28 138 résultats
1926réf. 54867Moscow МоÑква: Kinopechat Кинопечать 1926. First edition. Softcover. Good to very good condition. Octavo. 80pp. Dark blue and white wrappers with constructivist typography on the front cover housed in modern blue heavy paper portfolio with printed typographic design of original cover pasted to cover flap. Publisher's device on title page. This scarce published screenplay for the film adaptation of Sholem Aleichem's novel "Wandering Stars" by the acclaimed Russian-Jewish novelist playwright and journalist Isaac Babel 1894-1940. The film was premiered in Kiev on January 4th 1927 and was directed by Grigori Gritscher-Tscherikower 1883-1945. It was produced by VUFKU studios the national film studios of the Ukrainian SSR. This book contains the entirety of the film's screenplay accompanied by three striking b/w illustrations by Soviet artist and designer Alexander Bykhovskii 1888-1978 who likely also created the striking cover. The final three pages contain publisher's ads listing other work on the topic of cinema. The story tells of the love between Leibel the son of a wealthy shtetl family and Reizel a poor cantor's daughter in Bessarabia. The two run off to join a traveling Yiddish theater group. They are later separated with each becoming successful in their own right only to eventually reunite in America. The work was first serialized and originally appeared in the Warsaw newspapers between 1909 and 1911. It has come to be seen as the third in an unofficial trilogy of novels by the writer centering on musicians or performers preceded by Stempenyu 1888 and The Nightingale 1889. In 1925 the Moscow State Jewish Theater suggested that the Goskino the Soviet State Film Studio produce a film adaptation of Sholem Aleichem's novel. The order was commissioned to Isaac Babel for translation and adaptation from the book's original Yiddish language to Russian for the screenplay. During this period Babel had been working on other translations of Yiddish literature into Russian including the collected works of Sholem Aleichem and work by David Bergelson. According to Babel's foreword printed here he faced a number of difficulties adapting the novel including the modification of petty bourgeoisie motifs as well as the changes of film directors and their differing requirements. Because of certain elements in the script of which the main committee of the Goskino did not approve the film's production had to ultimately be switched to VUFKU studios in Odessa. In a letter during the period of production Babel apparently wrote: "I will have to be present on the set. if I am not there the director will ruin everything" and later upon hearing of further changes made by Gritscher-Tscherikower wrote that "it is more profitable for me not to participate in this shameful production". Regardless of Babel's opinion of the final product the film was well received by Soviet audiences at the time. Text in Russian. Portfolio with minor wear. Wraps partially restored with minor wear. Previous owner's names and date at top of title page one near gutter. Light water staining along right half of bottom edge of first 30 pages reappearing from pages 40 to end though along lower part of foredge more pronounced on pages 75/76 and light fraying along foredge from pages 67 to 76. Block lightly age-toned. Kinopechat (Кинопечать) unknown
1926réf. 54867Moscow МоÑква: Kinopechat Кинопечать 1926. First edition. Softcover. Good to very good condition. Octavo. 80pp. Dark blue and white wrappers with constructivist typography on the front cover housed in modern blue heavy paper portfolio with printed typographic design of original cover pasted to cover flap. Publisher's device on title page. This scarce published screenplay for the film adaptation of Sholem Aleichem's novel "Wandering Stars" by the acclaimed Russian-Jewish novelist playwright and journalist Isaac Babel 1894-1940. The film was premiered in Kiev on January 4th 1927 and was directed by Grigori Gritscher-Tscherikower 1883-1945. It was produced by VUFKU studios the national film studios of the Ukrainian SSR. This book contains the entirety of the film's screenplay accompanied by three striking b/w illustrations by Soviet artist and designer Alexander Bykhovskii 1888-1978 who likely also created the striking cover. The final three pages contain publisher's ads listing other work on the topic of cinema. The story tells of the love between Leibel the son of a wealthy shtetl family and Reizel a poor cantor's daughter in Bessarabia. The two run off to join a traveling Yiddish theater group. They are later separated with each becoming successful in their own right only to eventually reunite in America. The work was first serialized and originally appeared in