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1717036073Oxford: printed by John Baskett 1717. Book. Very Good. Hardcover. 310mm x 485mm. This the famous and monumental Vinegar Bible also known as the Baskett full of errors and generally acknowledged as the most magnificent Bible printed in England. The volume is complete in all respects. It comprises the complete text of the Old Testament Apocrypha and New Testament along with the two title pages and the preliminaries. Both titles display beautiful engravings with the general title showing a particularly fine view of Oxford. Frontispiece engraved by Du-Bose representing Moses writing the first words of Genesis letterpress title printed in red & black and with engraved scene of Oxford both lined to verso. The bible has been expertly re-backed retaining the original calf leather boards with blind stamp decoration firm near fine. New Testament title dated 1716 with engraving of the Annunciation Apocrypha present numerous engraved head & tailpieces throughout Old Testament leaves P6 3B4 Z5 and New Testament leaves C4 H3 K2 M2 Q1 R1-3 S1 S6 T1 & T2 a few tears with expert paper repair and manuscript infill New Testament with a little worming to lower margins of Q1-R5. Fleur-de Lis water-marked paper trimmed. Herbert 942. This edition is often known as the 'Vinegar Bible' due to a misprint 'The parable of the vinegar for vineyard' in the headline above Luke xx. In this particular example the misprint is not present. 1 A very good example of this handsome and extraordinary bible. Strasburg Fleur-de Lis water-marked paper trimmed. printed by John Baskett Hardcover
19675626CBZürich, 1967.
2017__1138104760Routledge 2017. Hardcover. New. 5702 pages. 9.21x6.14x9.25 inches. Routledge hardcover
1957BHGM3913New York: Alcoholics Anonymous Publishing Inc. 1957. Warmly Inscribed & Signed by the co-founder of A.A.in ink with his clear distinctive hand on the free endpaper as follows: To my friends- the "Ovshinskys Junior" To you all my affection and my confidence that you will grow up in the likeness of your clear mother and father! Always yours "Uncle" Bill NY 5/5/61; 1/4 black cloth & blue cloth over boards with gold spine title; A near fine copy in a good dust jacket; 335 pages. Size: 5.5"x8.5". Signed by Authors. Hardcover. Alcoholics Anonymous Publishing, Inc. Hardcover
1100<p><strong>Condition: As New </strong>owner's blindstamp on front endpaper. First edition. XL hardcover without dust-jacket as issued in a slipcase. 18.2" x 16.0" x 3.0". No ISBN. 480 pages. Images: <strong>https://www.swanngalleries.com/auction-lot/gilman-collection-photographs-from-the-collection_3f44489887</strong> . A superbly printed very large "elephant folio" in publisher's slipcase presenting two hundred images from one of the world's most important photography collections; this copy is #'d 0531 of 1200 copies. 18.2 x 16.0 x 3.0 inches. Curated by Pierre Apraxine curator of the Gilman collection with plates by Richard Benson and notes by Lee Marks. With 199 offset lithographs after photographs now in the collection of the Metropolitan Museum of Art and offset lithographic frontispiece. Publisher's half maroon calf and linen covered boards in publisher's slipcase. The Gilman Paper Company collection of photographs was considered to be the most important private photography collection in the world. Including some of the medium's earliest photographs such as masterworks by Fenton portraits by Cameron and Lewis Carroll. Among the works from the Civil War era is a portrait of Abraham Lincoln portraits of politicians by Matthew Brady; an extensive holdings of American daguerreotypes along with works by Stieglitz Cartier-Bresson Atget Capa Evans Arbus Frank and others. This limited first edition #'d 0531 one of 1200 copies issued in an exceptional elephant folio contains 200 photolithographic and process color prints including the frontispiece: each tipped to an individual leaf and reproduced in original size from the original photograph except those that exceeded this volume's size. When the entire Gilman Collection was acquired by the Metropolitan Museum in 2005 the museum's curator of photography declared it " . . . the most important thing that had happened to his department in the history of the museum" -<em>New York Times</em>. Contains sections on Early French Early British Early American and Modern Photography. The work has been described