeichler. Ein jeder sehe für sich und verbarg sich hinter keinen Schmeichler. The shepherd tries to deceive the wolf: A wolf stalked by a hunter comes upon a shepherd and begs him to hide him from the hunter promising a rich reward. The shepherd agrees to help and the wolf hides in a cave. The hunter coming upon the spot but not seeing the wolf asks the shepherd if he has seen his quarry. The shepherd knowing that the wolf is watching them indicates with his hands that the wolf has gone off in a certain direction. Yet while he does so he tries by means of his eyes to let the hunter know that the wolf is in fact hiding in the cave. The hunter fails to see this and heads off. The shepherd then addresses the wolf telling him that he should be grateful that he has saved his life. The wolf thanks him but -being fully aware of the shepherd's deceit damns the shepherd's eyes. 2. Ein schöne Histori von dem Neidigen und dem Geitzigen Schöne Historie von dem Neidigen und dem Geizigen The Envious man and the Miser: "In this fable Jupiter sent Phoebus to earth where he stumbled upon an envious and a miserly person. He offered the miser a wish adding that whatever he wished for should be given double to his companion. The miser determined to wish for nothing knowing he would get only half what the other received and left it to his companion to make the wish. Thereupon the envious man took revenge by wishing that one of his own eyes be gouged out so that his companion would be made blind. Sachs concludes that envy makes envious persons suffer. They delight in the misery of others even if they are about to suffer the same fate themselves and their hearts are full of poison."Roper The Witch in the Western Imagination 3. "Ein yder trag sein joch dise Zeit" Ein jeder trage sein Joch diese Zeit und überwind sein Übel mit Geduld The hares and the frogs: Enduring and overcoming evil with patience: Once upon a time some hares driven desperate by the many enemies foxes wolves falcons hunters that threatened them from every direction came to the sad resolution that there was nothing left for them to do but kill themselves. They scurried to a nearby lake determined to drown themselves the most miserable of creatures. A group of frogs seated upon the bank frightened at the approach of the hares leaped in great alarm and confusion into the water. 'Nay then my friends' said the leader of the hares 'our case is not so desperate yet for here are other poor creatures more faint-hearted than ourselves.'. Gedrückt zu Nürnberg durch Friderich Gutknecht hardcover books
1931Best.-Nr. 001609Newtown: The Gregynog Press 1931. 8 146pp 2. Publishers sheep title blocked in black to spine. Spine rubbed affecting a couple of the letters to title minor rubbing to extremities with small scuff to lower top corner. Edges of endpapers browned small stain to title just beneath illustrators name a couple of small and very minor marks to margins generally quite bright and clean. Number one hundred and seventy-two of two hundred and twenty-five copies bound thus by the Gregynog Press bindery another twenty-five copies were specially bound with their name to foot of lower endpaper. Actually published in April 1932 in Bembo type on Barcham Green hand-made paper with thirty-seven wood engravings by Agnes Miller Parker and wood engraved initials by William MacCance. For the illustrator see Selborne 'British Wood-Engraved Book Illustration 1904-1940' pages 382-392. Franklin page 282; Harrop 20 noting that "never can living creatures have been more successfully portrayed in so static a medium" Harrop page 96. First Thus. Hardback. Good. Illus. by Parker Agnes Miller. Folio. Private Press. The Gregynog Press hardcover
Best.-Nr. 68393Basel Froben 1518. Kl.8° 262 S. 1 Bl. mit Holzschnitt-Titelbordüre u.Druckermarke am Schluss.; 126 S. 1 Bl. mit 4 wiederh.Holzschnitt-Titelbordüren. u. 4 2 verschied.Druckermarken. Unter Verwendung alter blindgeprägter Deckelbezüge sauber restaurierter Lederband mit 4 Schliessbändern. Das erste Titelblatt im Unterrand angestückt etw. gebräunt u. teils mit kl. Feuchträndern die letzten Bl. mit kl. Einrissim Oberrand; flieg. Vorsatz fehlt hinten. VD 16 A 415 - IA. 101.002 - Hieronymus GG 19 - Schweiger I 13. - Erste Froben-Ausgabe des Aesop und einigen kleineren klassischen Texten „vier davon zweisprachig alle für den fortgeschrittenen Griechischunterricht gedacht.“ Hieronymus. - Die beigedruckten Texte jeweils mit eigenem Titelblatt jedochdurchgehend paginiert. „Für den griechischen Text hat Froben eine neue Kursive nach dem Vorbild derjenigen des Aldus Manutius verwendet“ebd. - Provenienz: Exlibris Janet and C. R. Ashbee sowie Exlibris Edmund Mc Clure auf Spiegel. 010 Basel, Froben, 1518 unknown
