2.490 resultados
1840ref. ST20481-06Paris: Chez L. Hachette 1840. 224 x 131 mm. 8 1/2 x 5 1/4". 2 p.l. 822 pp. 1 leaf title 1-259 1 pp. Attractive contemporary scarlet morocco covers ruled in blind central panel with an elaborate gilt-tooled cross surrounded by a scrolling frame raised bands spine gilt in compartments tooled with small fleurons turn-ins tooled in gilt all edges gilt.features a well-executed and historically important fore-edge painting that depicts a famous tribute to one of the most celebrated figures in French Catholicism. The fresh richly painted scene here shows the Place de la Pucelle in Rouen with the fountain of Joan of Arc featured prominently in the foreground. This view inspired works from a number of artists and writers such as watercolorist Samuel Prout and American poet Maria White Lowell whose poem "Rouen Place de la Pucelle" was published ca. 1858. Visual records like this of the square and fountain are historically important because they were destroyed in the Red Week bombings of 1944. WITH AN EXCELLENT FORE-EDGE PAINTING DEPICTING LA PLACE DE LA PUCELLE ROUEN. Occasional early pencil marginalia. Corners a bit bumped edges and joints with a little rubbing but this well disguised with dye spine very slightly sunned and dried. Occasional scattered spots mostly marginal other trivial defects but generally fine internally very fresh and quite bright. An attractive binding with a very lovely painting. This attractive French-language Bible features a well-executed and historically important fore-edge painting that depicts a famous tribute to one of the most celebrated figures in French Catholicism. The fresh richly painted scene here shows the Place de la Pucelle in Rouen with the fountain of Joan of Arc featured prominently in the foreground. This view inspired works from a number of artists and writers such as watercolorist Samuel Prout and American poet Maria White Lowell whose poem "Rouen Place de la Pucelle" was published ca. 1858. Visual records like this of the square and fountain are historically important because they were destroyed in the Red Week bombings of 1944. Chez L. Hachette unknown books
2009ref. 311068LONDON/NY: HAYWARD PUBLISHING/D.A.P. Fine with no dust jacket. 2009. First Edition; First Printing. Hardcover in slipcase. 1853322741 . Boldly SIGNED by artist Ed Ruscha on the title page. Fine in pictorial boards in matching publisher's pictorial slipcase with the original plastic shrinkwrap. Published on the occasion of the exhibition: "Ed Ruscha: Fifty Years of Painting" at Hayward Gallery London 14 October- 10 January 21010. LR . HAYWARD PUBLISHING/D.A.P. hardcover
1873ref. 16450Paris, Lemerre (Imprimerie Claye), 1873 ; in-18 (188118 mm), broché ; (8), 258 pp., (1) f. blanc, couverture imprimée.
1672ref. 4445Lugduni [Lyon], Antoinii Cellier, 1672. In-4 de [16]-535-[18] pages, plein vélin souple de l’époque.
1944ref. 2410240339xbvkParis, Louis Carré Éditeur, MCMXLIV (1944); Presses de L'Imprimérie Union, Reproduction des Dessins: Georges Duval. 40 untrimmed folded sheets (=160 pages overall) of thick paper 'Vélin d'Arches' (with watermarks), including foretitle-, partly red-printed titlesheet, 'Justification du Tirage' and colophone, text by Louis Carré until page 19, titlesheets to each section (I. 'La Mer', II. 'Paysages', III. 'Châteaux', IV. 'Venise - Côte d'Azur et Roussillon', V. 'Tarascon et Alger', VI. 'Dessins de Nus et Portraits', VII. 'Les Courses', VIII. 'Le Théâtre et le Monde', IX. 'La Musique') with many quarter- to doublepage illustrations (intaglio) and transparent tissueguards loosely inserted. - Loose in another 2 blank doublesheets which hold the publisher's light-brown large-paper dustjacket, again loose in publ. stiff cardboard folder with cloth-joints and large printed artist's name at spine; Folio (ca. 36 x 24 x 4 cm; ca. 2 kg.).