the Warsaw newspapers between 1909 and 1911. It has come to be seen as the third in an unofficial trilogy of novels by the writer centering on musicians or performers preceded by Stempenyu 1888 and The Nightingale 1889. In 1925 the Moscow State Jewish Theater suggested that the Goskino the Soviet State Film Studio produce a film adaptation of Sholem Aleichem's novel. The order was commissioned to Isaac Babel for translation and adaptation from the book's original Yiddish language to Russian for the screenplay. During this period Babel had been working on other translations of Yiddish literature into Russian including the collected works of Sholem Aleichem and work by David Bergelson. According to Babel's foreword printed here he faced a number of difficulties adapting the novel including the modification of petty bourgeoisie motifs as well as the changes of film directors and their differing requirements. Because of certain elements in the script of which the main committee of the Goskino did not approve the film's production had to ultimately be switched to VUFKU studios in Odessa. In a letter during the period of production Babel apparently wrote: "I will have to be present on the set. if I am not there the director will ruin everything" and later upon hearing of further changes made by Gritscher-Tscherikower wrote that "it is more profitable for me not to participate in this shameful production". Regardless of Babel's opinion of the final product the film was well received by Soviet audiences at the time. Text in Russian. Portfolio with minor wear. Wraps partially restored with minor wear. Previous owner's names and date at top of title page one near gutter. Light water staining along right half of bottom edge of first 30 pages reappearing from pages 40 to end though along lower part of foredge more pronounced on pages 75/76 and light fraying along foredge from pages 67 to 76. Block lightly age-toned. Kinopechat (Кинопечать) unknown books
réf. 50199Tokyo: Shueisha 集英社 1971. New edition. Hardcover. vg- to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with foxing to the white cloth including the front cover and the interior but the illustrations on the flaps are still clean. Suede binding clean and protected in modern mylar. Light foxing to the edges of the book block. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. The verso of the final photographic plate and the page opposite have a bit more foxing. Portfolio in very good- binding and interior in very good to near fine condition overall. Alternate title: 細江英公写真作å“. Shueisha (集英社) hardcover
réf. 50199Tokyo: Shueisha 集英社 1971. New edition. Hardcover. vg- to near fine. Large oblong folio. 15x21". Unpaginated. All content housed inside the publisher's original cardboard shipping box with printed label pasted on the front. Binding protected in original a white cloth portfolio with red lettering on the front cover and lavishly decorated interior flaps. Black suede-covered boards with mutli-colored illustration mounted on the front cover. Decorative endpapers. Engraved stainless-steel plate showing Mishima's face mounted on black paper preceding the title page. The deluxe and lavishly printed new bilingual edition of the acclaimed and eroticly-charged work also know as "Killed by Roses" by Japanese photographer Eikoh Hosoe b.1933. It gained notoriety and elicited controversy when it was originally released in 1963 and won the Japan Photo Critics Association's writer award. The main photographic subject of the book the acclaimed and controversial writer Yukio Mishima 1925-1970 wrote the preface to the original edition and also writes the preface for this new edition both are included here. Mishima's acclaimed works include the famous and controversial novels "Confessions of a Mask" 1949 and "The Temple of the Golden Pavilion" 1956. Hosoe's striking high-contrast b/w photographs are all printed in high-quality photogravure retaining all the power and atmosphere of his original images. In comparison with the first version of the work this edition features the content having been noticeably re-edited with one image added a few others removed. The images have been thematically re-organized into five new chapters with the names "Sea & Eyes" "Eyes & Sins" "Sins & Dreams" "Dreams & Death" and "Death" respectively. Influential artist and graphic designer Tadanori Yokoo b. 1936 oversaw all of the design and layout aspects of the book and also created its additional illustrated elements most of which comprise the first chapter of this new edition. While Hosoe was still completing work to prepare this new edition of "Ordeal by Roses" the notorious "Mishima Incident" occurred November 25th 1970 which culminated in the ritual suicide of Yukio Mishima