1743Best.-Nr. 19742Paris: Claude-Charles Thiboust 1743. Contemporary mottled sheepskin sewn on 5 cords gold-tooled spine with label in 2nd of 6 compartments gold fillets on board edges red edges green ribbon marker. 4to 25.5 x 20.5 cm. With an etched and engraved frontispiece showing Aesop surrounded by his students and a couple children above and a peaceful group of animals below including a lion elephant monkey mink eagle fox ox and mountain goat; and 139 half-page etched fable illustrations in the text 9 x 11 cm one for each of the 139 numbered fables all 140 copperplates etched and engraved by Aegidius Sadeler the frontispiece signed for Theatrum morum Prague 1608: 124 close copies in mirror image of those by Marcus Gheeraerts 15 added by Sadeler plus the title-plate with title removed. Further with numerous woodcut headpieces tailpieces and decorated initials. The third French Aesop adaptation to use the 140 plates originally etched by Aegidius or Gilles Sadeler ca. 1568/70-1629 for his Theatrum morum Prague 1608 here reordered and with a new prose text probably written by Henri-François d'Aguesseau 1668-1751 Chancellor of France three times between 1717 and 1750. The etching for fable 117 shows an American buffalo bizon the earliest image that really looks like the animal familiar to us today. "These added designs by Sadeler are highlights in the history of book illustration" Hodnett p. 39.With a 20th-century bookplate and ink stamps. The copper plate for fable 90 had lost much of its detail and some others show slight degradation but in general they remained in good condition and are also well printed. The corner of 1 leaf has been torn off and there is an occasional small marginal tear or faint stain but the book remains in good condition and has large margins. The binding is chipped and cracked at top of the spine and shows a few smaller defects but is also in good condition. A late showing of 140 of the best illustrations in the Aesop tradition etched and engraved in 1608.l Hodnett Marcus Gheeraerts pp. 38-41; Hollstein XXI p. 80; Smith Het schouwtoneel der dieren pp. 39-41. Claude-Charles Thiboust, unknown
1722Best.-Nr. 962F34DLondon: J. Tonson and J. Watts 1722 . First edition. Leather. Very Good Indeed. 9.5" by 6.5". Elisha Kirkall; G. van der Gucht. The very scarce first edition of Samuel Croxall's translation of the fables of Aesop illustrated throughout and in a handsome full calf binding. The very scarce first Croxall translation of this work.Illustrated with a frontispiece by G. Van der Gucht and with vignette woodcuts throughout by Elisha Kirkall.Samuel Croxall was an Anglican churchman writer and translator particularly noted for this translation of Aesop's Fables.ESTC T84707With an index to the rear.Rebacked retaining the contemporary calf boards with gilt detailing and with endpapers renewed.Aesop's Fables are a collection of brief moral tales attributed to a storyteller believed to have lived in ancient Greece around the 6th century BCE. These tales typically feature animals as characters who embody human traits and behaviours teaching practical life lessons through their interactions. Classic fables like "The Tortoise and the Hare" "The Boy Who Cried Wolf" and "The Ant and the Grasshopper" use simple narratives to convey enduring wisdom about virtues such as perseverance honesty and hard work.Housed in a cloth clamshell box lined with felt. Rebacked in a contemporary calf binding with gilt detailing and with endpapers renewed. Housed in a felt-lined cloth clamshell box. Externally excellent. Neat repair to front board head. Clamshell in fine condition. Internally firmly bound. Pages lightly age toned with the odd spot most concentrated to the first and last few leaves. Very Good Indeed J. Tonson and J. Watts hardcover
