LONGUSABAA
43 resultados
1930ref. 328235Berkshire: Golden Cockerel 1930. Limited. hardcover. near fine. J.E. Laboureur. One of only 97 copies illustrated by J.E. Laboureur with 5 engravings on copper. Translated out of the Greek of Longus by George Thornley. Nicely printed in letterpress with chapter headings and initials in green. 108 pages. Short slim 4to tan cloth with gilt-stamped Cockerel logo on covers; uncut edges top edge gilt. Waltham St. Lawrence Berkshire: Golden Cockerel Press 1923 1930. Cloth slightly sunned on spine and extremes still a near fine copy of this special printing. Originally issued in 1923 in boards with no illustrations in an edition of 450 copies; this small edition of 97 was issued in May 1930 from the remaining sheets of the 1923 printing. --Chanticleer 17. Golden Cockerel unknown books
1779ref. 1323940Londres i.e. Paris 1779. Hardcover. Octavo 6 182 pages; VG; bound in period red morocco rebacked with paneled gilt spine preserved; some wear to boards; text bock gilt; marbled endpapers; front pastedown with two bookplates and an old catalogue description; With a half-title and an additional engraved titlepage; illustrated with 29 plates inset including the 'petits pieds' plate; The imprint is false; probably printed in Paris.; shelved case 3. ESTC: T149741/N42517. 1323940. Shelved Dupont Bookstore. hardcover books
1890ref. 352173Paris: Librairie Artistique H. Launette et Cie Éditeurs-G. Boudet Succr 197 Boulevard Saint-Germain 1890. One of 1000 copies on papier vélin de cuve des papeteries du Marais numéroté n° 980. VIII 190PP. 8vo. Contemporary half brown morocco and marbled boards red and green leather spine labels original wrappers bound in. Very good some foxing. One of 1000 copies on papier vélin de cuve des papeteries du Marais numéroté n° 980. VIII 190PP. 8vo. Librairie Artistique H. Launette et Cie, Éditeurs-G. Boudet, Succr 197, Boulevard Saint-Germain unknown books
ref. 32774London: Vizetelly & Co. J. Miller and Sons Printers Edinburgh n.d. Extensively illustrated. 9 full-page engravings in two states one blue after designs by Prudhon Baron Gerard and Philippe D'Orleans frontispiece after P. Thomas portrait by Darval after Masson and Rouen title-page by P. Dien of Paris printed in blue many of vignettes and tail-pieces in two states with second state printed in blue several after Charles Eisen blue state generally on china. xi 155 pp. 1 vols. 8vo. Olive green morocco by M. Ritter Rel. with repeating floral diaper pattern of stylized flowers within gilt borders turn-ins elaborately tooled with silk doublures and free endpapers in ribbon pattern. Upper joint skilfully restored some darkening of green head of spine gently bumped else a very good copy. Extensively illustrated. 9 full-page engravings in two states one blue after designs by Prudhon Baron Gerard and Philippe D'Orleans frontispiece after P. Thomas portrait by Darval after Masson and Rouen title-page by P. Dien of Paris printed in blue many of vignettes and tail-pieces in two states with second state printed in blue several after Charles Eisen blue state generally on china. xi 155 pp. 1 vols. 8vo. Vizetelly & Co. [J. Miller and Sons, Printers, Edinburgh] unknown books
1931ref. 3890Paris: Se trouve ‡ Paris chez l'Artiste 8 Rue Lacretelle 1931. A superb production Limited to 250 numbered copies beige flexible wrappers with printed illustration and lettering on cover glassine wrapper contents entirely unbound and gathered in folded groups as issued. 192p. 3p. With 26 original etchings by Jean Dulac. 23 x 16 cm. In marbled cardboard cover and cardboard slipcase. Very fine. A wonderful production. Scarce. Se trouve ‡ Paris, chez l'Artiste, 8 Rue Lacretelle unknown books
1949ref. D14047Paris: Jourde et Allard 1949. Limited Edition. Paperback. Near Fine. Green cloth portfolio with paper spine label in decorative paper slipcase; contains illustrated wraps in glassine with loose gatherings as issued of text and illustrations. Number 33 from a limited edition of 25 copies on Rives paper from a larger limitation of 125 copies with an additional suite of plates and 3 original drawings tipped onto a glassine-protected plate. Cloth portfolio rubbed; spine sunned; spine label chipped. Tiny faint speck of staining on front panel of glassine otherwise dust jacket wraps and contents are fine. In lightly scuffed and worn slipcase. A lavish production. Jourde et Allard paperback books
