Blanchard Gérard.MareMagnum
1 970 résultats
(Codice BB/0755) In 4º (30,5 cm) XVI-408 pp. Prima edizione. Con innumerevoli figure, illustrazioni e facsimili. A cura di Luigi Cesare Maletto. Legatura tela editoriale, sovraccoperta illustrata da Aldo Novarese. Ottimo stato. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
pp.xxvii, 198 (1) + Twelve plates by Gordon Ross, hand colored by Charlize Brakeley. Designed by Richard W. Ellis; printed at Aldus Printers; set in Monotype Calson Old Face; on Liampre French Paper. Bound by Russell-Rutter Co. in full floral printed chintz. Heavy slipcase. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine example of this wonderfully entertaining English classic. It would make a great gift. W35
pp. (19), 177 + Plates after oil paintings by Michael Ayrton. Designed by Adrian Wilson; printed by A. Colish; set in LEC Special Janson and American Unical; Curtis Antique paper. Bound by Russell-Rutter Co. in brown natural finish cloth, backed in crimson cowhide leather, gold. Folio. Slipcase shows the slightest wear. Number 769 of an edition limited to only 1500 copies, signed by the artist. A very fine copy of these great classic dramas. It would make a wonderful gift. **PRICE JUST REDUCED! W38
pp. xii, 52; xviii, 62. Illustrated with text drawings and wood engravings. Green silk moire endpapers. All edges gold gilt. Original green page ribbon. 4to. 390 mm. Original full green leather binding gold decorated in an over-all design of birds in flight. Spine with same gold design and raised bands. Hardbound. Very beautiful, crisp copy. Original bookplate from the Easton Press, left blank. This Collector's Edition is published in advance for the subscribers of the Easton Press collection of "The 100 Greatest Books Ever Written". **PRICE JUST REDUCED! PRESS/W75 # 300PR.
Two volumes. 729 p. + Color illustrations by John Austen. 4to. Dust jacket. Floral slipcase. Designed, printed and bound by John Johnson at the Oxford University Press; set in Monotype Series Number One; on William Nash Special Paper. Bound floral paper boards with a green linen gold back. Number 413 of an edition limited to only 1500 copies, signed by the artist. A very fine copy of this handsomely produced edition. It would make a wonderful gift. W42
Two Volumes. Illustrated with lithographs in many colors and pen drawings by Barnett Freedman; set in monotype Walbaum on Dickinson Mills paper. Top edges gold. 8vo. 5 5/8 x 9 inches. Bound by Oliver Simon at The Curwen Press in full mulberry linen, stamped black and gold. Original decorated purple slip case houses both volumes, spine darkened and slightly worn. Number 413 of an edition limited to only 1500 copies, signed by the illustrator, Barnett Freedman. Though the slip case has some wear, this is a very good set. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W98
pp. 155, (3) + An Original Lithograph and eleven monochrome plates by Jack Levine. 4to. Binding by A. R. Horowitz & Sons, in full black natural-finish book linen stamped in gold with a Levine vignette. Slipcased. Designed by Howard I. Galla; printing at the Wild Carrot Letterpress; set in Monotype Walbaum; on Mohawk Superfine Paper. Number 342 of an edition limited to only 2000 copies, signed by both the artist and the editor. A very fine copy of this handsomely produced edition of the great German play. It would make a wonderful gift. W37
pp. (vi), 131 (1) + Great colored plates printed in offset lithography by Duenewald Printing. Designed by Richard Ellis; printed at Aldus Printers; set in Linotype Caslon Old Style; on Worthy Special Paper. Bound by Russell-Rutter Co. in quarter brown morocco leather over wood-grain boards. Wood-grain paper solander case, worn at extremities. Number 794 of an edition limited to only 1500 copies, signed by the artist. Handsomely produced edition. It would make a wonderful gift. W35
pp. xxvii, 72 + Portrait frontis printed on Japan vellum. Title page printed in red and black. Text decorated with large red initials. Uncut and partially unopened. Japan vellum endpapers with facsimile of the front wrapper of the first edition (1880). Printed on hand-made Van Gelder paper. Inked ownership of Carlton Potter Small. Folio. Original Japan vellum spine and corners over blue paper boards, deeply gold lettered. Original gold lettered spine label. Original dust jacket. Hardbound. Limited Edition of only 250 copies. Beautiful copy of one of Mosher's finest productions. Mosher himself considered it one of his best productions. Bishop 183. **PRICE JUST REDUCED! PRESS/W39
pp. xxi, [3], 228, [2] + 10 Color plates and many chapter headings by Rockwell Kent. Large 8vo. The typography was designed by Elmer Adler; hand-set in Garamond type; on Worthy Special Paper. Bound by George McKibbin & Son in full ivory silk, with a lithograph design by Mr. Kent. Binding slightly faded. No slipcase. Number 1465 of an edition limited to only 1500 copies, signed by the artist. A truly wonderful book that should be on every modern reading list. It would make a great gift. W36
pp. xx [ii], 70 (1) + Illustrated with one double-page and four full-page photographs by Richard Benson, superbly printed in a 300 line screen process by Meriden Gravure Co. Small folio. Designed by Stephen Stinehour; printed by Michael & Winifred Bixler; set in Monotype Dante; on soft-white Mohawk smooth wove paper. Bound at the Stinehour Press in full silver-gray Dutch natural finish cloth, stamped in blue and blind. Original glassine wraps. Original blue paper covered cloth slipcase. The beautiful endpaper designs and slipcase decorations are reproduced from original paste papers designed by Carol Blinn. Copy number 1848 of and edition limited to 2,000 numbered copies signed by the photographer, Richard Benson. "Bright, volatile, short-lived and hard-drinking, Crane was in some ways an archetype of the Roaring Twenties author. Crane is best known for The Bridge (1930), an epic vision of American life with the Brooklyn Bridge as a central image. Crane is often compared to Walt Whitman, both for his modern American sensibilities and for the homoerotic imagery some find in his work. In sheer style Crane also resembled T.S. Eliot, whom he admired. Crane committed suicide by leaping from the S.S. Orizaba in 1932. Slipcase has some soiling on the top and bottom edge. There is also a small (less than 1/2") loss of colored paper in the lower corner of the slipcase. A brilliantly photo illustrated work. It would make a great gift. W37
Two volumes. pp. (2)[Advertisement for this, and other stereotyped editions, issued in various sizes on papers of different qualities, 226 (2)[Publisher's advertisement]; 219. Foxed. 24 mo. Lovely calf backed boards binding. FR3?