1668Best.-Nr. 7514Engraved frontispiece portrait of Ogilby by P. Lombart after P. Lely engraved plate of Aesop among his animals and eighty-one engraved plates illustrating the fables by Cleyn most of which were cut by Hollar. The work first appeared in folio in 1665 with 82 fables each with its own full-page illustration save one plate representing two fables printed on a separate leaf with accompanying letterpress text. Hollar was responsible for 57 of the illustrations & the print depicting Aesop. Period debossed full calf with handsome recasing in a fine morocco. Engraved frontispiece portrait cut and mounted with small paper repair in the lower right corner of the image. Some browning and occasional foxing; a few short marginal tears or paper flaws. Title in red and black Portrait of Aesop Dedication to Charles II. 211 1 blank 82 engraved plates pages. Large folio 10.5 x 16.125 inches; 410 x 265 mm. Printed by Thomas Roycroft, for the Author hardcover
Best.-Nr. 173076Verona: Officina Bodoni 1973. A fine set First Officina Bodoni edition number 86 of 160 copies on handmade Magnani paper. The Officina Bodoni was founded in 1922 by Hans Mardersteig and his press became the most important 20th-century private press on the Continent. This edition was published to mark the fiftieth anniversary of its founding. John Barr notes that this edition was Mardersteig's "reinterpretation of a fine illustrated book printed in Verona in 1479 by Giovanni Alvise. For the Officina Bodoni edition the original woodcuts were. recut by a contemporary engraver and coloured by hand". This copy includes five leaves of prospectuses issued by the press or The Bodley Head who were the sole agent for distribution in the UK. It is recorded that 70 copies each were reserved for The Bodley Head and the Chiswick Book Shop Sandy Hook Connecticut. All other copies were reserved for the Officina Bodoni. 2 vols octavo. With 66 hand-coloured woodcut illustrations by Anna Bramanti after Liberale da Verona. Original green morocco-backed vellum boards spines and front covers lettered in gilt covers with decorative borders in gilt top edges gilt. With acetate dust jackets and brown paper slipcase. List of woodcuts loosely inserted. Acetate slightly toned at spine: a fine set in near-fine jackets and fine slipcase. Barr 91. hardcover
1912Best.-Nr. ST19901London & New York: William Heinemann & Doubleday Page 1912. No. 863 of 1450 SIGNED by Rackham. With an Introduction by G. K. Chesterton. 290 x 227 mm. 11 1/2 x 9". xxix 1 223 1 pp. SUPERB HONEY-BROWN CRUSHED MOROCCO GILT AND INLAID BY SANGORSKI & SUTCLIFFE stamp-signed on front turn-in covers with Arts & Crafts-style frame of gilt rules punctuated with inlaid green morocco dots inlaid green morocco Tudor roses at corners with four leafy branches upper cover with gilt titling at head of central panel central gilt-ruled medallion contain the letters "E B" in inlaid blue and green morocco with a collar lettered "XMAS 1912" this surrounded by a wreath of gilt vines and eight inlaid green morocco roses raised bands spine compartments with French fillet frames two panels with gilt lettering turn-ins with multiple gilt rules top edge gilt other edges untrimmed. Housed in a felt-lined buckram clamshell box. With 20 full-page black and white illustrations numerous illustrations in the text and 13 COLOR PLATES as called for each mounted on heavy brown stock and protected by lettered tissue guard. Printed on Large Paper. WITH HAND-ILLUMINATED PRESENTATION LEAF BOUND IN: "TO EDMUND" written in burnished gold surrounded by curling leafy vines in blue orange and green "WITH BEST WISHES FOR A MERRY CHRISTMAS AND A HAPPY NEW YEAR" written in black ink an ornament below it in colors and gold and "FROM THE BINDERY / XMAS. 1912." in black and red ink at foot. Front pastedown with engraved bookplate of "EMB" and "EWB"; front free endpaper with ex-libris of L. W. Jordan Jr. and with pencilled inscription "To Roxy from Edmund." Hudson p. 169; Latimore and Haskell pp. 38-39. The typical offsetting on free endpapers from binder's glue used for turn-ins very small very faint areas of transfer from acidic mounts used for color plates wherever tissue guard doesn't fully cover a facing leaf other trivial imperfections but still QUITE A LOVELY COPY clean and fresh internally and in an unworn handsome binding. In a fine binding by an eminent English workshop this is