1937ref. 311575Paris: Les Frères Gonin 1937. One of 500 signed by Maillol. Translated by Jacques Amyot. 48 woodcuts by Aristide Maillol. 8vo. Original printed wrappers. Text and illustrations loose as issue in slipcase and chemise. Maillol Aristide. One of 500 signed by Maillol. Translated by Jacques Amyot. 48 woodcuts by Aristide Maillol. 8vo. "Perhaps the most harmonious of Maillol's illustrated books." Strachan. The Artist and the Book 174; Rauch p. 141; Guérin nos. 76-127; Monod 7261 Les Frères Gonin unknown books
1754ref. 1322129Lutetiae Parisiorum i.e. Amsterdam 1754. Hardcover. Small Quarto 175 pages. In Very Good condition. Bound in period red morocco with triple gilt rule to board edges and brown label with gilt lettering to elaborate gilt spine. Boards show mild rubbing and slight cracking to upper rear hinge. Large bookplate removed from front pastedown replaced with small bookplate. Top edge of text block gilt. Gilt rolls to doublure edges. Marbled endpapers. Bilingual with Greek on the verso and Latin on the recto; illustrated with 28 of the 29 plates plus a frontispiece lacking plate 20 with signs it was cut out Titled 'Liccenion écoute Daphnis et Chloé qui cherchent remede d'Amour' elaborate vignettes and headpieces. MW Consignment. Shelved in Case 3. Daphnis and Chloe is an ancient Greek novel written in the Roman Empire the only known work of the second-century AD Greek novelist and romance writer Longus. 1322129. Shelved Dupont Bookstore. hardcover books
1933ref. 23659Chelsea: Ashendene Press 1933. First edition thus. Hardcover. Orig. vellum-backed green boards white corner tips gilt device front cover. Near fine. 163 pages. 25.5 x 18.5 cm. Limited edition of 310 copies. Printed in red and black in Ptolemy type. Initials hand-colored in blue by Graily Hewitt wood-engravings throughout by Gwen Raverat. HORNBY XXXIX. This edition was initially printed in 1931 the ink used was very slow to dry the sheets packed before the ink dried. When discovered at the binder Hornsby decided to destroy the entire edition. Text in French. Fresh very bright copy. Ashendene Press hardcover books
1937ref. 193981London: A. Zwemmer 1937. Signed by Aristide Maillol; Numbered 209 of 250. Hardcover. Good Slipcase is worn peeled foxed and smudged with the top open; vellum boards are heavily smudged and darkened; textblock edges are smudged and foxed; interior is super clean; binding is solid. Maillol Aristide. Full white vellum boards with gilt lettering on the spine in a personalized white slipcase that says "for Marion; from Ted 1938." 211 pp. unopened and untrimmed pages; richly illustrated; signature of Maillol in pencil on the final engraved page. Signature page reads "Aristide Maillol engraved with his own hand the wood-cuts which illustrated this book. The text is that of Thornley's translation of 1657 revised and augmented. Philippe Gonin of Paris undertook the achievement of this work and printed it on his hand-press for A. Zwemmer London." Extremely rare. Numbered 209 of 250 numbered signed by Maillol and printed on hand made paper. A. Zwemmer hardcover books
1718ref. 23660Paris: Quillau 1718. First printing. Hardcover. Contemporary olive green cloth spine faded to brown. Aeg. Very good. 6 Preface. 164 pages. 16.5 x 10 cm. Limited edition of 250 copies. Engraved frontispiece by B. Audran after A. Coypel 28 plates thirteen are double-paged after Philippe d'Orleans engraved by B. Audran. and with engraved headpiece by J.B. Scotin plus six engraved initials. An attractive copy of the "Regent Edition" so called as it was printed at the expense of Phillipe duc d'Orleans also the latter was Regent for his cousin Louis XV from 1715-1723 illustrated with engravings by Benoit Adran after the Regent's own drawings. Text is based on the celebrated French translation by Jacques Amyot. COHEN-DE RICCI. "Jolie edition tres recherche." GORDON RAY. ART OF THE FRENCH BOOK. "a fixture in the collections of French bibliophiles." Armorial bookplate of the Duke of Albany and small bookplate of T. Hugh Cobb. Spine with raised bands gilt spine label triple gilt cover border panels inner dentelles silked endpapers. Text in French. Quillau hardcover books
