ROBERTS-JONES, PhilippeLivre Rare Book
ROBERT Léopold LouisLivre Rare Book
(Pecheurs italiens).
réf. 7995Rogné au trait carré. 13 x 10 cm au trait carré.
Librairie Seigneur · Voingt, France15,00 €
10 989 résultats
réf. 34041Paris Le Club Français du Livre 1963 in 4 (27,5x21,5) 1 volume reliure skivertex noir de l'éditeur, dos et plat supérieur titrés en blanc, plat supérieur orné d'une vignette illustrée contrecollée, 451 pages [5], avec de nombreuses reproductions en noir et blanc. Introduction, commentaires et notices par Philippe Roberts-Jones. Ouvrage composé d'après les maquettes de Jacques Darche, assisté par Françoise Rocziki. Edition hors-commerce numérotée. Exemplaire numéroté. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
réf. 56174, Fonds Mercator 2017, 2017 Hardcover, 263 pages, Texte en Francais, 300 x 280 mm, Tres belle exemplaire ! Beaucoup illustrations de couleur,. ISBN 9789462301894.
réf. 7545All five prints 'Publish'd by Robt. Sayer No. 53 Fleet Street London as the Act directs 1st. Septr. 1772.'. Each of the five on a piece of good laid paper roughly 15 cm square. Wide margins with indentation of plate 9.5 x 8 cm. All five good with occasional light creasing to margins. The second and third items more aged that the others but all good and suitable for framing. Delicately engraved and skillfully coloured. Item One: 'Mr. Bellecour. 3 Comed. Franc. Le Joueur. dans la Comédie du même nom.' Item Two: '19 Comed. Franc. Michau et Henri. dans la Partie de Chasse d'Henri IV. Qu'êtes-vous allons qu'êtes-vous' Item Three: 'Made. Favart. 22 Coméd. Ital. La Vieille. dans la Fée Urgele Acte III.' Item Four: 'Mrs. Trial & Clerval. 29 Coméd. Ital. Bertrand et Monteauciel dans le Déferteur. Voulez-vous bien chanter quand on vous en prie' Item Five: 'Mr. Laurette 30 Coméd. Ital. Jean Louis. dans le Déserteur.' Presumably from Whirsker's "The Metamorphoses of Melpomene and Thalia or Dramatic Characters of the French and Italian Comedies." London: Robert Sayer n.d. but circa 1770. 30 plates. Cohen 1066. Lewine 356 copy on with 19 of the 30 plates at $3000: Micahel Hollander. See Image. All five prints 'Publish'd by Robt. Sayer, No. 53 Fleet Street London, as the Act directs, 1st. Septr. 1772.' unknown
réf. 7995Rogné au trait carré. 13 x 10 cm au trait carré.
réf. 71318E-386. Very Good. Paperback. Trade PB. 8vo. Bob Riley Studios New Orleans LA. Unknown Date 1943 . 115 pgs. Illustrated. Revised Edition. Wrappers lightly worn with some light shelf-wear to the extremities present. Book is free of ownership marks. Text is clean and free of marks. Binding tight and solid. French Quarter bohemians designed The Bachelor in New Orleans as an unauthorized guidebook before unauthorized guidebooks. Over forty marvelous block prints illustrate a remarkably jaunty text delivering a portrait of New Orleans nightlife unlike any other. The Bachelor in New Orleans discusses among other things: absinthe the Ramos Gin Fizz Cafe Brulot Bourbon Street The Sazerac Bar Court of the Two Sisters Pat O'Brien's The Monteleone Hotel Bar art Cafe Lafitte Tujague's Bar The Walnut Room Micky Finns Antoine's Galatoire's Dinkelspiel salad lonliness Mardi Gras drinking jazz and sporting houses. ; 8vo 8" - 9" tall . paperback
1958réf. 263089New York: Thomas Yoseloff Inc 1958. Signed. Hard Cover. Very Good binding/Very Good dust jacket. #23 of 100 copies Signed by Robert Graves and illustrator James Metcalf. The dustjacket presents nicely with small chip at the top of the spine and two small chips at the top of the rear panel. There is modest loss to the bottom of the spine and a piece at the bottom has been reattached from the verso using heat-set tissue. Very Good binding / Very Good dust jacket. Thomas Yoseloff, Inc unknown books
1958réf. 263089New York: Thomas Yoseloff Inc 1958. Signed. Hard Cover. Very Good binding/Very Good dust jacket. #23 of 100 copies Signed by Robert Graves and illustrator James Metcalf. The dustjacket presents nicely with small chip at the top of the spine and two small chips at the top of the rear panel. There is modest loss to the bottom of the spine and a piece at the bottom has been reattached from the verso using heat-set tissue. Very Good binding / Very Good dust jacket. Thomas Yoseloff, Inc unknown
1913- s.n., Paris 1913, 14x22,5cm, une feuille. - Estampe originale en couleur finement rehaussée à l'or, tirée sur papier vergé, signature en bas à gauche de la planche. L'une des premières revues de mode françaises, parue quelques temps avant la fameuse Gazette du bon ton et réunissant les grands artistes français de la mouvance Art déco. Le Journal des dames et des modes est une revue trimensuelle de mode française illustrée créée en 1797. Sa publication est stoppée en 1839 avant d'être reprise en juin 1912 sous l'impulsion de Tommaso Antongini, le secrétaire, ami et biographe de Gabriele d'Annunzio. Elle disparaîtra en août 1914 à l'aube de la Première Guerre mondiale. La revue était tirée à 1279 exemplaires ce qui en fait, pour l'époque, une publication relativement confidentielle. Les 186 planches, d'une grande finesse, sont gravées sur papier fort puis coloriées au pochoir. Elles représentent, la majorité