1 970 résultats
pp. xxiv, 108. Illustrated with drawings by T. M. Cleland, printed by The Photogravure and Color Company, and hand-colored by Walter Fischer; designed by Mr. Cleland; set in monotype Janson on Curtis Ragston paper. Sm. 4to. 7 1/4 x 10 inches. Bound by Russell-Rutter Company in full maroon cloth, with black leather gold letter spine label, sides embossed in blind design by Mr. Cleland. Original slip case. Number 769 of an edition limited to only 1500 copies, signed by the artist, M. T. Cleland. 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. W37
pp. xv, 251. Illustrated by Robert Shore with line drawings and with bold paintings printed by Holyoke Lithograph Company; designed by Ward Ritchie; printed at the Ward Ritchie Press, set in intertype Waverley; special Curtis white wove paper. Inked ownership of Jefford F. Oller on front fly leaf. 7 1/2 x 11 inches. Bound by Tapley-Rutter Company in quarter black Levant morocco, stamped in red and gold, smoky-blue rough linen sides. Original slip case, paper spine label rubbed at top corner. Fifteen hundred copies have been made, of which this is copy number 420 and it is signed by the artist, Robert Sore and designer-printer, Ward Ritchie. Fine. Fine Books from the Limited Editions Club make great gifts. **PRICE JUST REDUCED! SHELF W92
60 p. Wood engraved color illustrations in text by Edward A. Wilson. Offsetting at the half-title from an old newspaper clipping about the book. 12mo. Top edge gold gilt. Blue vellum binding, lettered in gold on spine. Slipcase shows some wear. Designed by Bruce Rogers. Limited to 1000 copies, SIGNED by the illustrator - Edward A. Wilson (1886-1970). "Joseph Conrad considered (this) his best story .the book is designed with that ultimate refinement and good taste that distinguishes Rogers' work. Its charm is increased by delightful wood-engravings in color done by Edward A. Wilson, the one of the lateenlike rigged vessel on the title page being after a drawing by the incomparable B.R. himself" - From the inserted clipping. BR, Works #409 JUN3 SE1/2
In 8? (cm 24), Brossura, pagg.54 con alcune ill. b.n. n.t., segni del tempo alla cop., buon es. Dal sommario: "Le parler rural d'Ascoli Piceno" di A. Piccinin; "La cartografia storica territoriale della regione marchigiana (1561-1713)" di F. Bonasera; "L'idea di letteratura in Adolfo e Lauro De Bosis" di A. Luzi; "Flaminio d'Ascoli pittore indemoniato" di R. Paciaroni; "Nino Anastasi" di A. Massimi. Il volume ? stato "realizzato fotograficamente con elaboratore elettronico".
51p. Portrait illustration. Typography and calligraphic initials designed by Frank Lieberman. Inked presentation to Mrs. Susan L. Chace by the author's husband, Brandon Barringer, The Newport, Oct. 5th, 1966. Penciled ownership of Mrs. Chase. Tall 8vo. Original cloth backed paper boards, lettered in white. Hardbound. The story of the break-up of her parents' marriage as seen through her eight-year-old eyes, against the background of World War I. Very nice copy. PRESS/W32
pp. xii, 296 (1), with full page and marginal drawings + Color frontis of a Wedgwood plaque of Cook by Flaxman. Designed by Douglas A. Dunstan; printed and bound at the Griffin Press, Adelaide, Australia; set in Monotype Bembo; on Basingwerk Parchment Paper. Bound in quarter kangaroo skin leather over tapa cloth boards. Slipcase with slight ding. Inked ownership of Jefford F. Oller, the original subscriber, on front fly leaf. Number 420 of an edition limited to only 1500 copies, signed by the artist and the designer. A fine copy of this handsomely produced edition. It would make a wonderful gift. W42
pp. xv, 406. Illustrated by Henry C. Pitz with monochrome line drawings and with wash drawings hand-colored at the Walter Fischer Studio; designed and printed by A. Colish; set in monotype Bell; Mohawk vellum-finish paper. 6 5/8 x 10 1/4 inches. Bound by Russell-Rutter Company in full cotton fabric stamped with an early American design. Original slip case. Fifteen hundred copies have been made, of which this is copy number 769 and it is signed by the illustrator, Henry C. Pitz (1895-1976), a well-known Philadelphia artist, book illustrator, writer, and educator. Fine. Fine Books from the Limited Editions Club make great gifts. SHELF W89
in-16, privo di paginazione (pp. 20), legatura coeva in carta decorata, titolo e fregi in oro su tassello in pelle blu al dorso. Edizione originale, finemente impressa affinché la il testo giustificato di ciascuna pagina componga stravaganti figure geometriche. All'occhietto: ''A beneficio del fondo vedove e orfani del pio istituto tipografico di Milano''. Rarissimo. Buon esemplare.. .