Rackham's take on the famous fables populated with charming animals anthropomorphized to just the right degree along with wistful maidens ancient crones and some seriously sinister trees. Arthur Rackham 1867-1939 studied art at Lambeth School where the work of his fellow student Charles Ricketts influenced his development. As Houfe says soon after Rackham joined the staff of "The Westminster Budget" in 1892 he began concentrating "on the illustration of books and particularly those of a mystical magic or legendary background. He very soon established himself as one of the foremost Edwardian illustrators and was triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian and among them are evidently the works of Cruikshank Doyle Houghton and Beardsley but also the prints of Dürer and Altdorfer." After studying under and then working for Douglas Cockerell Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year the firm suffered three major blows: their famously splendid jewelled binding dubbed the "Great Omar" was lost on the Titanic; a few weeks after this accident Francis himself drowned; and Francis' brother Alberto who had been a central figure in producing the firm's vellum illuminated manuscripts went over to Riviere. Despite these losses the firm grew and prospered employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. This special binding was created as a Christmas present and includes a hand-illuminated leaf from the bindery possibly done by Alberto before he moved to Riviere. Such a grand presentation could only have been reserved for a special patron and in this case the "Edmund" would have been Edmund DeWitt Brooks 1866-1919 the substantial bookseller and bibliophile from Minneapolis. The present volume stands as a monument to a very close friendship between Brooks as well as his wife and namesake son on one side of the Atlantic and Sangorski & Sutcliffe on the other. With a special interest in literary works particularly in fine bindings Brooks came to know his supplier through annual book-buying trips abroad see Lee Edmonds Grove's 1945 memoir "Of Brooks & Books" for an account of that relationship. Grove says that the nature of the friendship was so strong that the binders invited Brooks to stay in a specially outfitted room at their premises rather than in a hotel during his London visits. Although our Aesop was inscribed to the father his son Edmund William Brooks 1900-85 so 12 at the time the present volume was signed continued the family connection with Sangorski & Sutcliffe for many years. The "EMB" and "EWB" bookplates belonged to Edmund's wife Edith M. Brooks 1862-1957 and son Edmund who apparently lived together in the family home after the elder Edmund died. Although we don't know the identity of "Roxy" we do know that the "To Roxy from Edmund" inscription is in the same hand as an identical one made--surely by our younger Edmund as printer/publisher--at the front of a copy of "The Book of Ruth" issued in 1934 by the Reed Pale Press that copy being offered for sale in 2022 by Under the Hill Books. William Heinemann & Doubleday, Page unknown
1912Best.-Nr. ST19901London & New York: William Heinemann & Doubleday Page 1912. No. 863 of 1450 SIGNED by Rackham. With an Introduction by G. K. Chesterton. 290 x 227 mm. 11 1/2 x 9". xxix 1 223 1 pp. SUPERB HONEY-BROWN CRUSHED MOROCCO GILT AND INLAID BY SANGORSKI & SUTCLIFFE stamp-signed on front turn-in covers with Arts & Crafts-style frame of gilt rules punctuated with inlaid green morocco dots inlaid green morocco Tudor roses at corners with four leafy branches upper cover with gilt titling at head of central panel central gilt-ruled medallion contain the letters "E B" in inlaid blue and green morocco with a collar lettered "XMAS 1912" this surrounded by a wreath of gilt vines and eight inlaid green morocco roses raised bands spine compartments with French fillet frames two panels with gilt lettering turn-ins with multiple gilt rules top edge gilt other edges untrimmed. Housed in a felt-lined buckram clamshell box. With 20 full-page black and white illustrations numerous illustrations in the text and 13 COLOR PLATES as called for each mounted on heavy brown stock and protected by lettered tissue guard. Printed on Large Paper. WITH HAND-ILLUMINATED PRESENTATION LEAF BOUND IN: "TO