2017ref. ABE-1605632473460Easton Press USA 2017 Pardon the paraphrase but while all books are equal some are more equal than others. This is most definitely one such; perhaps the only limited edition ever issued of Orwell s great parable of the Totalitarian State. The paintings are by Bill Mayer and he has signed and numbered the edition. It is a typical small press production. The gorgeous acid free paper is specially made for the Easton Press. The signatures are sewn not glued. The text block edges are gilt. The binding is full leather. This magnificent edition will last hundreds of years. The allegorical masterpiece of power and corruption is now available in a signed and numbered Limited Edition of just 1200 copies.Personally signed by artist Bill Mayer who has created 10 paintings - it is an injustice to just call them illustrations - each of which is tipped in and then protected by a translucent page. All animals are equal but some animals are more equal than others. Orwell s brilliant allegory of the rise of the Soviet state is compellingly envisioned in this FULL LEATHER Limited Edition Mr. Mayer also illustrated the colophon page which he has signed. The book comes in a custom-crafted clothbound slipcase which is also sturdily constructed. A limited hand-numbered edition of 1200 of which this copy number 592. It is signed by the artist. Signed by Illustrator. Limited Edition. Hardcover. New. Easton Press USA hardcover
1762ref. 12850A Berne, chez la Société Typographique, 1762-1765. 12 parties en 6 volumes in-8, demi-basane mouchetée à coins, dos à 5 nerfs avec filets, titre, tomaison et date dorés, tranches mouchetées. Inscription à la plume au premier contreplat de Seigneux de Correvon, membre de la Société économique de Berne, auteur de poésies, de traités de théologie et de droit, traducteur, et qui collabora à de nombreuses revues suisses et étrangères.
1822ref. 9535A Paris, Chez Barrois / Chez Anselin et Pochard, 1809 - 1806 -1822. 3 volumes in-8 de XVI-390 / XVI-296 et XXIII-386-4 pages, demi-basane (2 en rouge, avec tomaison, 1 caramel, sans tomaison), dos lisses (un peu taché pour le dernier) ornés de filets et titre dorés, tranches jaunes, quelques rares rousseurs. Inscription à la plume à un faux-titre. A noter que le relieur a indiqué sur le dos le tome 2 comme étant le 3. Très pâle inscription au crayon à la page de titre du dernier volume: "Revue, corrigée et augmentée par un capitaine du génie", qui fait référence à de petites notes discrètes au crayon dans le texte.
1806ref. 7425Paris, Bossange, Masson et Besson, 1806. In-8 de [6]-XIX-[1]-302-[2]p., demi-basane brune à coins, dos lisse orné de filets dorés, pièces de titre rouge, reliure du temps avec quelques frottements. Ex-libris de Charles de Constant-Rebecque.
1868ref. 12840London: Longmans Green and Co 1868. First Edition. Leather bound. Near fine. Decorated with two fore-edge paintings first edition of A Memoir of Baron Bunsen as collected by his wife Frances Baroness Bunsen. Octavo two volumes 8 1-637pp; 8 1-616pp. Three-quarter dark green leather with marbled paper boards and matching endpapers. Silk bookmarks. All edges gilt. Gilt-ruled trim on covers title within a double gilt-ruled border on spines. No additional printings listed on copyright page. Solid text blocks light rubbing to corners joints and marbled boards. Previous owner's name on front flyleaf of Volume I. Complete with three lithographs and two woodcuts in Volume I five lithographs and three woodcuts in Volume II. Each volume with frontispiece portrait and tissue guard. Volume I has fore-edge painting of Strand-on-the-Green Volume II of Kew Bridge. Strand-on-the-Green is a medieval village in Chiswick England that still stands today previously used as a trading location for businesses due to its access to the River Thames. Kew Bridge crosses the Thames and connects the districts of Kew and Chiswick. The bridge depicted in the fore-edge of Volume II is the second of three bridges at this location. This one being opened in 1789 and demolished in 1899. Longmans, Green, and Co unknown
1868ref. 12840London: Longmans Green and Co 1868. First Edition. Leather bound. Near fine. Decorated with two fore-edge paintings first edition of A Memoir of Baron Bunsen as collected by his wife Frances Baroness Bunsen. Octavo two volumes 8 1-637pp; 8 1-616pp. Three-quarter dark green leather with marbled paper boards and matching endpapers. Silk bookmarks. All edges gilt. Gilt-ruled trim on covers title within a double gilt-ruled border on spines. No additional printings listed on copyright page. Solid text blocks light rubbing to corners joints and marbled boards. Previous owner's name on front flyleaf of Volume I. Complete with three lithographs and two woodcuts in Volume I five lithographs and three woodcuts in Volume II. Each volume with frontispiece portrait and tissue guard. Volume I has fore-edge painting of Strand-on-the-Green Volume II of Kew Bridge. Strand-on-the-Green is a medieval village in Chiswick England that still stands today previously used as a trading location for businesses due to its access to the River Thames. Kew Bridge crosses the Thames and connects the districts of Kew and Chiswick. The bridge depicted in the fore-edge of Volume II is the second of three bridges at this location. This one being opened in 1789 and demolished in 1899. Longmans, Green, and Co unknown books
1616ref. 20956[Bern], [Abraham Weerli], 1616. Grand in-4 de [8]-591-[71] pages, plein vélin, dos lisse et muet, attaches.