1954ref. 002315Paris: Manuel Bruker 1954. First Limited Edition. Wraps. Very Good. No. 12 of 20. With a folio of three original ink drawings signed by Vertes a folio of 10 engravings that were rejected for use in the book proper and a suite of all the engravings used in the book. This copy is also inscribed by the artist to the collector/owner which is not something called for in the limitation. 204 pp. Stylistically the Hungarian-American Vertes brought a loose near-abstraction sensibility to what nonetheless remained lucidly representational art. He executed his images with a spare economy while keeping his lines fluid and flowing. At times his output could look slapdash and improvisational; this effect though splendidly captured the emphemeral moment in an ever-changing scene and we can sense easily movement and motion. Vertes was a modernist very much of his time and place. His was an oeuvre that dared to please the average man and thus his work decorate such places as the lobby of the Carlyle Hotel in New York. Vertes was also a costume designer who won an Academy Award for his art direction and costume designs in the movie "Moulin Rouge" released in 1952. Manuel Bruker unknown books
1890ref. ST20732Paris: H. Launette et Cie 1890. No. 196 of 1000 copies and 100 Large Paper Copies with the etchings in multiple states. 255 x 165 mm. 10 x 6 1/2". 3 p.l. viii 190 pp. 3 leaves.Translated into French by Jacques Amyot. LOVELY DARK BLUE MOROCCO GILT BY CAPTAIN GLADSTONE stamp-signed C. E. G. on front dentelle covers divided into multiple compartments that at center a lobed mandorla all of the compartments densely gilt the inner compartments with swirls of leafy branches on a dotted background the others diapered by diagonal gilt fillets into lozenge-shaped compartments containing a single gilt dot smooth spine covered with leafy branches gilt lettering wide inner dentelles with sprays of leafy branches green silk pastedowns and endleaves top edge gilt imperceptible repair at top of spine. With 12 full-page etchings and 29 in-text illustrations by Champollion after the designs of Raphaël Collin. Ray "French" p. 377. Spine just faintly sunned though difficult to see with all its gilt occasional very minor foxing otherwise a fine copy clean and fresh internally with vast margins in a well-preserved binding bright with gilt. A unique combination of decadence and sweet innocence Longus' charming pastoral novel appears here with a series of engravings that were considered to be some of the most attractive of the period and in an impressive binding that emphasizes its pastoral setting and that has an origin clouded with mystery. Ray says that in a survey conducted in 1895 our "Daphnis et Chloé" with the Collin engravings came in fourth in a poll to determine the 10 most successful modern French illustrated books. Our edition uses the popular translation of Jacques Amyot 1513-93 first printed in 1559 and always recognized for its graceful style. Naval Commander Charles Elsden Gladstone 1855-1919 or "Captain Gladstone" as he is commonly called was an English bookbinder of great technical skill working in the late 19th Century but no one seems to know how or by whom he was trained. We know he had many hobbies including microscopy and optical magic lanterns per family accounts suggesting a curious mind and attention to detail both useful in bookbinding. Although testimony from the period indicates that Gladstone personally bound his books there are no known contemporaneous i.e. 1880-1910 exhibitions or auction records of the sale of any of his bindings and no information exists about his being an apprentice. Since the degree of complexity and beauty of his bindings--clearly in evidence here--is extraordinary one wonders if he did in fact personally bind the books. Yes he could have been a self-taught genius binding for his own pleasure but it is not inconceivable that he commissioned someone like Alfred de Sauty as finisher requiring that his own initials always be placed on the dentelles. Regardless of their origin Captain Gladstone bindings are exquisitely crafted filled with lovely all-over gilt-tooled work and characterized by innovative design features. Whoever produced them they are among the best to be found in England around the turn of the century. H. Launette et Cie unknown books