EDMUND" written in burnished gold surrounded by curling leafy vines in blue orange and green "WITH BEST WISHES FOR A MERRY CHRISTMAS AND A HAPPY NEW YEAR" written in black ink an ornament below it in colors and gold and "FROM THE BINDERY / XMAS. 1912." in black and red ink at foot. Front pastedown with engraved bookplate of "EMB" and "EWB"; front free endpaper with ex-libris of L. W. Jordan Jr. and with pencilled inscription "To Roxy from Edmund." Hudson p. 169; Latimore and Haskell pp. 38-39. The typical offsetting on free endpapers from binder's glue used for turn-ins very small very faint areas of transfer from acidic mounts used for color plates wherever tissue guard doesn't fully cover a facing leaf other trivial imperfections but still QUITE A LOVELY COPY clean and fresh internally and in an unworn handsome binding. In a fine binding by an eminent English workshop this is Rackham's take on the famous fables populated with charming animals anthropomorphized to just the right degree along with wistful maidens ancient crones and some seriously sinister trees. Arthur Rackham 1867-1939 studied art at Lambeth School where the work of his fellow student Charles Ricketts influenced his development. As Houfe says soon after Rackham joined the staff of "The Westminster Budget" in 1892 he began concentrating "on the illustration of books and particularly those of a mystical magic or legendary background. He very soon established himself as one of the foremost Edwardian illustrators and was triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian and among them are evidently the works of Cruikshank Doyle Houghton and Beardsley but also the prints of Dürer and Altdorfer." After studying under and then working for Douglas Cockerell Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year the firm suffered three major blows: their famously splendid jewelled binding dubbed the "Great Omar" was lost on the Titanic; a few weeks after this accident Francis himself drowned; and Francis' brother Alberto who had been a central figure in producing the firm's vellum illuminated manuscripts went over to Riviere. Despite these losses the firm grew and prospered employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. This special binding was created as a Christmas present and includes a hand-illuminated leaf from the bindery possibly done by Alberto before he moved to Riviere. Such a grand presentation could only have been reserved for a special patron and in this case the "Edmund" would have been Edmund DeWitt Brooks 1866-1919 the substantial bookseller and bibliophile from Minneapolis. The present volume stands as a monument to a very close friendship between Brooks as well as his wife and namesake son on one side of the Atlantic and Sangorski & Sutcliffe on the other. With a special interest in literary works particularly in fine bindings Brooks came to know his supplier through annual book-buying trips abroad see Lee Edmonds Grove's 1945 memoir "Of Brooks & Books" for an account of that relationship. Grove says that the nature of the friendship was so strong that the binders invited Brooks to stay in a specially outfitted room at their premises rather than in a hotel during his London visits. Although our Aesop was inscribed to the father his son Edmund William Brooks 1900-85 so 12 at the time the present volume was signed continued the family connection with Sangorski & Sutcliffe for many years. The "EMB" and "EWB" bookplates belonged to Edmund's wife Edith M. Brooks 1862-1957 and son Edmund who apparently lived together in the family home after the elder Edmund died. Although we don't know the identity of "Roxy" we do know that the "To Roxy from Edmund" inscription is in the same hand as an identical one made--surely by our younger Edmund as printer/publisher--at the front of a copy of "The Book of Ruth" issued in 1934 by the Reed Pale Press that copy being offered for sale in 2022 by Under the Hill Books. William Heinemann & Doubleday, Page unknown books