by seppuku. The incident shocked the nation and in its wake the photographer was quite unsure of how to proceed regarding the publication of the book. Not wanting to seem like an opportunist taking advantage of the controversy and the publicity surround Mishima's death he contemplated shelving the project but was later persuaded by Mishima's widow Yoko who said that her husband would have wanted it to be released. It was finally release only a few months later on January 30th 1971. Text in Japanese and English throughout. Portfolio with foxing to the white cloth including the front cover and the interior but the illustrations on the flaps are still clean. Suede binding clean and protected in modern mylar. Light foxing to the edges of the book block. Interior with all pages and images clean and vibrant save for a few sporadic instances of the most minor stains or smudges on the blank versos a few pages. The verso of the final photographic plate and the page opposite have a bit more foxing. Portfolio in very good- binding and interior in very good to near fine condition overall. Alternate title: 細江英公写真作å“. Shueisha (集英社) hardcover books
réf. 88077Leonhard Zeh und Georg Driesch München 1924/25 Winter . Landscape folio 30 x 21 cm.pp 54 25 chromolithographed plates image size 21.5 x 18 cm. all with descriptive text and captions 11 small crayon shoe designs 18.5 x 14 cm on tissue paper and one black and white photograph inserted loose bound in original grey wrappers title lettered in gilt tied with green silk thread slightly stained on lower wrapper; overall a very attractive collection. This unusual album of shoe designs contains designs for both men and women. Leonhard Zeh und Georg Driesch, München 1924/25 Winter unknown
réf. 29745Stockholm: Moderna Museet. 1969. Deluxe edition. Deluxe edition. The catalogue for Andy Warhol's first major European retrospective. Illustrated card covers with a design after Warhol's 'Flowers' silk-screen. All edges gilt. Housed in the original perspex slipcase as issued. 614 black-and-white reproductions divided into three sections: black-and-white reproductions of Warhol's work followed by two sections of photographs of Warhol and his associates by Billy Name and Stephen Shore. A fine copy the binding square and tight without fading loss or tears. The contents are clean throughout and without previous owner's inscriptions or stamps. The notoriously fragile perspex slipcase remains solid and in original condition with only a few light scratches. An exceptional example of this landmark Warhol publication offered here in its most desirable form. The deluxe issue of Warhol's legendary Stockholm Exhibition Catalogue. Some copies were also signed by Warhol this example is not. It is unknown exactly how many were issued in this gilt edged deluxe edition most estimate around 50 copies and others possibly as many as 100. All deluxe issues were made from the second edition. Whatever the number intact examples of this issue in attractive original condition are rare in commerce. Parr & Badger: The Photobook II p.144-145. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. Stockholm: Moderna Museet. 1969 unknown
réf. PJH32371Scheidegger & Spiess 2010. Mint set in publishers boards in plain slipcase still shrink wrapped. Textiles are one of Switzerland's oldest industries. Cotton and silk has been spun and woven in homework in the rural parts of the country for decades before the textile sector was one of the first to become quickly and fully industrialised. One of the major players in Switzerland's silk trade has been Abraham AG Abraham Ltd. The company's history dates back to 1878 when Jakob Abraham became a partner in a Zurich-based business. Under the direction of Gustav Zumsteg who had joined as a partner in 1943 the business became a firm part of post-war Paris Haute Couture as supplier of silk fabrics to the leading fashion houses. The 1960s-80s were the heyday of Abraham AG with the close and personal collaboration between Zumsteg and Yves Saint Laurent from 1961 onwards. This equally successful and glamorous period was followed by a slow but steady decline eventually leading to the company's bankruptcy and liquidation in 2002. 'Soie Pirate: The History and Fabric Designs of Abraham Ltd.'. is a comprehensive history of this fascinating enterprise. Volume one tells the company's story and investigates its importance in the international business of high fashion and in the context of time. Volume two presents a wealth of designs patterns and samples of the beautiful fabrics designed by Abraham AG but also of the elegant dresses and spectacular gowns the great couturiers like Cristobal Balenciaga Coco Chanel Christian Dior Hubert de Givenchy Yves Saint Laurent or Emanuel Ungaro have created using Abraham's products. Together both volumes bring to life a chapter in the history of high fashion worldwide. ISBN 9783858817259 Scheidegger & Spiess 2010 hardcover