Yverdon, Société du Musée et Vieil Yverdon (Imprimerie du Journal d'Yverdon), 1989, in-8, br. editoriale, pp. 38, (2). Con illustrazioni in b.n. e nota bibliografica.
in-8 , pp. VI, (2), 130, (2). Legatura in carta editoriale (con piccole cadute al dorso e lievi strappetti). Edizione di 300 esemplari impressi su carta a mano, rara a trovarsi. Buon esemplare.. .
Second Edition, corrected and much enlarged, xviii,393,[1]pp., orig. cloth, re-backed. Bigmore & Wyman, I. p.145. "This is a standard work of reference, and has always enjoyed great authority. The names of the towns are arranged in alphabetical order, and the circumstances attending the introduction into them of the art of printing, the earliest products of their presses, and biographical references to early printers, are given in a succinct manner."
First edition, 8vo (225 x 145mm), xvi, 219, [1]pp., upper blank corner of dedication leaf torn away, bookplate removed, front endpaper loose, cont. half morocco, marbled paper boards. Bigmore & Wyman, I. p.145. "This is a standard work of reference, and has always enjoyed great authority. The names of the towns are arranged in alphabetical order, and the circumstances attending the introduction into them of the art of printing, the earliest products of their presses, and biographical references to early printers, are given in a succinct manner."
<p>32cm, brossura editoriale illustrata al piatto con risguardie, p. 28. Numerose illustrazioni in nero n.t. Con 10 tavole a colori fuori testo. Edizione numerata di 200 esemplari: il nostro n. 146.</p>
A clean, unmarked book with a tight binding. Metal comb binding. 9 1/2"w x 12 1/4"h. 176 pages.
66p. Uncut and unopened. Designed by Laurence C. Woodworth. Printed on handmade Italian paper. Tall 8vo. Original full paper binding, with original paper labels on spine and front cover. Hardbound. Limited Edition of only 225 copies. Very nice copy. PRESS/W33
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
Paris, Les Presses de Kickshaws 1986, tirage limité à 130 exemplaires, première édition qui recycle le texte de Bioibliographique, publié par Kickshaws dans une édition comprenant une suite de gravures de Dans Sabatay, exemplaire n° 29, broché, couverture légèrement empoussiérée, très bon état.
4to, 39pp., one of 300 copies, illustrs., in the text, orig. cloth-backed patterned boards, signs of label having been removed from base of spine. A bibliography of the Christmas keep-sakes produced by the University Printer, Brooke Crutchley, at Cambridge between 1930 and 1973 `for his friends in printing and publishing'.
First edition, 4to, viii, 32pp., one of 650 copies printed on handmade paper, orig. cloth-backed decorated paper boards, unopened, uncut, slight signs of a label having been removed from base of spine and verso of title.
8vo., First Edition, on laid paper, with portraits and facsimiles; blue boards, red buckram back lettered in gilt, a near fine copy in publisher's board slip-case. EDITION LIMITED TO 500 COPIES. A Cambridge Christmas book.
8vo., First Edition, with title in red and black, plates, and several mounted type specimens at end; patterned boards, red cloth back lettered in gilt, a near fine copy in publisher's board slip-case.
4to., First Edition, with folding coloured frontispiece and plates in monochrome; green cloth, gilt back, a near fine copy in unclipped, unevenly sunned dustwrapper.
In-8° pp. 28, bross. edit.
br. Melchiorre Sessa e i suoi eredi furono, prima di tutto e in senso pieno, editori. La loro attività si estendeva sui due versanti dell'editoria, quello della produzione e quello della vendita dei libri. Da una parte erano attenti agli autori, ai testi e alla loro resa tipografica, in una parola alla formazione del catalogo, anche grazie ad accordi con altri tipografi più di loro versati in particolari tipi di testi. Sul versante delle vendite i Sessa si inserirono con efficacia su una rete commerciale già ben consolidata che, partendo da Venezia, consentiva di far giungere ogni sorta di mercanzie in tutta Italia. Dobbiamo, pertanto, essere grati a Silvia Curi Nicolardi che, in anni di continuo lavoro in archivi, biblioteche e ultimamente anche sulla rete, ha costruito questa bella macchina di documentazione e di analisi delle edizioni di Melchiorre Sessa, cui possiamo d'ora in poi attingere con grande profitto per la conoscenza della sua produzione editoriale, specchio fedele della vita e della cultura veneziana e italiana del Cinquecento.
in 4°, br. edit. (lievissime tracce d'uso), pp. 311-323,(1).