pp. xi, 316 (1) + Powerful double page color illustrations by Edward Bawden. 4to. Designed by John Dreyfus; printed and bound at the Cambridge University Press; set in Monotype Barbou; on Abbey Mills Chariot Paper. Full ivory buckram binding with guilloche design stamped in blue on the spine. Handsome matching slipcase. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine copy of this handsomely produced edition. It would make a wonderful gift. W42
Ten Volumes. Frontis illustrations with tissue guards. Pictorial title pages ruled in red and printed in red and black. Uncut. Top edges gold. Bookplates of John Abram Fritz. Extra paper labels tipped in rear. 8vo. Original full red buckram bindings, some wear. Original spine labels, slightly chipped. Hardbound. Nice set. SET/W47
pp. xviii, 413. Illustrated with linoleum cuts in colors by Valenti Angelo; designed and printed by Edmund B. Thompson at The Hawthorn House; hand-set in Bulmer type on Worthy special paper. 4to. 6 x 9 3/8 inches. Bound by George & Son in half polished black calfskin, stamped with genuine palladium, marbled paper sides. Original silver slip case, rubbed and somewhat worn, but not split. Inked ownership of Jefford F. Oller, the original subscriber, on front fly leaf. Includes the Monthly Letter. Number 420 of an edition limited to only 1500 copies, signed by the artist, Valenti Angelo. Though the slip case is rubbed, this is a fine copy. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W35
Two Volumes. pp. xxvi, 660 (1) + Collotype Plates, hand colored by Daniel Jacomer. Small folios. Designed, printed, and bound by John Johnson, at the Oxford University Press; set in Monotype Fournier; on William Nash Special paper. Dust jackets slightly soiled. Slipcase is quite broken and worn. Number 413 of an edition limited to only 1500 copies, signed by the artist. A handsomely produced edition. These would make a great gift. W96
pp. ix, 354. Illustrated by Fletcher Martin with line drawings and paintings; designed by Ernst Reichl; set in monotype Times Semi-bold and Mistral; Strathmore natural vellum-finish paper. Inked ownership of Jefford F. Oller on front fly leaf. 7 3/4 x 11 inches. Bound by Russell-Rutter Company in full Irish linen, silk-screened with a design by Mr. Martin. Original slip case. Fifteen hundred copies have been made, of which this is copy number 420 and it is signed by the illustrator, Fletcher Martin (1904-1979). Fine. Fine Books from the Limited Editions Club make great gifts. SHELF W89
Two Volumes. Illustrated with full page engravings on Japan vellum with text tissue guards. Title pages printed in red and black on Japan vellum. Uncut. Top edges gold. Large 8vo. Original full green buckram bindings. Original paper spine labels. Bindings very slightly worn at edges. Hardbound. Limited Edition. Number 221 of only 1250 copies. Edition de Luxe. "The novellino is a collection of fifty stories, each one told by the writer separately, without any striving after continuity. Masuccio does not trouble himself like certain others of the Novellieri, to construct a setting for his work, and to feign that the tales are told in turn by the work, and to feign that the tales are told in turn by the various members of a gentle company brought together by hazard. He tells us that all his novels are true, and that in many cases he is only setting down what he has learnt by the evidence of his senses. " Very nice set. **PRICE JUST REDUCED! SET/W47
pp. xviii, 44 + color frontis and full page color plates printed from the artist's, M. R. H. Farrar, linoleum-cuts at the Curwen Press. Printed on Pannekoek mould-made paper. Text and music printed by John Johnson at the University Press, Oxford. Color drawing on title page. Uncut.Autograph ownership (1931) of Waynesboro, PA financier, industrialist, and press book collector, Jefford F. Oller (1896-1974). . Insert of Nonesuch News, Number One, September 1938. Folio. Original full vellum like paper binding, embossed and decorated in blind. Yapp edges. Gilt lettered spine. Binding by the Leighton-Straker Bookbinding Company. Original slip case, worn and broken. Hardbound. Limited Edition. Number 416 of only 950 copies. Very handsome copy. PRESS/W38
This is the "Popular Edition". 24 black and white plates (one is tipped-on the front cover). This is a very good softcover copy, in stiff orange card covers, with just light wear to the covers and corners. The plates have a little wear, but are clean. 12.5" high X 8" wide. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Two Volumes. Illustrated in pen and dry-brush by Edward A. Wilson, the key black printed by The Photogravure and Color Company, hand-colored by Walter Fischer; set in linotpe Baskerville on Curtis special paper. Sm. 4to. 6 1/8 x 9 1/4 inches. Bound by The Russell-Rutter Company in full linen with a red American Indian design, gold-stamped spine. Original rose slip case houses both volumes. Number 769 of an edition limited to only 1500 copies, signed in green ink by the illustrator, Edward A. Wilson. A Fine Set. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W90