réf. 54109Kharkiv: Mystetstvo 1933. Large octavo 25.7 × 18.8 cm. Original pictorial wrappers by Vasily Sedliar decorative dust jacket; 20 1 pp. of text 41 leaves of plates to rectos 2 pp. of text including list of reproductions. Small loss to corner of first leaf; pre-war stamps to title verso and p. 21 of the Ukrainian Public Library without inventory numbers marking the book part of the later dispersed duplicate exchange fund. Else about very good. A striking important Ukrainian avant-garde book designed by Vasily Sedliar 1899-1937 a leading Ukrainian painter illustrator and art pedagogue of the interwar period who was killed during the Stalin Terror of 1937. The book is likely the first monograph on Béla Uitz 1887-1972 a Hungarian-Soviet avant-garde artist who later turned to monumental painting creating large-scale murals for the Kharkiv Krasnovodsk Theatre a project he worked on with Sedliar. Uitz was initially influenced by Cubism Expressionism and later Constructivism with the 42 reproductions of his work in this volume tracing his artistic trajectory. Active in Comintern in Hungary France Austria and Germany in 1926 Uitz moved to the Soviet Union joining the October group and teaching at VKhUTEMAS in 1927-1930. In 1931 Uitz was elected secretary of the International Union of Revolutionary Artists at a conference held in Kharkiv and commissioned to decorate the Kharkiv theatre with this volume likely published for the occasion. The Ukrainian art critic and monumental painter Ievhen Kholostenko 1904-1945 wrote the introductory text to the volume. Both Sedliar and Kholostenko were students of Mykhailo Boichuk 1882-1937 at the Kyiv Academy of Art. A celebrated modernist painter Boichuk came into disfavor in the 1930s. His arrest and execution he was accused of being "an agent of the Vatican" affected an entire generation of students known as the "Boichukists" who practiced the innovative kind of monumental painting Boichuk taught. One of the closest associates of Boichuk Sedliar was part of the so-called "executed renaissance" rozstriliane vidrodzhennia a generation of innovative artists and writers who perished during the Great Purge. Any printed matter bearing their names was systematically removed from libraries and bookstores in the late 1930s. As of June 2024 KVK OCLC show a sole copy worldwide at Staats- & Universitätsbibliothek Hamburg. unknown
réf. 187861970. Watercolor and pastel on illustration board. Signed "William A. Moore" Intriguing concpetual drawing for an unusual pickup truck Three views of a rather dazzling vision of a pickup truck and though the "Dodge Sportflite" was never produced the idea of making more luxurious and innovative pickup trucks has definitely caught fire since the time of this handsome drawing. This design brings the driver over the engine as in many heavier trucks giving the driver greater command of the road especially for town and city driving. The styling of the cab and cargo bed is anything but mundane with lines vents a black ribbon around the cab and two large additional brake lights that add a notes of elegance and creativity to the overall effect. "In 1956 William Moore won the General Motors Fisher Body Craftsmen' Guild National Exhibition for his car design. In 1968 he accepted a position as Head of Design for Lear in Reno Nevada. William Moore's art has been placed in.the Smithsonian and the Favell Museum of Art and Artifacts." The Museum of Automotive Art and Design website. The Museum of Automotive Art and Design website artist biographies # 129. unknown
1953réf. 18800Boston 1953. Tempera on paper. Initialled "R.S.W." Mounted circular label lower right. Handsome 1950s sports car design. All of our present information about this drawing comes from a label on the back of the piece which indicates that it comes from the archives of the A.J. White Motor Vehicle Research Company - designers of exotic cars in the Boston MA area. We have not discovered any further information about the A. J. White Research Company thus far nor about the artist R.S.W. of this particular drawing. There does not appear to be any connection to the great White truck manufacturer. The drawing itself is especially nice its cool red sportscar positioned diagonally between two details in blue in a way that makes it appear anxious to move. unknown