du temps, des femmes, mais aussi des hommes et des enfants. Les modèles ne sont pas, à la différence de ceux de la Gazette du bon ton dont la publication verra le jour quelques mois plus tard, ceux des couturiers de renom mais sont le fruit de l'imagination des illustrateurs eux-mêmes. Les pochoirs sont, la plupart du temps, exécutés par George Barbier, mais d'autres artistes collaborent à la revue : Léon Bakst, B. Berty, Bernard Boutet de Monvel, Roger Broders, Jan van Brock, Umberto Brunelleschi, H. Robert Dammy, Étienne Drian, Abel Faivre, Marie-Madeleine Franc-Nohain, Xavier Gosé, Paul Iribe, Kriegck, Victor Lhuer, Pierre Legrain, Charles Martin, Fernand Siméon, Ismael Smith, Armand Vallée et Gerda Wegener. Nombre de ces illustrateurs seront également associés à La Gazette du bon ton. Leurs travaux, emblématiques du mouvement Art déco, soulignent l'influence de l'orientalisme et des costumes des ballets russes tout en les inscrivant dans les activités quotidiennes des Français aisés de l'époque. Dès la préface du premier numéro de 1912, Anatole France déclare : « Au bout de soixante-quinze ans, il renaît. Il renaît par les soins de quelques esprits ingénieux et artistes. Il renaît pour les curieux (s'il en est encore) que ne contentent pas les journaux de modes tirés à plusieurs milliers et illustrés par la photographie. Et si les éditeurs nous rendent très exactement, dans son format, avec son papier, son impression, ses procédés de gravure et de coloris, le vieux classique des modes d'autrefois, c'est qu'ils entendent le continuer agréablement et devenir les classiques charmants de la mode d'aujourd'hui et de demain. » [ENGLISH DESCRIPTION ON DEMAND]
1948réf. 008728New York: Printed at The Spiral Press 1948. First edition. Paperback. This original Robert Frost 1948 Christmas Card features a trifecta of virtues. This is the first published appearance of this poem which had an unusual text history detailed further below. Of 2275 copies printed for 9 different names this is one of 375 printed for the poet himself. Last but certainly not least this is not only one of Frost's copies but is inscribed and signed by him. Following the first and second printed lines on the presentation page "This new poem brings Holiday Greetings from Robert Frost December 1948" Frost wrote "the Hendersons" and signed "Robert Frost". Condition is near fine. The gray-green card wraps are clean bright and sharp cornered the binding staple firmly intact and uncorroded. We note only a tiny blemish above the title on the front cover and a trivial hint of wear to the spine heel. The contents are crisp and clean lightly age-toned but with no spotting or soiling. With the permission of Frost and his publishers in 1929 the Spiral Press began printing an annual Robert Frost Christmas Card featuring one of his poems. The tradition continued until 1962 Frost's final Christmas. Each annual Christmas poem publication was printed with varying names on the title page to accommodate their being sent by various Frost publishers artists and important friends. This copy is one of those printed for Frost himself. The 1948 Christmas poem "Closed for Good" has an unusual textual history. After it was first printed here it appeared in a number of other Frost collections including in the 1949 edition of Complete Poems and the 1954 1955 and 1963 editions of selected poems. In 1962 a revised version of Closed for Good was published as part of In the Clearing. There the poem is altered; the first stanza lines 1-6 is deleted And becomes They in line 7 and the word brush becomes spread in line 24. This is clearly how Frost wanted the poem to evolve. In the Clearing was his final new collection and in 1958 Frost told Elizabeth Shepley Sergeant that he was trying out a new version of four stanzas. Nonetheless When Edward Connery Lathems edition of The Poetry of Robert Frost was published in 1969 the poem was presented in five stanzas and the two word changes restored to original. Given both Frosts manifestly deliberative use of words and the fact that the poem is a commentary on Frosts inheritance from the past and his legacy to the future the changes do not seem incidental. By 1948 when this poem first appeared in his annual Christmas card and he inscribed this copy Robert Frost 1874-1963 had already entered the final decades of his life as the most highly esteemed American poet of the twentieth century with an accumulating hoard of academic and civic honors. Half a decade had passed since he had won his still-to-this-day-unrivalled fourth Pulitzer Prize for Poetry. This is all the more remarkable given that he did not publish his first volume of poetry until he was nearly 40 years old. References: Crane B19; Tuten and Zubizarreta; ANB Printed at The Spiral Press paperback