Best.-Nr. ST14304Verona: Officina Bodoni 1973. No. 131 OF 160 COPIES. 255 x 182 mm. 10 x 6 3/8". Two volumes. With an epilogue by Giovanni Mardersteig. Publisher's stiff vellum backed with green morocco top edges gilt. WITH 68 FINE HAND-COLORED WOODCUTS by Ann Bramanti 66 of these full-page colored via pochoir by Daniel Jacomet to recreate the illuminated miniature effect of the British Library colored copy of the Veronese Aesop of 1479 upon which the present edition is based. Printed on Magnani mouldmade paper with goose watermark. Volume I: the Latin text of the 1479 edition with Italian translation; volume II: the English text based on Caxton's 1482 translation. Prospectus laid in. Mardersteig/Schmoller 182. ◆Vellum grain showing variation as always otherwise in mint condition. This beautiful limited edition of Aesop is generally considered to be the finest book from Officina Bodoni and is thought by many to be among the half dozen greatest private press books ever printed. Probably the most important certainly the longest-lived 20th century Continental private press Officina Bodoni was founded in 1922 by Hans Mardersteig who later changed his first name to Giovanni. Like Sweynheym and Pannartz the first printers in Italy Mardersteig was born in Germany but moved to Italy as an adult and set up his hand press in a small village there. Will Carter has called Mardersteig "probably the finest pressman the world has ever seen or is ever likely to see" and it is difficult to overstate the pleasure derived from the precision of the Officina Bodoni books. Based on a beautiful hand-colored copy of the Aesop of Giovanni Alvise the third printer in Verona the Officina Bodoni Aesop celebrates the golden anniversary of Mardersteig's founding of his press. Officina Bodoni unknown
Best.-Nr. ST14304Verona: Officina Bodoni 1973. No. 131 OF 160 COPIES. 255 x 182 mm. 10 x 6 3/8". Two volumes. With an epilogue by Giovanni Mardersteig. Publisher's stiff vellum backed with green morocco top edges gilt. WITH 68 FINE HAND-COLORED WOODCUTS by Ann Bramanti 66 of these full-page colored via pochoir by Daniel Jacomet to recreate the illuminated miniature effect of the British Library colored copy of the Veronese Aesop of 1479 upon which the present edition is based. Printed on Magnani mouldmade paper with goose watermark. Volume I: the Latin text of the 1479 edition with Italian translation; volume II: the English text based on Caxton's 1482 translation. Prospectus laid in. Mardersteig/Schmoller 182. ◆Vellum grain showing variation as always otherwise in mint condition. This beautiful limited edition of Aesop is generally considered to be the finest book from Officina Bodoni and is thought by many to be among the half dozen greatest private press books ever printed. Probably the most important certainly the longest-lived 20th century Continental private press Officina Bodoni was founded in 1922 by Hans Mardersteig who later changed his first name to Giovanni. Like Sweynheym and Pannartz the first printers in Italy Mardersteig was born in Germany but moved to Italy as an adult and set up his hand press in a small village there. Will Carter has called Mardersteig "probably the finest pressman the world has ever seen or is ever likely to see" and it is difficult to overstate the pleasure derived from the precision of the Officina Bodoni books. Based on a beautiful hand-colored copy of the Aesop of Giovanni Alvise the third printer in Verona the Officina Bodoni Aesop celebrates the golden anniversary of Mardersteig's founding of his press. Officina Bodoni unknown books
Best.-Nr. 65345London: Printed by H. Hills jun. for Francis Barlow. 1687. FIRST EDITION THUS. Folio. 30 x 19 cm. Engraved title title engraved arms of the dedicatee Earl of Devonshire dedication pp.40 Life plus 40 Vie pp.17 Vita pp.2-2212 Index. Later eighteenth century calf sides with blind-stamped roll-tooled border spine matching with raised bands and gilt lettering gilt decoration to board edges brown endpapers all edges gilt. Comnplete with engraved title dedication plate 31 full page illustrations of the Life and 110 half page illustrations of the Fables. Armorial bookplate of Joseph Tusker Middleton hall Essex. Joints expertly repaired plates to the the Life slightly foxed most noticeably to the versos small hole to plate 25 otherwise contents fresh and clean. An attractive copy. Second edition of Barlowe's illustrations but expanded to include the life and its 31 plates. Frst thus. Many most copies of the first edition were burnt in the Great Fire. The English verses are here for the first time by Aphra Behn. Includes uncensored the often absent or mutilated plate 17 to the Life. The first edition did not include the Life. "One of the very few English productions worthy to stand beside its best foreign contemporaries." Bland See Hodnett "Francis Barlow" and "Aesop in England" for a full discussion of this book. London: Printed by H. Hills jun. for Francis Barlow... 1687. hardcover