as: "a tour-de-force of offset lithography. In this instance Richard Benson painstakingly produced fine line-screen negatives for offset printing of each black-and-white image in four to six colours. The Gilman Paper Company bought and installed an offset printing press in Benson's home specifically for this project. Benson has written: " . . . this book has always been intended to be as excellent and accurate to the originals as possible." The 199 plates in this book plus the frontpiece bear eloquent witness to the achievement of this lofty goal." More info: <strong>https://artgallery.yale.edu/collections/objects/81650</strong>. NOTE: This is a <strong>very</strong> large heavy book - <strong>we will ship this title ONLY WITHIN THE USA</strong> apologies but no outside-USA orders can be fulfilled for this set and it will require extra shipping/packing charges. USA customers please note: We only ship our books via USPS Media Mail with insurance & tracking. SKU 1100</p> White Oak Press & Stamperia Valdonega hardcover
19251507150012Berlin : J. Springer 1/1/1925. Hardcover. Very Good. 2 Volumes. Band 34 and 37. Bound in modern 3/4 crushed red Moroccan leather. Red cloth boards. TEG. Gilt spine. 5 raised bands. Fine binding and cover. Clean unmarked pages. Ships daily. Band 34 contains "Uber die physikalischen Konsequenzen der relativistischen Axiomatik" p. 32-48 by Hans Reichenbach and "Zur Quantenmechanik" p. 858-888 by Max Born and Pasqual Jordan. <br> Band 37 contains the first Russian paper on matrix mechanics "Zur Quantenmechanik des rotators" 685-688 by Igor Tamm Anwendung der Quantenmechanik auf das Problem der anomalen Zeemaneffekte by Pasqual Jordan; Werner Heisenberg 263-277 and Zur Quantenmechanik der Stossvorgange by Max Born 863-867. Max Born's paper would he first to clearly enunciate the probabilistic interpretation of the quantum wavefunction which had been introduced by Erwin Schrodinger. It would be criticize by Schrodinger but lead to Einstein's quote in a letter "He God does not play dice Berlin : J. Springer hardcover
167454695Hafniae (Copenhagen), Petrus Haubold, 1674. 4to. Contemporary full mottled calf with five raised bands to richly gilt spine. Upper and lower part of spine worn and restored. Some overall wear and a bit of worming. Internally evenly browned. Contemporary notes in neat hand to front free end-paper and additional information about contents in same hand to title-page. Title-page printed in red/black. (8), 200 pp. + engraved plate depicting snow crystals.
Hafniae (Copenhagen), Petrus Haubold, 1674. 4to. Contemporary full mottled calf with five raised bands to richly gilt spine. Upper and lower part of spine worn and restored. Some overall wear and a bit of worming. Internally evenly browned. Contemporary notes in neat hand to front free end-paper and additional information about contents in same hand to title-page. Title-page printed in red/black. (8), 200 pp. + engraved plate depicting snow crystals.
19765Nos. 1-13 all publ. New York Fall 1970 - Summer 1976. Unbound original pictorial wrappers; sq.4to for the first 8 issues then tabloid format; numerous illustrations and photographs. Composed as follows: - Nos. 1-8. New York Fall 1970 - Summer/Fall 1973. In original wrappers with the green folder stapled in the middlespread of no 8 complete with contents. All in very good to fine condition. Then became: - Avalanche NEWSPAPER: - Nos. 9-13 =last published. New York NY: Center for New Art Activities.1974-Summer 1976. The set in extremely good to fine condition both the first 8 square issue as the more fragile newspapers/tabloids nos. 9-13. Offered together with this complete set is a copy of the facsimile-edition with introduction and extras as described below. Unusually well preserved complete set Landmark conceptual art magazine published by Willoughby Sharp edited by Elizabeth Béar. At the time Sharp was a New York-based art historian and independent curator and Béar an underground magazine editor who had recently moved to New York from London. They published the first issue in 1970 and collaborated on 13 issues from 1970 to 1976. They both conducted the interviews and conversations with the artists. Avalanche focused on art from the perspective of artists rather than critics and investigated new forms of art that were developing in the U.S. and Europe with a radical new media format--probing interviews extensive use of