1959réf. 008606New York: Henry Holt and Company 1959. First edition first printing. Hardcover. This strikingly clean jacketed copy of the first edition first printing of Robert Frosts 1959 collection of Favorite Poems for Young Readers is signed by him "Robert Frost" on the title page just above his printed name. This collection takes its title from the words repeated at the end of each stanza of this book's first poem "The Pasture" first published as the prefatory to North of Boston in 1914. Of this collection the publisher said Frost "has gathered a group of his poems to be read to and by young people. To Robert Frost a great-grandfather with a remarkable number of small friends this was a labor of love. Frost dedicated the volume to his mother Belle Moodie Frost who knew as a teacher that no poetry was good for children that wasnt equally good for their elders. Evoking Frosts famous poem Mending Wall Frosts friend Edward Hyde Cox 1914-1988 who contributes a Foreword to this volume said of Frost that he had never added a single stone to the wall that so often separates age from youth. Prevalent among the 51 poems herein is Frost's gently subversive inclination to write verse that is superficially accessible "lovely dark and deep" upon sounding. This is a handsome book bound in orange-yellow linen cloth with a vignette of a bird on a fence post stamped in black on the lower right front cover corner and spine print stamped in black with a red acorn and leaf device between at the spine's center. The contents feature wood engravings by Thomas W. Nason and are bound with endpapers of heavy light gray wove paper and red and yellow head and tail bands. The dust jacket printed on beige laid paper features a wood engraving of birches spanning the lower front face spine and extending onto the rear face. The rear face prominently features Yousuf Karsh's famous portrait photograph of Frost. Condition is truly fine in a truly fine dust jacket. The illustrated cloth binding is immaculately clean and bright with sharp corners and only the most trivial hints of shelf wear to extremities. The contents are likewise pristine with no spotting soiling toning or previous ownership marks. "FIRST EDITION" is so stated on the title page verso. The contents retain a pleasingly stiff feel The dust jacket is crisp bright clean and entirely complete with no loss or tears and retaining the original "$3.00" upper front flap price. We note only a hint of wrinkling to the spine heel and a touch of soiling to the lower rear face. The jacket is protected beneath a clear removable archival cover. Publisher's statements are often hyperbolic. In this case the dust jacket's front flap description of Robert Frost as "America's beloved poet ageless and for the ages" was and remains more accurate than advertising. Before this volume was published on 26 March 1959 Robert Frost 1874-1963 reached the age of eighty-five. His stature had risen to an apex arguably unequalled by any American poet since. Frost had long-since won all of his still-unrivaled four Pulitzer Prizes for poetry 1924 1931 1937 and 1943. He spent his final years as the most highly esteemed American poet of the twentieth century with an accumulating hoard of academic and civic honors. Two years before his death he became the first poet to read in the program of a U.S. Presidential inauguration Kennedy January 1961. Reference: Crane A39; Tuten and Zubizarreta; ANB Henry Holt and Company hardcover
réf. 5243Légende : Dessein de Barthelemy Ramenghi dit Bagnacavatto, qui est dans le cabinet de Mr Crozat. Gravé à l’eau-forte par Robert et en bois sous sa conduite par Nicolas Le Sueur. Belle planche tirée en camaïeu. En feuille s.d. 42,8 x 27,5
1965réf. 228244The University Press 1965. Hardcover. Used - Very Good. Signed by Joan Hassall; #999 of a limited 1500 produced; Yellowing to outer slipcase little wear to covers with small chip to top of spine small inscription inked on verso of final endpaper book block otherwise clean square and tight. The University Press hardcover
1949réf. 13511Los Angeles: Limited Edition Club 1949. First Edition in this Format; Limited Edition. Hardcover. Book condition is Very Good bound in 1/4 leather and paper covered boards housed in a Very Good slipcase. Minor edge wear and a few weak smudges to slipcase. Sunning to slipcase. A few smudges to covers. A few small weak scuffs to spine of each volume. Text is clean and unmarked. Illustrated throughout. Limited to 1500 copies this set numbered 822. ; Signed by the engraver Carl Schultheiss on the Limitation page. ; Large 8vo 9" - 10" tall; 690 pages. Limited Edition Club hardcover
1920réf. 54747Lucien Vogel éditeur | Paris Mars 1920 | 24 x 37 cm | une feuille
1920réf. 73133Lucien Vogel éditeur | Paris Mars 1920 | 24 x 37 cm | une feuille
1896réf. 278761896 Les peintres-lithographes : album trimestriel de lithographies originales et inédites 1896 - belle epreuve Impression . claires rousseurs en marge. toutes marges dimension feuille : 320 x 460mm.. timbre de la Société des Peintres-Lithographes, tirage à 80 ex.- Peintre, graveur, professeur de dessin, poète ou collectionneur marchand et historien d’art – Wickenden partagea sa vie entre l’Angleterre (où il naquit en 1861) les États-Unis, le Canada (où il mourut en 1931) et la France où il séjourna entre 1883 et 1900, étudiant à l’École des Beaux-Arts de Paris ou demeurant une dizaine d’année à Auvers sur Oise.Peintre profondément influencé par l’École de Barbizon, il publia aux États Unis de nombreux articles sur Corot, Millet, Rousseau et Daubigny.