réf. 187861970. Watercolor and pastel on illustration board. Signed "William A. Moore" Intriguing concpetual drawing for an unusual pickup truck Three views of a rather dazzling vision of a pickup truck and though the "Dodge Sportflite" was never produced the idea of making more luxurious and innovative pickup trucks has definitely caught fire since the time of this handsome drawing. This design brings the driver over the engine as in many heavier trucks giving the driver greater command of the road especially for town and city driving. The styling of the cab and cargo bed is anything but mundane with lines vents a black ribbon around the cab and two large additional brake lights that add a notes of elegance and creativity to the overall effect. "In 1956 William Moore won the General Motors Fisher Body Craftsmen' Guild National Exhibition for his car design. In 1968 he accepted a position as Head of Design for Lear in Reno Nevada. William Moore's art has been placed in.the Smithsonian and the Favell Museum of Art and Artifacts." The Museum of Automotive Art and Design website. The Museum of Automotive Art and Design website artist biographies # 129. unknown books
1953réf. 18800Boston 1953. Tempera on paper. Initialled "R.S.W." Mounted circular label lower right. Handsome 1950s sports car design. All of our present information about this drawing comes from a label on the back of the piece which indicates that it comes from the archives of the A.J. White Motor Vehicle Research Company - designers of exotic cars in the Boston MA area. We have not discovered any further information about the A. J. White Research Company thus far nor about the artist R.S.W. of this particular drawing. There does not appear to be any connection to the great White truck manufacturer. The drawing itself is especially nice its cool red sportscar positioned diagonally between two details in blue in a way that makes it appear anxious to move. unknown books
1965réf. 45569New York: Simon and Schuster 1965. Very Good-. New York: Simon and Schuster 1965. Second Printing. Small octavo; publisher's photo-illustrated paper covered boards; 90pp.; illus. throughout by Lennon. Boards quite rubbed front hinge starting to crack; overall a Good to Very Good only example of this fragile work. Signed by Lennon on title page with Certificate of Authenticity laid in. Simon and Schuster unknown
1965réf. 45569New York: Simon and Schuster 1965. Very Good-. New York: Simon and Schuster 1965. Second Printing. Small octavo; publisher's photo-illustrated paper covered boards; 90pp.; illus. throughout by Lennon. Boards quite rubbed front hinge starting to crack; overall a Good to Very Good only example of this fragile work. Signed by Lennon on title page with Certificate of Authenticity laid in. Simon and Schuster unknown books
réf. 7643Boston: J. H. Bufford’s Lith. ca. 1870. Lithograph 20.25” x 30.25” plus margins. CONDITION: Very good old folds and a .5” chip to upper-right edge recently backed with Japanese tissue. A scarce and elaborate plat map for a seaside resort development at Pigeon Cove in Rockport Mass. Located on the eastern extremity of Cape Ann Pigeon Cove began attracting vacationers from the Boston area during the 1840s. Once the train reached the area in 1862 summer boarding homes soon gave way to seasonal hotels. Spearheading the development of Ocean View were the two men listed at the center-left of this map—George Babson of Pigeon Cove 1835–1895 and Eben Phillips of Boston 1808–1875 the latter owning much property there. The map shows the various subdivisions of Ocean View including occupied lots and those set aside for various purposes as well as numbered lots for sale. Among the lots occupied or in use are those of Pigeon Cove House Mrs. M. D. Babson Summer Boarding House Rev. E. H. Chapin of New York two observatories and the town school. Also identified on the plan are commercial entities surrounding Pigeon Cove Harbor such as E. Eames & Co. and Marchent & Co. A vignette entitled “View from Phillips Avenue near Dick’s Dream” shows a couple riding horseback against a sunset backdrop of vessels plying the waters. Text in the upper-left corner extolls Ocean View’s various beauties its mineral springs—“differing entirely from others and pronounced by leading physicians to contain great medicinal properties”—and the “laying out of the lots which are very large” and “beautifully shaded with a native growth of Walnut Oak and Pine trees…” In the lower-left corner are fifteen glowing testimonials from summer residents visitors from Boston and New York the editor of the New Orleans Picayune and publications such as Springfield Republican Boston Transcript etc. Commended here are Ocean View’s “wild and romantic” scenery; the “grateful odor of the forest mingled with the briny exhalations from the ocean”; “rocks in magnific multitudes” and so on. Poet William Cullen Bryant observes: “Full of pleasant paths running in every direction the woods here look like a beautiful rural