photography and dynamic layouts. For many artists publication in Avalanche preceded a one-person gallery or museum show. - No. 1: Cover photograph of Joseph Beuys interviews with Carl André Jan Dibbets a portrait of Joseph Beuys by Shunk-Kender retrospective of Richard Long Carl Andre Jan Dibbets Richard Long Joseph Beuys Heizer Oppenheim. - No. 2: Body Works. Cover photograph of Bruce Nauman with articles on him and on Vito Acconci Terry Fox Yves Klein Bruce Nauman Dennis Oppenheim Klaus Rinke Richard Serra Wm. Wegman incl. a photo of Matta-Clark-installation and Bas Jan Ader: Fullpage bw photo of 'Too sad to tell you' and text in the Rumble-section. No. 3: Post-Studio Sculpture. Cover photograph of Barry Le Va. Interview with David Tremlett and features on Jacks Gordon Matta-Clark contributions by Italo Scanga George Trakas and on Barry Le Va his picture on the cover Bill Beckley Joel Fisher Robert Morris and others - No. 4: Conceptual Art. Cover photograph of Lawrence Weiner. Jackie Winsor interview Sol LeWitt; Howard Fried Alice Aycock Stanley Brouwn; Hanne Darboven; Walter De Maria; - No. 5: Performance. Cover photograph of Yvonne Rainer. Contributions Braco Dimitrijevic; Joseph Beuys talking at Documenta 5; Jannis Kounellis interview; Phil Glass; Keith Sonnier; Yvonne Rainer interview - No 6: Vito Acconci. Cover photograph of Vito Acconci and number devoted to him. - No.7: Humor. Cover Man Ray name of the dog photo by William Wegman. Interview with General Idea. Edward Ruscha Interview with Van Schley "Different Strokes for Different Folks" which is a green folder stapled in the middlespread intact but without the postcard insert Man Ray Do you want to. interview with William Wegman by Liza Béar - No. 8: Sculpture & Performance. Cover Robert Smithson. Exchange '73; A Drinking Sculpture Gilbert & George. Memorial issue for Robert Smithson. Features Robert Morris Tina Girouard Chris Burden and others. Continued in a changes format: --NEWSPAPERS: Now Published by Center for New Art Activities Inc. New York. As detailed below each issue has several pages of general information messages rumbles films publications etc. as well as several pages of advertising and the more specific contents are: - No. 9: June 1974. Issue dedicated to video and performance art. Texts by Willoughby Sharp William Wegman Joseph Beuys contains partial transcript of Joseph Beuys' first US peformance at the New School Iincludes interviews with Vito Acconci Keith Sonnier Richard Serra Robert Bell Willoughby Sharp and Dennis Oppenheim Boris Wall Gruphy. 36 pages. . - No. 10: December 1974. Cover photo Jack Smith. Contents: Hans Haacke Manet Project '74; Daniel Buren Kunst bleibt Politik; Simone Forti Dancing at the fence; Stephen Laub Projections interview by Willoughby Sharp; Jack Smith Fear Ritual of Shark Museum Centerfold ; Joel Fisher. As strong as a spiders web; Terry Fox: Children's Videotapes interview; Gordon Matta-Clark: Splitting interview; The Phil Glass Ensemble interview by Willoughby Sharp after Music in Twelve Parts performance. 52 pages. - No. 11: Summer 1975. Cover photo Steve Paxton. Contents: Alan Saret. Installation for Man; Darcy Lange. Videography: Work; Joel Shapiro:Torquing; On Kawara: One Million Years centerfold; Laurie Anderson. Confessions of a Street Talker; Contact Improvisation Laura Chapman Scott Jones Annette La Rocque Daniel Lepkoff Steve Paxton Karen Radler David Woodbury; Steve Paxton: Like the Famous Tree Dialogue with Liza Béar. 40 pages. - No. 12: Winter 1975. Cover Photo Barbara Dilley. Contents: Robin Winters: Fairly regular hours; Robert Wilson & Christopher Knowles: Because Why; Alexis Smith: Anteroom; Rita Myers: A remote intimacy; Michael McClard: Mumbo Jumbo; Barbara Dilley: In the 'Dancing Room'; Barbara Dilley Dancing a picture autobiography. 40 pages. - No. 13:Summer 1976. Cover photo: "Trial Balance". This printed with colour red added. Contents: Fitzgibbon:Colleen; Jim Roche:Straight Razor; Reiner Ruthenbeck:Eclipse; Bas Jan Ader: In search of the miraculous; Meredith Monk: Invocation/Evocation; Diego Cortez: An obvious kind of eyesore. 48 pages. ADDED TO THIS SET AND INCLUDED IN THE PRICE: Facsimile boxed edition in a limited edition of 100 signed and numbered by Liza Béar and Willoughby Sharp. Produced by PRINTED MATTER. Number 29 of 100. This boxed facsimile edition of Avalanche's complete run reproduces the first eight issues individually and the final five in a single bound paperback. Accompanied by a certificate signed by both Liza Béar and Willoughby Sharp shortly before Sharp's death in December 2008. The publication is 1016 pages and illustrated throughout; is housed in a heavy duty laminated archival box measuring 10.5 x 19.5 x 2.5 inches. The first eight issues measure 9.25 x 9.25 inches and are exact facsimiles of the originals; the subsequent five tabloid-sized issues now bound as a single volume measuring 9.25 x 13.5 inches have been reduced slightly in scale from the original format. paperback