1895ref. 9835Paris, Boussod, Valadon & Cie, 1895. In-folio de [4]-238-[2] pages, demi-chagrin bleu à coins, dos à 5 nerfs avec titre doré, tête dorée. Minuscules épidermures, rares rousseurs.
ref. 8758A Paris et à Genève, Chez J. J. Paschoud, 1811 à 1816. 4 volumes in-4 de IX-372 /XVII-273 / VII-304 (suivies des planches) et [4]-473 pages, demi-veau brun à petits coins, dos lisses ornés de roulettes, titre et filets dorés, étiquettes de titre caramel, pastilles de tomaison noires, tranches jaunes. Plats avec quelques taches, coiffes et coins très légèrement frottés. Nom de possesseur sur une page de titre, tampon de la bibliothèque de Colonge sur les 4 pages de titre.
ref. 6077Très beau fixé sous verre dans son cadre d’origine; Rare. Les sujets non religieux sont très rares. Le thème du nouveau monde encore plus ! avec cadre très bon XVIIIè
1809ref. ST14310fLondon: J. Hatchard 1809. 210 x 133 mm. 8 1/4 x 5 1/4". xvi 291 pp.Translated by Louisa A. Marshall. Contemporary dark blue straight-grain morocco covers bordered with gilt rule flat spine with simple gilt rules and titling gilt-ruled turn-ins all edges gilt and WITH A FINE FORE-EDGE PAINTING OF A SCENIC RIVER VIEW FEATURING CHRIST CHURCH PRIORY in Hampshire. Front free endpaper with owner signature of E. A. Fetherston. Slight variation in color of boards half title with one inch trimmed away at head probably removing owner inscription leaves a shade less than bright occasional minor foxing or offsetting in the text bed but still an excellent copy the text clean and fresh the pleasant binding entirely sound and the lovely fore-edge painting very well preserved. The typically bucolic fore-edge scene here--boat in tranquil water stately building occupying center stage trees all around puffy clouds--stands out for the level of achievement in execution by the artist. The clouds are painted in a delicately applied range of shades so that they are very convincing; there is considerable architectural detail visible on the side of the church; and it seems as if one can almost see individual leaves in the trees. These features are all hallmarks of the work of the so-called "Dover Painter" the name given by Jeff Weber to the artist who produced very high quality painted fore edges in the 1920s and 1930s. He did work for the famous London bookseller Marks & Company for Dawson's Bookshop in Los Angeles and for J. W. Robinson Company the Los Angeles department store. Estelle Doheny 1875-1958 whose library comprised one of the great collections of the 20th century bought actively from Dawson's and Weber estimates that approximately half of the very considerable number of especially fine fore-edge paintings in the Doheny collection in Camarillo California were done by the Dover Painter. As the fore-edge painting here evokes a feeling of serenity so too does the content religious meditations by François Fénélon 1651-1715 priest writer and tutor to King Louis XIV's grandson for whom he composed his best-known work "The Adventures of Telemachus.". J. Hatchard unknown
1809ref. ST14310fLondon: J. Hatchard 1809. 210 x 133 mm. 8 1/4 x 5 1/4". xvi 291 pp.Translated by Louisa A. Marshall. Contemporary dark blue straight-grain morocco covers bordered with gilt rule flat spine with simple gilt rules and titling gilt-ruled turn-ins all edges gilt and WITH A FINE FORE-EDGE PAINTING OF A SCENIC RIVER VIEW FEATURING CHRIST CHURCH PRIORY in Hampshire. Front free endpaper with owner signature of E. A. Fetherston. Slight variation in color of boards half title with one inch trimmed away at head probably removing owner inscription leaves a shade less than bright occasional minor foxing or offsetting in the text bed but still an excellent copy the text clean and fresh the pleasant binding entirely sound and the lovely fore-edge painting very well preserved. The