temple.” One rapturous visitor cites a few lines of poetry: “Blended there / In wild reality when life is old / And many a scene forgot the heart will hold / Its memory of this.” Ocean View is here advertised as accessible from Boston by little over an hour’s rail ride via the Eastern Railroad; at the time of this map’s production four trains traveled from Boston to Ocean View each way daily. OCLC records just two holdings of what appears to be the same edition of this map at the Peabody Essex Museum and the Leventhal Center at the Boston Public Library. We locate a third example held by the town of Rockport. Another edition with tinting and more vignettes was published as well. A rare and quite handsome promotional map for this North Shore resort development. REFERENCES: Ray Martin. “Ocean View” at Notes from Halibut Point online; pictured at Digital Commonwealth Massachusetts of Rockport Town Hall. Boston: J. H. Bufford’s Lith., [ca. 1870] unknown
réf. 7643Boston: J. H. Bufford’s Lith. ca. 1870. Lithograph 20.25” x 30.25” plus margins. CONDITION: Very good old folds and a .5” chip to upper-right edge recently backed with Japanese tissue. A scarce and elaborate plat map for a seaside resort development at Pigeon Cove in Rockport Mass. Located on the eastern extremity of Cape Ann Pigeon Cove began attracting vacationers from the Boston area during the 1840s. Once the train reached the area in 1862 summer boarding homes soon gave way to seasonal hotels. Spearheading the development of Ocean View were the two men listed at the center-left of this map—George Babson of Pigeon Cove 1835–1895 and Eben Phillips of Boston 1808–1875 the latter owning much property there. The map shows the various subdivisions of Ocean View including occupied lots and those set aside for various purposes as well as numbered lots for sale. Among the lots occupied or in use are those of Pigeon Cove House Mrs. M. D. Babson Summer Boarding House Rev. E. H. Chapin of New York two observatories and the town school. Also identified on the plan are commercial entities surrounding Pigeon Cove Harbor such as E. Eames & Co. and Marchent & Co. A vignette entitled “View from Phillips Avenue near Dick’s Dream” shows a couple riding horseback against a sunset backdrop of vessels plying the waters. Text in the upper-left corner extolls Ocean View’s various beauties its mineral springs—“differing entirely from others and pronounced by leading physicians to contain great medicinal properties”—and the “laying out of the lots which are very large” and “beautifully shaded with a native growth of Walnut Oak and Pine trees…” In the lower-left corner are fifteen glowing testimonials from summer residents visitors from Boston and New York the editor of the New Orleans Picayune and publications such as Springfield Republican Boston Transcript etc. Commended here are Ocean View’s “wild and romantic” scenery; the “grateful odor of the forest mingled with the briny exhalations from the ocean”; “rocks in magnific multitudes” and so on. Poet William Cullen Bryant observes: “Full of pleasant paths running in every direction the woods here look like a beautiful rural temple.” One rapturous visitor cites a few lines of poetry: “Blended there / In wild reality when life is old / And many a scene forgot the heart will hold / Its memory of this.” Ocean View is here advertised as accessible from Boston by little over an hour’s rail ride via the Eastern Railroad; at the time of this map’s production four trains traveled from Boston to Ocean View each way daily. OCLC records just two holdings of what appears to be the same edition of this map at the Peabody Essex Museum and the Leventhal Center at the Boston Public Library. We locate a third example held by the town of Rockport. Another edition with tinting and more vignettes was published as well. A rare and quite handsome promotional map for this North Shore resort development. REFERENCES: Ray Martin. “Ocean View” at Notes from Halibut Point online; pictured at Digital Commonwealth Massachusetts of Rockport Town Hall. Boston: J. H. Bufford’s Lith., [ca. 1870] unknown books