20756Serie 1: Nos. 1-50 all published. 1971-1975. No. 46 signed by Beuys in pencil. - Together with: - Serie 2: Nos. 1-24 all published. 1982-1984. - Together with: - Serie 3: Nos. 1-2 all and last publ. 1987. Altogether a set of 49 physical issues some were double or triple the issues 47-50 of the first series are 2 physical issue. Milan Anvers 1971-1987. Original issues 4to stapled in the spine or paperbound in pictorial wrappers. With numerous illustrations. The complete set of this seminal concrete poetry journal directed by Paul de Vree & Sarenco. Contribs. in English Italian French and German. The journal seeks to promote an opening-up of poetry to audio-visual forms and the media in order to reach a wider audience. Contribs. include: Paul de Vree Gianni Bertini Sarenco Jean-Fraçois Bory J.H. Koeman E. Ferrari P. Manzoni Herman de Vries Joseph Beuys Baj Aubertin Timm Ulrichs Aldo Albanese Carlo Alberto Sitta Richard Kostelanetz Takahashi Shohachiro Antonio Vigo Guillermo Deisler Joseph Kosuth Akldo Mondino Stephen Kaltenbach Ben Vautier Richard Artschwager Hidetoshi Nagasawa Vladimir Burda On Kawara Elio Mariani Jochen Gerz Jan Wojnar Karel Trinkewitz Jiri Valoch Karel Adamus Nicholas Zurbrugg Daniel Spoerri Bernard Heidsieck Eugenio Miccini and many others. unknown
16254Nos. 1-74. San Francisco MRR first number not dated ca. Sept/October 1982 - July 1989. Unbound as issued 272 x 21 cm about 56-124 pages/issue printed on newsprint b/w stapled in the spine. Endemic browning some ragged edges and minor spine damage a few numbers with closed tears chipped corners. Altogether an excellent clean set with only minor damage to two numbers as detailed at the bottom of the footnote. Published originally by Jeff Bale Jeff Berlin Mark Berlin Roseann Berlin Jello Biafra Bob Black Booth Eric Bradner Mickey Creep Peter Dimaria Jim Donovan Ray Farrell Fletch Henry Hample Dave Rave photographs etc.; from the actual MRR website we quote: History of MRR- Maximumrocknroll is a widely distributed monthly fanzine dedicated to supporting the underground punk rock scene. MRR's 20-year plus history and large obsessed all-volunteer staff has made its punk rock coverage the most consistently up-to-date and reliable around. Several major media conglomerates control most music produced today. In contrast MRR reinforces the values of the punk underground by remaining independent and not-for-profit. Maximumrocknroll started in 1977 as a punk rock radio show - one of the first and best of all time. "Tim Yo and the Gang" played the latest punk and hardcore sounds from across the world the U.S. and from their home in the bristling SF Bay Area punk scene. "The gang" included personalities like Jeff Bale Ruth Schwartz and Jello Biafra. Punk antiheroes regularly visited as guest DJs and the roster of touring bands interviewed on the show reads like the track list on a classic old comp. The show was notable for the immediacy of the music a dedication to international coverage rare at the time and for explicitly interjecting progressive politics into the dialogue of punk. The show became hugely successful in the underground and eventually was broadcast from stations across the U.S. and abroad. Maximumrocknroll in its zine form first appeared in 1982 as the newsprint booklet in Not So Quiet On the Western Front a comp LP released on then-Dead Kennedys' label Alternative Tentacles. The comp included 47 Nevada and Northern California bands many of whom went on to ruin thousands of impressionable kids for productive civic life by releasing some of the best punk records ever…. The Maximumrocknroll columns section has served as the punk scene's gossipy party line for decades…. By remaining stable on the one hand flipping the bird with the other MRR's controversial personality has affected-or infected-the history of punk rock for all time. Added: Collectors Issue Number 8. Noted Damages: no 2 has a tear in first 2 pages without loss of text or image no.10 has half of an inside page missing and a corner torn of another page. unknown