1602Best.-Nr. 75949Jean Moretus Ex officina plantiniana, apud Ioannem Moretum | Anvers 1602 | 8.20 x 12.60 cm | relié
1931Best.-Nr. 122334455668The sole UK printing published by the Gregynog Press Newtown : 1931. Number '125' of only 250 copies issued. Illustrated with thirty-seven wood engravings by Agnes Miller Parker and wood-engraved initials by her husband William McCance typographer and sculptor. This title was Parker's first collaboration with the Press. Bound in the publisher's original tanned sheepskin with the title blocked in black foil on the spine. Printed in Bembo Type on Barcham Green hand-made paper. The BOOK is in Very Good condition with minor rubbing to the spine and the extremities else a fine copy with only a very occasional light spot in places. A book that is seldom encountered in such sharp condition. The book is protected in a removable Mylar archival cover. Together with Gertrude Hermes and Blair Hughes-Stanton Parker helped to usher in a period of masterly illustrated editions at Gregynog with the Esope title considered one of the masterpieces of the Press. The illustrations by Agnes Miller Parker are considered by Colin Franklin to rank this book as 'the most conspicuously decorative volume of that kind' the binding is smooth appropriately naturalistic and exceptionally well preserved and the type hand-set by Richard Jones is generous and exacting. Writing in his The Private Presses Colin Franklin concluded that 'the entire work of Gregynog printing and binding produced a better thing that anyone else had attempted'. Jones pp. 30-1. Housed in the original plain card slipcase which is a little age worn rubbed and marked but tight and complete. With the publisher's prospectus loosely inserted. A great rarity. More images available on request. Ashton Rare Books welcomes direct contact. Gregynog Press, Newtown hardcover
1505Best.-Nr. 684L10Venice: Apud Aldum 1505. First edition. Fine Binding. Very Good Indeed. 10" by 7". None. A very scarce early Aldine work regarding Greek allegorical techniques. A highly sought after first edition printing from the famous Aldine Press. Rebound in a lovely morocco binding by C and C McLeish. McLeish started his binding career at the Doves Bindery before starting a partnership with his sons as C & C Mcleish from 1909 to 1949. This book is from the Spencer library at Althorp Northamptonshire. With the bookplate of the Earl of Spencer's arms and pressmark B65. The Aldine Press was the printing office started by Aldus Manutius in 1494 in Venice. The first book appearing under his name was published in 1495. The press was the first to issue printed books in octavo and is also famous for introducing italics. In Greek. Adams A278; Ahmanson-Murphy 93; Renouard 49:6. Early manuscript title to the second blank with original woodcut Aldine printer's device laid down. Marginalia in Greek and Latin by an early hand throughout. This work contains 85 leaves only and therefore is lacking the first sixty-five leaves. Lacking the fables and life of Aesop. Retaining leaves d6-o4. This work retains the accompanying text including the 'editiones principes' of Cornutus/Phurnutus 'De Natura Deorum' by Cicero 'Palaephatus' on disbelieving histories'De Non Credendis Historiis' Heraclitus Ponticus' 'De Allegoriis Apud Homerum and Horapollon' 'Hieroglyphica' as well as a collection of proverbs. Many of the works to this volume appear in their first edition here. A very scarce work beautifully produced by the Aldine Press and with fascinating provenance. In a full morocco binding. Externally very smart with light rubbing to the joints. Internally firmly bound. Front endpaper is chipped to the edges with handling marks and prior owner's notes as well as bookplate. Second blank has a manuscript title with the Aldine Press printer's device pasted. Pages are bright. Occasional ink inscriptions to the margins in Greek and Latin. Very Good Indeed Apud Aldum unknown
