(FORE-EDGE PAINTINGS). HAMILTON, ROBERTBiblio.com
2718 risultati
1830rif. ST20481-05London: John Murray 1830. FIRST EDITION. 220 x 130 mm. 8 5/8 x 5 1/8". 2 p.l. ii v-xix 1 411 1 pp. Agreeable contemporary black morocco covers with an elaborate border in gilt and blind of numerous straight and decorative rules and scrolling foliate cornerpieces raised bands gilt in compartments with a central ornament in blind turn-ins tooled in gilt all edges gilt. Carefully rebacked retaining original spine hinges neatly reinforced with buckram. WITH A FORE-EDGE PAINTING DEPICTING A LANDSCAPE WITH A VERY LARGE CASTLE AND LAKE. With 13 pages of charts. Corners bumped and exposed a handful of scratches to the front cover; occasional spots and soiling internally other trivial defects but still quite a good copy the bulk of the text extremely clean and fresh with a well-preserved fore-edge painting. This is a pleasing copy with an attractive fore-edge painting of the final work of Scottish mathematician and economist Robert Hamilton 1743-1829. A professor at the University of Aberdeen and one of the founders of Edinburgh's Royal Society Hamilton wrote this work of political economy shortly before his passing and it was published posthumously. It treats of the relationship between economic principles and the development of social life and is considered perhaps second in importance only to his "Essay on the National Debt" issued in 1813. The fore-edge painting depicts a serene landscape with sailboat gliding across a smooth lake in front of a castle and tree-studded hills. The artist has rendered the details with subtlety for example the castle is faintly reflected in the lake and the scene as a whole is brigher and richer in color than might be expected. John Murray unknown
1852rif. 2111902158903354Bunkado 1852. Soft Cover. Fine. The book is in fine condition. Bunkado paperback
1930rif. 012910Paris 1930 In-12 agrafé, couverture illustrée
1978rif. 013819Genève Claude Givaudan 1978 In-16 Broché, couverture illustrée
1907rif. 9208Fontainebleau, Maurice Bouges, 1907. 2 volumes grands in-8 de [8]-347-CXXVIII-[4] et [10]-276-[2]-CXXIV-[4] pages, demi-maroquin rouge à coins, dos à 5 nerfs ornés de fleurons, foulettes, encadrements et titre dorés, têtes dorées, couvertures et dos conservés. Quelques petits trous aux plats du premier volume et frottement au second plat de l'autre, ce qui est dommage, l'ensembe étant pour le reste en bel état. Reliure signée de Loisellier-Le Douarin.
1900rif. 164294No date. circa1900. 11 original hand painted fan designs approximately 40 x 15cm laid down on archival sheets 51 x 38cm. Each design is unique some are brightly coloured whilst others are more sombre and some have a lacquer or metallic overprinting and silver flecking. Each of the designs has been backed with Japanese paper. Undated and in very good condition apart from some very minor spotting to the backing sheets not affecting the image they appear to be early 1900s. The collection is housed in a custom-made clamshell case. The earliest recorded sighting of the Japanese fan was in the 6th century CE where burial tombs were adorned with pictures of fans. Drawing on the fan began around the Heian period 794-4485 and became such a hit that laws were created to restrict their use to particular social classes. Historically Japanese hand fans were tools of aristocrats and the samurai class. They were a way to signify social standing and even communicate messages. Japanese fan designs enchanted westerners when they first became exposed to them. Those influenced include the Australian artist Charles Conder who in the 1890s inspired by Japanese fan designs made a speciality of painting them on silk. Various images painted on these fans have symbolic or seasonal meanings. One shows an array of golden origami cranes on a red background symbolizing long life. Another is decorated with peonies symbols of fertility and nobility whose flowering marks the end of spring and beginning of summer. A third is decorated with images of pine bamboo and plum blossom - a combination representing health and longevity because all three plants can withstand cold weather. Others have more abstract images based on the flow of rivers the sheen of silk and other themes. . unknown
1961rif. 17598Paris, Galerie Domec, 1961 ; in-8, br. ; 24 pp. et couv. blanche à rabats. Six photographies dont une en couleurs et photo du peintre.
1683rif. 21191A Paris, suivant la copie imprimée, 1683. In-12 de 65-82 pages, pleine basane brune du temps, dos à nerfs orné de filets et fleurons dorés, tranches mouchetées.
1993rif. 310667NY: THE MUSEUM OF MODERN ART/THE PHILLIPS COLLECTIO/HARPER-COLLINS PUBLISHERS. Fine in Fine dust jacket. 1993. First Edition; First Printing. Hardcover. First trade edition after a limited edition of 100 copies. SIGNED & dated in year of publication by artist Jacob Lawrence on title page. Fine in brown boards & quarter black cloth binding in fine dust jacket. Unpaginated 9 1/4" X 11 1/4" Uncommon signed. ; 9 1/4" X 11 1/4" . THE MUSEUM OF MODERN ART/THE PHILLIPS COLLECTIO/HARPER-COLLINS PUBLISHERS. hardcover
1882rif. 2092902138300026Junzaburo Morimoto Edition 1882. Soft Cover. Fine. The book is in fine condition. Junzaburo Morimoto Edition paperback
1962rif. KOS02200067Asahi press 1962. Soft Cover. Fine. KOS02200067 Asahi press paperback
rif. 20802Fort in-4° (263 mm) polycopié, demi-maroquin vert sapin, dos à quatre nerfs encadrant l’auteur et le titre dorés ; [11] ff. liminaires, 379 ff. recto, 5 planches hors-texte, 11 tableaux dont 9 dépliants et 12 planches de tirages photographiques originaux.
1962rif. 18589Grenoble, 1962. Un volume in-8 de XI-[2]-1564-[4] pages, pleine toile beige imprimée de l'éditeur.
1783rif. 20988Neuchâtel, Samuel Fauche père et fils, imprimeurs, libraires du Roi, 1783. In-8 de XII-524 pages, demi-veau moucheté brun à petits coins, dos lisse orné de roulettes dorées, pièces de titre en chagrin rouge, tranches rouge.
rif. 52436In-folio en plein maroquin rouge aux armes du Comte Doria sur le 1er.plat.Gardes en satin richement décorées.Tranches dorées.Paris.1889.Nombreuses planches Bel ouvrage avec quelques piqûres.
1881rif. 5818Le Mans, Edmond Monoyer Imprimeur-Editeur, 1881. 1881 1 vol. in-12° (154 x 112 mm) de : VIII pp. ( (faux-titre, frontispice, aprobation), 720 pp, [4] ff. (table des matieres, explications); encadrement gravé à chaque page, 5 cartes-signets insérées dont 2 polychromes à systhéme. (infimes rousseurs). Plein chagrin vert olive, dos à cinq nerfs titré à froid, fermoirs de metal argenté ciselé, double filet doré sur les coupes et les coiffes, bordure intérieure dorée avec signature, tranches dorées, gardes de soie bleue avec innitiales dorées sur la première. (petit manque à un fermoir).
1840rif. 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
2009rif. 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
1873rif. 16450Paris, Lemerre (Imprimerie Claye), 1873 ; in-18 (188118 mm), broché ; (8), 258 pp., (1) f. blanc, couverture imprimée.
1672rif. 4445Lugduni [Lyon], Antoinii Cellier, 1672. In-4 de [16]-535-[18] pages, plein vélin souple de l’époque.
1944rif. 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.).
2017rif. 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
1762rif. 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.