ref. ST16989London: Willow Press 1982. No. 31 OF 55 COPIES SIGNED by artist and binder Susan Allix. 300 x 230 mm. 12 x 9". 4 p.l. 91 1 pp. 1 leaf colophon. Translated by A. M. Burnett. WHIMSICAL PICTORIAL MOROCCO BY SUSAN ALLIX stamp-signed on rear pastedown the wrap-around design showing Daphnis and Chloe in blind-tooled brown morocco silhouetted against a blue morocco sea and cream morocco sky beneath the lovers a blind-tooled vine with 11 inlaid or onlaid citron morocco leaves blind-stamped lettering to front cover turquoise blue pastedowns and white free endpapers painted with blue fore edge of front free endpaper cut into wave pattern showing a glimpse of the yellow handmade paper front flyleaf edges untrimmed and lightly brushed with blue paint. In the original felt-lined tan linen clamshell box blind-lettered cream and blue morocco label on back. With etched frontispiece and 20 etchings 14 in color and six in sepia by Allix. As new. This is a modern take on the most popular romance of ancient Greece from book artist Susan Allix who is responsible for the binding illustrations and the printing through her Willow Press imprint. The third century pastoral romance was newly translated from the Greek by Andrew M. Burnett and illustrated with etchings based on Allix's travels in Greece. The binding in Allix's words "creates an atmosphere of the sea landscape and figures in the story." Born in 1943 and educated at the Royal College of Art Allix began her career as a printmaker before creating her first hand-crafted book in 1973. Mark Dimunation Chief of the Rare Book Division at the Library of Congress wrote of Allix's work: "her books launch you on a visual journey. Each book is a voyage propelled by color texture image impression and material. . . . Because she insists on creating the entire book--from letterpress to illustration to binding--her work has a certain recognizable aesthetic; a malleable signature that responds to the particular character of a piece but is still unquestionably hers. Allix conceives each book visually. 'I am concerned with visual things so I see books as full of colour and form in a pictorial sense as well as through the images created in my mind by the words and through the sculptural qualities a book possesses.' The real narrative of her books is the flow of color and image as they move throughout the piece.". Willow Press unknown books
1937ref. ST11995Paris: Les Frères Gonin 1937. No. CXXV OF 500 COPIES SIGNED BY THE ARTIST this is one of the hors commerce copies with an additional suite of plates. 219 x 149 mm. 8 5/8 x 5 7/8". 2 217 5 pp. One volume and one portfolio. Translated by Jacques Amyot. MOST ATTRACTIVE BEIGE CRUSHED MOROCCO BY IRMGARD HACCIUS stamp-signed "I. H." in gilt on rear cover front cover with gilt titling arranged in 10 short descending rows surrounded by blind-tooled leaves and grasses rear cover with three-inch column of blind-tooled leaves bearing gilt berries and the binder's initials flat spine with titling in blind top edge gilt. Housed with the portfolio of plates in its original printed paper wrapper in a matching marbled paper folding box with beige morocco spine and edges no doubt done by Haccius as well. WITH 47 WOODCUTS BY ARISTIDE MAILLOL depicting scenes from the text AND WITH AN EXTRA SUITE OF 48 PLATES printed in sanguine the additional plate bearing the 15 woodcut initials used in the text. Front pastedown with armorial bookplate of German bibliophile and music publisher Ludwig Strecker. The Artist and the Book 174. ◆A SPLENDID COPY clean and bright in a luxurious unworn binding. This version of Longus' charming Greek pastoral novel of awakening love long retained its popularity and was published frequently often with illustrations. And perhaps the chief virtue of the present edition is the unaffected sometimes mischievous woodcuts of nymphs and lovers by the French-Catalan artist Aristide Maillol 1861-1944 best known for his sculpture. His engravings here have the same classical lines that typify his three-dimensional works. According to "The Artist and the Book" the work is "perhaps the most harmonious of Maillol's illustrated books." The very attractive and intelligent binding is by Mainz master bookbinder Irmgard Haccius 1916-2003 whose work here is entirely in keeping with the illustrator's graceful simplicity. Haccius studied at the art academies in Munich and Berlin in addition to completing advanced training in book binding at the Academy of Fine Arts at Castle Giebenstein Hall. She was one of the first faculty members at the State University Institute for Art and Handicraft in Mainz before joining Johannes Gutenberg University in 1973 as a professor in the Department of Visual Arts. Les Frères Gonin unknown books