1927réf. 910941927. ONCHI Koushirou æ©åœ°å四郎 binding design. NIHON JIDOU BUNKO 日本å…童文庫　JAPANESE CHILDREN'S LIBRARY 76 volumes complete. Searching for a concise introduction to this set I found a wonderful little essay written by the owner of the UMINEKO book shop in Japan. He was remarking on the exhibition of art bindings that he had seen at an exhibition of art bindings from the 20s and 30s that was held at the Old Book Center æ±äº¬å¤æ›¸ä¼šé¤¨ã€€in Tokyo a few years ago. This is a rather poor translation more a paraphrase really from his original Japanese. Just a nice introduction to the set and the era. ”When I went to the recent exhibition I was quite taken with a variety of book named "Yenbon" It is a general term for the collection of literary works published by many publishers in the late 1920s early Showa era. They were called 'yen book' at that time because they were priced cheaply at 1 yen per volume. So-called "Yen books" for children representatives of which are this "Nihon Jidobunko"Children's Library and "Shougakusei Zenshuu" Elementary School Children's Complete Works Published by Kobunsha Bungeishunjusha. ARS and Koubunsha are known for their fierce competition in advertising and sales in that era. "Nihon Jidoubunko" was a collection of 76 volumes published by ARS from 1927 Showa 2 to 1930 Showa 5. Ars Publishing is a publishing company founded by the famous poet Kitahara Hyakushu's younger brother Tetsuo. They published wonderful works on art theory photographic manuals dictionaries of science. many designed by Onchi. The sales policy of this "Japan Children's Library" was "Distributed only to reserved members not sold individually. Separate volume 'Self-Study Dictionary' will be given free of charge." In other words quite like the animal encyclopedia my parents bought me monthly at the supermarket back in the early 60s. Illustrated by Takeo Takei Yumeji Takehisa Hatsuyamaji Kiichi Okamoto and many other of the finest children's illustrators of the time. The authors and editors included Mimei Ogawa Hakushu Kitahara Shoyo Tsubouchi Miekichi Suzuki and Toson Shimazaki. Onchi himself worked on the cover art and binding of all volumes and the cover art is different for each volume. All are very beautiful. Onchi worked on everything from the layout of the illustrations to the creation of the block copy and the creation of the advertising pamphlet for the entire volume. A revised edition was released after the war in 1953 Showa 28. Onchi was in charge of the binding for the revised version but the design and binding are the same for all volumes. Not varied for each volume as here. Thus a remarkable set virtually impossible to find complete of a collection of contemporary children's stories by famous Japanese authors housed in a beautiful binding and book design. brother Tetsuo. They published wonderful works on art theory photographic manuals dictionaries of science. many designed by Onchi. The sales policy of this "Japan Children's Library" was "Distributed only to reserved members not sold individually. Separate volume 'Self-Study Dictionary' will be given free of charge." In other words quite like the animal encyclopedia my parents bought me monthly at the supermarket back in the early 60s. Illustrated by Takeo Takei Yumeji Takehisa Hatsuyamaji Kiichi Okamoto and many other of the finest children's illustrators of the time. The authors and editors included Mimei Ogawa Hakushu Kitahara Shoyo Tsubouchi Miekichi Suzuki and Toson Shimazaki. Onchi himself worked on the cover art and binding of all volumes and the cover art is different for each of the 76. All are very beautiful. He also did the layout of the illustrations created the block copy and the advertising pamphlet for the entire volume. A revised edition was released after the war in 1953 Showa 28. Onchi was in c. unknown books
1920réf. 013746London: Macmillan 1920. 1st Edition. Hardcover. Very Good/Good . First edition in first issue dustjacket which is soiled with a spine that is browned and missing about half inch at each end. Covers designed by Moore are quite nice. Moderate wear to cloth at spine ends. Some offsetting to ffe and fly with an ownership name that looks like Leslie Hogarth dated 1919 upper right corner of half title. Macmillan hardcover
1920réf. 013746London: Macmillan 1920. 1st Edition. Hardcover. Very Good/Good . First edition in first issue dustjacket which is soiled with a spine that is browned and missing about half inch at each end. Covers designed by Moore are quite nice. Moderate wear to cloth at spine ends. Some offsetting to ffe and fly with an ownership name that looks like Leslie Hogarth dated 1919 upper right corner of half title. Macmillan hardcover books
1991réf. 74861Screen Gems 1991-01-01. Paperback. Acceptable. Fair; Lower corners are bumped; general wear and soiling to covers; stain to foredge; Soft Cover; Screen Gems-EMI Music; 1991; 0 Screen Gems paperback
2016réf. 115377Avedition GmbhCsi. New. 2016. Paperback. 3899862341 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - Text in English and German. -- with a bonus offer-- . Avedition Gmbh,Csi paperback
1977réf. 55311AB4 Bände. Bern, Haupt. 1977. 4°. Jeder Band 104 S. Mit vielen teils farbigen Abbildungen. Originalbroschuren in Schuber.
1977réf. 55311ABBern, Haupt., 1977. 4°. Jeder Band 104 S. Mit vielen teils farbigen Abbildungen. Originalbroschuren in Schuber. 4 Bände.