typically bucolic fore-edge scene here--boat in tranquil water stately building occupying center stage trees all around puffy clouds--stands out for the level of achievement in execution by the artist. The clouds are painted in a delicately applied range of shades so that they are very convincing; there is considerable architectural detail visible on the side of the church; and it seems as if one can almost see individual leaves in the trees. These features are all hallmarks of the work of the so-called "Dover Painter" the name given by Jeff Weber to the artist who produced very high quality painted fore edges in the 1920s and 1930s. He did work for the famous London bookseller Marks & Company for Dawson's Bookshop in Los Angeles and for J. W. Robinson Company the Los Angeles department store. Estelle Doheny 1875-1958 whose library comprised one of the great collections of the 20th century bought actively from Dawson's and Weber estimates that approximately half of the very considerable number of especially fine fore-edge paintings in the Doheny collection in Camarillo California were done by the Dover Painter. As the fore-edge painting here evokes a feeling of serenity so too does the content religious meditations by François Fénélon 1651-1715 priest writer and tutor to King Louis XIV's grandson for whom he composed his best-known work "The Adventures of Telemachus.". J. Hatchard unknown books
ref. 18236probably Italian 19th Century. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Very good. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Decorative studies probably from a larger series of classical divinities. unknown
ref. 18236probably Italian 19th Century. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Very good. 2 vols. Oval images each 10 x 8 inches vividly matted in gold and framed and glazed to 20 x 16-1/2 inches. Decorative studies probably from a larger series of classical divinities. unknown books
1860ref. 27912China 1860. Good overall. A later album of portraits of Chinese Court dignitaries. The turquoise paper borders bear captions in English. The coats of the dignitaries are quite detailed. The first image is of the Emperor followed by Empress both seated Prime Minister his wife Governor General his wife Manchu Tartar General his lady Mandarin of 3rd Rank his lady Inferior Mandarin his wife. The other dignitaries are standing. The images have no background painting. Most have corner cracks not affecting the images. In red silk binding 8vo 9 x 6" with Western opening. The colors vibrant. unknown
1864ref. 54488Montreal: W. Notman 1864. First edition. Hardcover. g to vg-. Elephant folio. 18x13". 14 leaves including 12 plates unpaginated. Period brown cloth with gilt lettering on the front cover. All edges in gilt. Marbled endpapers. Title page with decorative text printed in a number of different period typefaces. All addition text throughout is finely printed in a cursive typefont. An album consisting of a series of 12 mounted albumen photographs reproducing original paintings of landscapes in New England and Northeastern Canada by British artist C.J. Charles Jones Way 1835-1919. During his career Way was noted for his depictions of North American and European landscapes and seascapes. From 1858 Way settled in Montreal where he established an art studio and often collaborated with pioneering Montreal-based photographer William Notman 1826-1891 who had set up one of the most noted early photography studios in the city. Here Notman photographs Way's work with a keen eye and attention to detail. Locations depicted in the images include: the White Mountains New Hampshire Mount Desert Island Maine The Gaspe Coast Quebec Levis/Quebec City Montreal and Niagara Falls. The final five images show areas in the vicinity of Saguenay River Quebec. Each of the 12 plates is tissue-guarded with the images and text caption below in landscape orientation. Plates measure approx. 