1745ref. ST20826Paris: s.n. 1745. 205 x 155 mm. 8 x 6". 6 p.l. first blank 159 1 xx pp.Translated by Jacques Amyot. SPLENDID CREAM-COLORED MOROCCO BEAUTIFULLY GILT AND INLAID BY RENÉ KIEFFER stamp-signed on front turn-in verso of front flyleaf with his Rue Seguier ticket covers framed by dogtooth roll and plain rule border a charming spray of flowers at center inlaid in scarlet orange citron indigo turquoise lilac pink and violet morocco tooled with gilt on graceful gilt branches with leaves in three shades of green morocco smaller sprays of inlaid flowers and leaves in similar shades at corners the whole giving the effect of an elegant embroidered sampler smooth spine framed in gilt and with a chain of four inlaid morocco blossoms in brilliant hues extending from the head and foot of spine gilt lettering at center of spine turn-ins with frame of cream morocco inlaid with strips of emerald green morocco tooled with a ribbon and floral chain roll orange morocco squares at corners stamped with gilt flowers gold silk endleaves marbled flyleaves all edges gilt. In a kid-lined blue marbled chemise with navy morocco spine and lips and in a matching suede-lined slipcase. Additional engraved pictorial title by Coypel four engraved headpieces of putti four tailpiece vignettes by Cochin and 33 ENGRAVED PLATES consisting of 28 plates after Philippe d'Orléans by Audran the oft-lacking final plate "Les petits pieds" by the Comte de Caylus and EXTRA-ILLUSTRATED with four engraved headpiece vignettes by Fokke after Eisen mounted on blank leaves. A Large Paper Copy. Cohen-de Ricci 652-53; Ray 2A. Four small very faint water spots to boards one plate somewhat foxed in all other ways A GORGEOUS COPY clean and fresh internally with immense margins and in an unworn binding. This exceptionally desirable copy of Longus' unique combination of decadence and sweet innocence is printed on quarto-sized paper enhanced with engravings from some of the greatest Rococo illustrators and offered in an exquisite binding by a modern Parisian master. The charming pastoral novel appears here in the popular translation of Jacques Amyot 1513-93 first printed in 1559 and always recognized for its graceful style. The illustrations were created in 1714 by Philippe duc d'Orléans and Regent of France 1674-1723 engraved by Benoît Audran and published for the first time in 1718. Although Ray indicates that Philippe's work is clearly an amateur's he says that the plates "do tell the story in their halting way and the background landscapes in some of the larger plates have a naïve appeal." The plates were re-engraved for our 1745 printing and the always elegantly graceful tailpiece vignettes by Charles-Nicholas Cochin were created for this edition. Cochin 1715-90 is generally considered on a par with the three Rococo masters Gravelot Eisen and Moreau. Ray notes that works from his early career like the engravings here "are marked not only by the mastery of outline and firmness of composition which never deserted him but also by acute observation and unpretentious humor." Our volume also contains an extra plate by the Comte de Caylus omitted from some copies for its suggestive nature as it shows the feet of the entwined lovers Mon Dieu! protruding from the privacy of a grotto. Additionally a previous owner added four engravings created for the 1754 Longus by the great Charles Eisen 1720-78 Louis XV's Court painter and drawing master to Madame de Pompadour. Ray describes him as "the master of the small design" with "a marvelous talent for pleasing." The beauty of this copy was further--and gloriously--enhanced ca. 1910 when binder René Kieffer created the striking binding with its bouquets of fantastical flowers in a riot of colors and gold. Kieffer 1875-1963 was in the first class of students to graduate from the École Étienne where he concentrated on becoming a doreur learning to tool gold designs in the well-established style. After leaving school he worked for Chambolle-Duru until 1898 at which time he established his own studio. According to Duncan & De Bartha he "became a disciple of Marius Michel moving gradually away from his traditional training towards a more emblematic and modern style." He would become one of the most innovative and progressive binders in Paris in the 20th century earning a well-deserved reputation for producing widely variable bindings that defied typification. s.n. unknown books