Two Volumes. pp. xxiii, 782 (1) + Plates in color. Small folios. Designed, printed, and bound (in full green linen, gold stamped) by John Johnson, at the Oxford University Press; set in Monotype Bell; on William Nash Special paper. Dust jackets and slipcase show some soiling and wear. Number 413 of an edition limited to only 1500 copies, signed by the artist. In the autumn of 1750 Smollett set out for Paris in order to collect material for another novel. The result of the tour was The Adventures of Peregrine Pickle, published in 1751. In some respects, this is the most remarkable of Smollett's novels; it is, also, the longest, and it maintains its vivacity and vigour throughout. Peregrine is a scoundrel with a very moderate sense of shame; he is also, in his elegant and rather witty way, a bully of the most refined cruelty, who is not content to feast on others' folly, but likes to pay for the feast with all kinds of insult and annoyance. It is still a fun read today. A handsomely produced edition. These would make a great gift. W96
pp. (xvii), 113 (1). Small folio. Designed, printed, and bound by Ward Ritchie. Set in Intertype Waverly; on Linweave Paper, deckle edged. Bound in paper boards decorated by the artist, backed in brown cloth. Slipcase covered in rice paper, slightly soiled. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine example. From Wiki: The story is told in the first person by John Wiltshire, a British copra trader on the fictional South Sea island of Falesá. Upon arriving on the island, he meets a rival trader named Case, who (in an apparently friendly gesture) arranges for him to be "married" to a local girl named Uma in a ceremony designed to impress the natives but to be completely non-binding in the view of Europeans. Wiltshire soon discovers that Uma has a taboo attached to her which causes all the other natives to refuse to do business with him, to Case's profit. He also hears rumors of Case having been involved in the suspicious deaths of his previous competitors. Although realising that he has been tricked, Wiltshire has genuinely fallen in love with Uma, and has their marriage legalised by a passing missionary. Wiltshire gradually learns that Case's influence over the villagers stems from their belief that he has demonic powers, as a result of his simple conjuring tricks as well as strange noises and visions they have experienced at a "temple" he has built in the forest. Upon investigating, Wiltshire finds that these experiences are also tricks produced by imported technologies such as luminous paint and Aeolian harps. Wiltshire sets out that night to destroy the temple with gunpowder. Case confronts him and the two men fight, resulting in Case's death. The story concludes with Wiltshire several years later living on another island, still happily married to Uma, worrying about what will happen to his mixed-race children. Stevenson saw "The Beach of Falesá" as the ground-breaking work in his turn away from romanticism to realism. Stevenson wrote to his friend Sidney Colvin: 'It is the first realistic South Seas story; I mean with real South Sea character and details of life. Everybody else that has tried, that I have seen, got carried away by the romance, and ended in a kind of sugar candy sham epic, and the whole effect was lost - there was not etching, no human grin, consequently no conviction. Now I have got the smell and look of the thing a good deal. You will know more about the South Seas after you have read my little tale than if you had read a library.' In an unusual change for Stevenson, but in-line with realism, the plot of the story is less important, rather the realistic portrayal of the manners of various social classes in island society is foregrounded; it is essentially a novel of manners. As Stevenson says to Colvin in a letter, "The Beach of Falesá" is "well fed with facts" and "true to the manners' of the society it depicts." Other than the island itself which is fictional, it contains the names of real people, real ships and real buildings which Stevenson was familiar with from his personal travels in the South Seas. W42 L
This is a fine hardcover copy in a fine dust jacket with no wear at all. Completely clean inside and out. No marks anywhere. Edited by Helms, assisted by Arta Valstar-Verhoff. A major reference on this important De Stijl artist, graphic designer and teacher at the Ulm Hochschule fur Gestaltung. Chronology. Exhibition history. Bibliography. Illustrated in color and black & white. 10" square, 427 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
First edition, 2 vols., 4to, 173, [2]; 145, [1]pp., 100 copies (or less) printed, 2 plates, 2 facsimiles, orig. black cloth, a little worn, signs of label having been removed from upper cover and spine.