17 3/4 x 12 3/4". The photographs themselves vary slightly in size but most measure approx. 10" x 6". Table of plates at the front. Binding with light sunning to the spine and edges of the covers. Covers with some light scratches and a few small stains. Head of spine rubbed with some light cracking along the front hinge. Interiors mostly clean with a few sporadic instance of light smudges and/or stains to the endpapers and/or margins of plates. Images throughout clean and vibrant. Binding in good interior in very good- condition overall. W. Notman hardcover
1864ref. 54488Montreal: W. Notman 1864. First edition. Hardcover. g to vg-. Elephant folio. 18x13". 14 leaves including 12 plates unpaginated. Period brown cloth with gilt lettering on the front cover. All edges in gilt. Marbled endpapers. Title page with decorative text printed in a number of different period typefaces. All addition text throughout is finely printed in a cursive typefont. An album consisting of a series of 12 mounted albumen photographs reproducing original paintings of landscapes in New England and Northeastern Canada by British artist C.J. Charles Jones Way 1835-1919. During his career Way was noted for his depictions of North American and European landscapes and seascapes. From 1858 Way settled in Montreal where he established an art studio and often collaborated with pioneering Montreal-based photographer William Notman 1826-1891 who had set up one of the most noted early photography studios in the city. Here Notman photographs Way's work with a keen eye and attention to detail. Locations depicted in the images include: the White Mountains New Hampshire Mount Desert Island Maine The Gaspe Coast Quebec Levis/Quebec City Montreal and Niagara Falls. The final five images show areas in the vicinity of Saguenay River Quebec. Each of the 12 plates is tissue-guarded with the images and text caption below in landscape orientation. Plates measure approx. 17 3/4 x 12 3/4". The photographs themselves vary slightly in size but most measure approx. 10" x 6". Table of plates at the front. Binding with light sunning to the spine and edges of the covers. Covers with some light scratches and a few small stains. Head of spine rubbed with some light cracking along the front hinge. Interiors mostly clean with a few sporadic instance of light smudges and/or stains to the endpapers and/or margins of plates. Images throughout clean and vibrant. Binding in good interior in very good- condition overall. W. Notman hardcover books
1980Very Good Turkish Original oil on canvas with a grey frame. Signed by artist "T. Onat, [1]980". One of her early paintings depicting of a woman in abstract form, mostly with green tones. A fine oil on canvas. Prof. Tülin Onat was born in Istanbul in 1946. She graduated from the Department of Advanced Painting at Istanbul State Fine Arts Academy (Mimar Sinan University) in 1970. She studied with Prof. Adnan Çoker, Prof. Zeki Faik Izer and Prof. Özdemir Altan. She continued her master's degree at her alma mater between 1970 and 1971. In 1973, she was given a scholarship by the Austrian Government to study at the Salzburg Internationale Sommer Academie für Bildende Kunst. In 1977, she began teaching at Marmara University. She completed her doctoral degree with proficiency arts at Marmara University in 1985. Onat became an Associate Professor in 1990. Between 1967 and 1993, she researched painting and arts in museums and galleries in Europe. In 1987, Onat established Derimod Culture Centre with Hasan Yelmen and realized retrospective exhibitions. She has had many solo exhibitions and participated in numerous group exhibitions in Turkey and abroad. As of today, Onat continues to teach at Marmara University.