1937ref. 1720691937. MAILLOL Aristide. Les Pastorales de Daphnis and Chloe. By Longus. With 52 woodcuts by Aristide Maillol. Two volumes. 8vo. original illustrated wrappers and publisher's vellum-backed slipcases. Paris: Gonin 1937. A unique copy of the most beloved of all Maillol's books. This is the publisher's copy accompanied by 6 autograph letters from Maillol to the publisher discussin varuious aspects of the making of the book. As with all his books Maillol was closely involved in all aspects of production and the result is an extremely pleasing work "perhaps the most harmonious of Maillol's illustrated books" Garvey. This is copy number 1 of 25 hors commerce copies on large paper containing a double suite of the plates one in black and white and one in sanguine. It is also accompanied by a somewhat foxed example of the wedding invitation which Maillol printed for Gonin and a letter from Gonin to the original purchaser of this copy. Signed by Maillol on the colophon. The Artist and the Book 174. hardcover books
1893ref. 1276951893. LAWRENCE T.E. LONGUS. Daphnis and Chloe: A Most Sweet and Pleasant Pastoral Romance for Young Ladies. London: Vale Press 1893. Quarto contemporary full black crushed morocco elaborately gilt-decorated spine and covers raised bands top edge gilt uncut. $15000.An exceptional association copy: the finely printed and beautifully illustrated Vale Press Daphnis and ChloeÑone of only 210 copies 200 of which were for sale with 36 charming woodcuts in the Italian style by Charles Ricketts and Charles Shannon with ""T.E.L.""Ñlikely in T.E. Lawrence's handÑfaintly penciled in the upper right corner of the front free endpaper and a note from recipient Charles Francis Bell describing the circumstances in which Lawrence presented this copy to him. Beautifully bound in full morocco-gilt by C. & C. McLeish.""There are works which will never cease to be reprinted and which artists will ever love to illustrate according to their own individual fancies"" Jules Claretie Preface. This classical Greek work whose author Longus has not been fully identified has been dated to the 2nd or early 3rd century CE. Described by one scholar as ""an unknown best seller"" Giles Barber Daphnis and Chloe is considered ""the original or earliest survivor"" of the idyllic/pastoral romance Hardin Love in a Green Shade 1. This large-format illustrated edition is one of the Vale Press' most impressive books. It uses the quaint 17th-century translation of Thornley designed to convert the lascivious tale into reading matter for young ladies. One homosexual passage is left in the original Greek. In the Art Nouveau style the illustrations by Ricketts and Shannon effectively capture Longus' combination of decadence and sweet innocence.Born in 1859 binder Charles McLeish was apprenticed to Andrew Grieve in Edinburgh then came to London in 1890 to work for Riviere. When Cobden-Sanderson founded the Doves Bindery in 1893 he hired McLeish as the firm's finisher. McLeish held that estimable position until 1909 when he left to go into partnership with his son Charles who had apprenticed under Roger de Coverly. Although the senior McLeish was no longer in the employ of Cobden-Sanderson all of the bindings that were signed ""Doves Bindery"" between 1909 and 1921 were actually done in the McLeish workshop. The work produced by the McLeishes was beautifully designed and impeccably executed as evidenced in the present volume. With publisher's scarce four-page prospectus bound in at rear. Bookplate of recipient art historian Charles Francis Bell with his handwritten note regarding the circumstances of Lawrence presenting this copy to him tipped to the front free endpaper: ""This book was bound by McLeish for Colonel T.E. Lawrence whose initials in pencil in his own writing are in the top corner of the opposite endpaper. It was given by him to me at All Souls College Oxford on November 16 1920. C.F. Bell."" Bell 1871-1966 was curator of the Department of Fine Art in the Ashmolean Museum Oxford where he met Lawrence when the latter had brought fragments of pottery into the Ashmolean for identification. The two became friends and frequently discussed their shared enthusiasm for Medieval art and architecture. Although the brevity and faintness of the initials on the front free endpaper make it difficult to verify it as being in Lawrence's hand it is consistent with Lawrence's known practice of initialing his own books.Mild offsetting from woodcuts; offsetting from morocco turn-ins partially obscuring penciled initials in upper corner of front free endpaper binding beautiful and fine. An excellent association copy with distinguished provenance. hardcover books