1902réf. 828581902. Plattenmaß 33 x 51,5 cm.
1850réf. 10510Lithographie sur Chine appliqué, datant des années 1850, représentant une partie de la famille d'Orléans après la mort du Duc en 1842. On y voit la Duchesse d'Orléans avec ses deux beaux-frères, le Prince de Joiville et le Duc d'Aumale, en compagnie de l'un de ses fils le Comte de Paris. En feuille, quelques rouseurs en marge. Bon Paris Delarue 1850
The standard catalogue raisonne. 400 items illustrated and thoroughly described. Ten full-page color plates. 4to, original wraps. Light wear to wraps, internally fine.
1629réf. 103866Straßburg, Zetzner, 1629. 4to. 12 Bl., 771 S., 34 Bl. (d.l.w.). Pergament d. Zeit (fleckig u. verstaubt). [2 Warenabbildungen]
1919réf. 1321019Wien, A. Schroll, 1919. Gr.-8vo. 2 Bl., 14 S., 1 Bl., 237, (1) S. m. 153 vielfach ganzseitigen Illustrationen. (Österreichisches Museum für Kunst und Industrie. Kataloge der Sammlungen: Ornamentstiche (Teil 2)). OKart. (Rücken unterlegt, Umschlag angestaubt, etwas fleckig u. m. wenigen kleinen Ausrissen, Ecken etwas geknautscht).
réf. 241720 Planche N°64, format 29 x 40 cm (toutes marges). Chromolithographie d'époque avec le timbre à sec de l'Imprimerie Chaix (Lugt 1777c). Notre exemplaire est une des très rares épreuves imprimées sur papier Japon, 2 petites traces de punaisage chaque extrémité de la marge supérieure (Our plate is one of the few copies printed on Japanese paper. Original plate in good condition). LES MAITRES DE L'AFFICHE, prestigieuse publication d'art, éditée par l'atelier de lithographie Chaix, dont la parution s'étala de décembre 1895 à novembre 1900. Chaque livraison comportait 4 planches de reproduction en chromolithographie d'une remarquable qualité d'impression des plus belles affiches illustrées des grands artistes français et étrangers (auxquelles il faut ajouter 16 planches de lithographies originales offertes en prime aux abonnés). Lors de l'Exposition universelle de 1889, fut organisée la première exposition rétrospective dévolue à l'affiche, celle-ci devait valider la reconnaissance officielle d'appartenance de l'affiche au monde de l'art. Jules Chéret (1836-1932) y sera sacré '' Maître de l'affiche '', c'est aussi à cette date que Seurat commencera à collectionner les affiches de Chéret. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1906réf. 14619Carte de vœux du chapelier Émile Liez. en feuille Bon Paris 1906 58 x 43 cm
1865réf. 37BGZürich, H. Füessly & Comp. zur Meise, 1865. Stahlstich. Nach der Natur gezeichnet und gestochen von Rud. Ringger in Küsnach b/Zürich. Druck von D. Herter in Zürich. Bildgrösse: 10,2 cm x 302 cm. Orig.-Pappdeckel (Gelenke u. Kanten leicht berieben, Ecken minim bestossen) in Orig.-Papp-Schuber (berieben, Gelenke angeplatzt, etwas verblasst).
1865réf. 37BGZürich, H. Füessly & Comp. zur Meise, 1865. Stahlstich. Nach der Natur gezeichnet und gestochen von Rud. Ringger in Küsnach b/Zürich. Druck von D. Herter in Zürich. Bildgrösse: 10,2 cm x 302 cm. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, 37BG Orig.-Pappdeckel (Gelenke u. Kanten leicht berieben, Ecken minim bestossen) in Orig.-Papp-Schuber (berieben, Gelenke angeplatzt, etwas verblasst).