1822ref. ST21092London: Printed for T. Cadell by T. Bensley 1822. 170 x 105 mm. 6 5/8 x 4 1/8". 4 p.l. 319 1 pp. Quite nice period honey-brown straight-grain morocco covers with frame of decorative blind rolls gilt armorial supralibros of William Carr Viscount Beresford at center raised bands densely blind-tooled panels gilt lettering gilt-framed turn-ins vellum endleaves leather hinges all edges gilt. WITH APPEALING DOUBLE FORE-EDGE PAINTINGS one depicting Richmond Bridge the other Kingston upon Thames. Joints expertly strengthened. Numerous small illustrations in text. Light wear to spine covers just slightly marked title and last leaf a little foxed intermittent trivial foxing elsewhere other insignificant defects but an excellent copy the binding sturdy and lustrous the contents fresh and clean and the fore-edge paintings well preserved. This volume of Romantic poems comes adorned with two atmospheric fore-edge paintings. English poet Samuel Rogers 1763-1855 the scion of a wealthy banking family first achieved fame with the publication in 1792 of "The Pleasures of Memory" and was later greatly inspired by his Italian travels during which he met Shelley and Byron in Pisa. The present collection of his works is decorated with pleasing fore-edge paintings of sights closer to home. Fanned to the right the fore-edge depicts Richmond Bridge in London its graceful stone arches framing the reflections of trees and bobbing boats. Fanned to the left a scene of Kingston upon Thames is revealed a fishing boat with two silhouetted figures in the foreground and the tower of All Saint's Church rising over the red-roofed cottages. Both scenes are executed in cheerful though muted colors with lush greenery and serene waters. It is difficult to tell the age of the paintings but we can at least say that they convey a convincing expression of quietude. As often happens with authors whose works are greatly popular and then suddenly not so much Rogers' poetry fell abruptly out of fashion later in his life at roughly the time our volume was issued. As a consequence his books became a popular target for fore-edge adornment as a way to encourage the sales of volumes that otherwise might languish on the bookstore shelf. Our copy is from the library of William Carr Beresford 1768-1854 the first Viscount Beresford. He distinguished himself as a general in the Peninsular War fighting alongside the Duke of Wellington. He was elevated to the peerage in honor of his military achievements and invested in the Order of Bath whose motto "Tria Juncta in Uno" "Three Joined in One" circles his crest here. Printed for T. Cadell by T. Bensley unknown
1822ref. ST21092London: Printed for T. Cadell by T. Bensley 1822. 170 x 105 mm. 6 5/8 x 4 1/8". 4 p.l. 319 1 pp. Quite nice period honey-brown straight-grain morocco covers with frame of decorative blind rolls gilt armorial supralibros of William Carr Viscount Beresford at center raised bands densely blind-tooled panels gilt lettering gilt-framed turn-ins vellum endleaves leather hinges all edges gilt. WITH APPEALING DOUBLE FORE-EDGE PAINTINGS one depicting Richmond Bridge the other Kingston upon Thames. Joints expertly strengthened. Numerous small illustrations in text. Light wear to spine covers just slightly marked title and last leaf a little foxed intermittent trivial foxing elsewhere other insignificant defects but an excellent copy the binding sturdy and lustrous the contents fresh and clean and the fore-edge paintings well preserved. This volume of Romantic poems comes adorned with two atmospheric fore-edge paintings. English poet Samuel Rogers 1763-1855 the scion of a wealthy banking family first achieved fame with the publication in 1792 of "The Pleasures of Memory" and was later greatly inspired by his Italian travels during which he met Shelley and Byron in Pisa. The present collection of his works is decorated with pleasing fore-edge paintings of sights closer to home. Fanned to the right the fore-edge depicts Richmond Bridge in London its graceful stone arches framing the reflections of trees and bobbing boats. Fanned to the left a scene of Kingston upon Thames is revealed a fishing boat with two silhouetted figures in the foreground and the tower of All Saint's Church rising over the red-roofed cottages. Both scenes are executed in cheerful though muted colors with lush greenery and serene waters. It is difficult to tell the age of the paintings but we can at least say that they convey a convincing expression of quietude. As often happens with authors whose works are greatly popular and then suddenly not so much Rogers' poetry fell abruptly out of fashion later in his life at roughly the time our volume was issued. As a consequence his books became a popular target for fore-edge adornment as a way to encourage the sales of volumes that otherwise might languish on the bookstore shelf. Our copy is from the library of William Carr Beresford 1768-1854 the first Viscount Beresford. He distinguished himself as a general in the Peninsular War fighting alongside the Duke of Wellington. He was elevated to the peerage in honor of his military achievements and invested in the Order of Bath whose motto "Tria Juncta in Uno" "Three Joined in One" circles his crest here. Printed for T. Cadell by T. Bensley unknown books