1900réf. 18325Wien, Gerlach & Schenk, o. J. (1899 oder 1900). XII, 78 S. mit zahlr. teils farb. Abb. 8 farb. Tafeln. Gr.-8°. Lose in OKart.-Flügelmappe (Rücken fachmännisch erneuert, hinterlegte Einrisse, hs. Name und Reste einen Buchhandelsschildchens am Vorderdeckel). [3 Warenabbildungen]
réf. 1464Colordinamo 1975 1976 1977. Here all three installments of this rare publication. some parts missing in the 1975 issue but rare in any form or shape. Colordinamo 1975. Manuale per uso professionale. Il Colore dell'energia 40 nuovi colori per la progettazione dell'ambiente Colordinamo 1975: The Color of energy forty new colours for environmental design Milano: Montefibre S.p.A. 1975. Grey colored blind stamped and printed portfolio 305 x 221 cm containing two pouches: one pouch containing: a manual for users missing A parallel edition of the Colordinamo devoted to users is published and distributed by ACNA S.p.A. This contains the colour samples and the recipes for their reproduction onto certain types of support. a colour isolator - being a sheet printed in white grey and black with 3 round and three square die-cut holes. For a correct vision of the colour it is advisable to utilize the isolator comprised of two detachable sections: the first with a round punched hole is suitable for the comparison of one or more colours; the second with a square punched hole is suitable for isolating the sample on the colour chart. The black zone is to be used for the dark colours the grey zone for the middle colours and the white zone for the light colours. a 6-page color illustrated foldout colour chart The Colour Chart is the basic reference document of the handbook which must also be used for reading the dominant themes on the Composition Handbook. The sample colourants of the Colour Charts are the same as those of the Colour Cards; the guarantee and the precautions to be adopted are thus identical. a composition handbook - nine foldout plates one complete plate missing 4 of which the 'environmental diagram is missing The introductory part of the Composition Handbook is followed by the section dealing with the dominating themes. At the side of each iconographic subject there is an environmental diagram with the colours corresponding to the dominant theme visible through a window cut into the sheet after insertion of the Colour Chart the second pouch containing: 40 color cards each measuring 296 x 105 cm The reflectance spectra values R% and the tristimulus coordinates X Z Y given on the back of the Colour Cards can be utilized by Colorimetric centres for the instrumental matching of the colour onto any support fabrics of various types plastics natural materials etc. The values provided refer to the basic colour; the Colour Cards produced are guaranteed equal to the sample within /- 2 N.B.S. points. In order to prevent colour alterations of the Colour Cards it is recommended not to leave it exposed for a long time to direct light. Colordinamo 1976: Manuale per uso professionale. The first reconstruction of the chromatic universe prior to the introduction of syntetic dyes. From original recipes the colors used by european dyers from XIV to XVI century. Ricostruito per la prima volta l'universo cromatico precedente all'introduzione dei coloranti sintetici. Dalle ricette originali i colori usati nella tintoria europea dal XIV al XVI secolo. Milano: Montefibre S.p.A. 1976. Grey colored blind stamped and printed portfolio 305 x 221 cm containing two pouches: one pouch containing: a monograph - 24 pages illustrated throughout in color printed stiff wrappers This section contains a brief historical study of ancient dyeing up until the discovery of synthetic colouring materials complete with descriptive passages of the natural pigments most commonly used. a colour isolator - being a sheet printed in white grey and black with 3 round and three square die-cut holes a simulator – 3 silk-screened acetate sheets one sheet printed in white grey and black with 3 round and three square die-cut holes Transparent sheets A and B are designed to permit the simulation of a chromatic family on a series of different types of objects outlined on A and B as they are superimposed on the Colour Cards. Sheet C similarly allows for the visualisation of colours distributed over vaster surfaces which simulate living areas. a 6-page color illustrated foldout colour chart. the second pouch with 40 color cards each measuring 296 x 105 cm - First edition. This the personal numbered no. 720 copy addressed to the architect Giovanni Michellucchi. Colordinamo 1977: Manuale per uso professionale. Colordinamo 1977: the environmental colour of the 70's for a new chromatic quality of the environment. Colordinamo 1977: il colore ambientale degli anni '70 per una nuova qualità cromatica dell'ambiente. Milano: Montefibre S.p.A. 1977. Grey colored blind stamped and printed portfolio 305 x 221 cm containing two pouches one pouch containing: 40 color cards each measuring 296 x 105 cm the second pouch: a colour chart the portfolio contains furthermore a 12-page one loose page color illustrated monograph with two texts entitled: 'the international culture of colour' and 'new environmental qualities' texts illustrated with examples of paintings by Frank Stella Adami and Ellsworth Kelly the architecture of Constantino Corsini and Girogio Wiskemann and the Trigondorf village by Justus Dahinden Zurich. in the monograph section furthermore 6 die-cut sheets 'Chromatic selection': vast horizontal surfaces vast vertical surfaces making new signpost colors cold colors hot colors; one page with 'munsell' codes referring to all the color codes as published in Colordinamo 1975 1976 and 1977 the colour isolater: being one sheet printed in white grey and black with 3 round and three square die-cut holes. Attached on a yellow cord a folded bookmark with names of the 14 Italian businesses that helped realize this issue of Colordinamo - All three first – unsalable - editions. Montefibre S.p.A. hardcover