20290Nos. 1 - 7. All published. Düsseldorf. Verlaggalerie Leaman. 1975 - 1983. Large 4to. 7 volumes. All contained in original printed plastic ring-binders. All seven annual volumes edited by Milan Mölzer and published by the Verlaggalerie Leaman in Düsseldorf presenting works by the avant-garde and Fluxus artists represented by the gallery . Each issue consists of photocopies objects mounted on boards or contained in plastic slipcases folded and manipulated papers reproductions and works in a variety of other media by well- and lesser- known figures. Gwen Allen - Artists' Magazines. An alternative space for art p. 290. The complete set of these assemblages of visual poetryoriginal objects photographs collages mixed-media. - Volume 1: Christian Megert Milan Mölzer André Thomkins Günter Uecker Ulises Carríon Reiner Ruthenbeck Leo Erb Michael Gibbs. Düsseldorf: Verlaggalerie Leaman 1975. 46 sheets and an envelope11x22 cm with content intact. - Volume 2: Adolf Luther Hubertus Gojowcjk Rolf Bendgens Arnulf Rainer Norbert Kricke Franscisco Pino George Brecht Stephen Kukowski & Alan Czarnowski Geza Perneczky Vera Röhm. Düsseldorf: Verlaggalerie Leaman 1976. 46 sheets of varying sizes and materials plus a plastic bag containing a dried wax-like substance. - Volume 3: Sigurdur Gudmundsson Helfried Hagenberg Erwin HeerichAlexander Schleber Maurizio Nannucci Alex Kayser Daniel SpoerriFritz Schwegler Zak & Kingbee. Düsseldorf: Verlaggalerie Leaman 1978. 51 sheets and an envelope. - Volume 4: François Morellet Jean-Pierre Bertrand herman de vries Ulrich ErbenReinhard Omir Claudio Parmiggiani Paul van Dijk Axel Heibel. Düsseldorf : Verlaggalerie Leaman 1978. 58 sheets. - Volume 5: Boltanski Voss Filliou Armleder Saito Monnier Blank KuliwieK Fridfinson. Titelpage Franklin Berger exact collation hardly possible due to unclear printing of section-titles but likely complete. Düsseldorf: Verlaggalerie Leaman 1980. - Volume 6: Nam June Paik Alison Knowles Trevor Winkfield Bob Cobbing Luciano Ori Michael DruksIan Hamilton Finlay Bill Griffiths Gerhard Rühm Robin Crozier Endre Tót. Reaktion 6. No colophon page. Alsbach: Verlaggalerie Leaman 1981. 56 sheets. - Volume 7: John Furnival Susan Hiller Dick Higgins Steve Wheatley Rúrí Gilbert & George Jean-Luc Vilmouth Jeff Nuttal Agnes Denes Arrigo Lora-Totino. Alsbach: Verlaggalerie Leaman 1983. 57 sheets. hardcover
18343Nos. 1-10 all publ. Itzehoe Berlin 1960-1965. 8vo; original self-wrappers.In box with perspex see-through front. Concrete poetry and art periodical published and edited by the brothers Rolf-Gunter and Klaus-Peter Dienst. Heavily influenced by The Beat poets. Nicely produced from no 4 onw. most numbers printed in two colours. With firstprints and texts by Franz Mon OM Martino Oberto Burroughs with Cut-Ups in numbers 5 6 7 H. Arp E. Borchers Raoul Hausmann Bryan Gysin H. Jandl G. Luca D. Wellershof J. Cocteau back cover of no. 7 has a full page drawing specially made for Rhinozeros. Number 8 is special issue 'Jean Dubuffet'. Also contributions by Lawrence Durrell Robert Creeley Renate Gerhardt Antonis Risos Gunter Grass Katja Hajek Anselm Hollo Klaus Roehler Dieter Hulsmanns Reuven Wasserman Herschel Silverman Herman Jandl Dieter Wellershoff Carl Werner Eva Van Hoboken Jurgen Ploog Arno Reinfrank and Karl Roehler. unknown
19494Nos. 1 1 1/2 3/4 5 6 8 9/10 11 12 =last. Ijmuiden The Subvers Press Hans Clavin 1970-1976 unbound as issued: a very good set with minor flaws. Near complete set of this periodical which is essential to the international history of concrete and visual poetry- - -Number 1. October 1970. Hans Clavin The Subvers Press Ijmuiden. . 56 pp. Glued in wrappers. Handnumbered 287500. Added: specimen copy consisting of several stapled sheets. -Subvers Teoreties nummer. No. 1 1/2 Dec. 1970. Ijmuiden Subvers Press 1970. Edited by Hans Clavin. 5 loose sheets stapled together. Each features a collaboration by 2 artists their texts are printed on top of each other hence illegible. With Eugen Gomringer/Max Bense Öyvind Fahlström/Pierrer Garnier Paul de Vree/Herman Damen Frans Vanderlinde/Julien Blaine Emmett Williams/Sarenco. Scarce not included in the usual complete collections. Number 2: “Pornographic Poetryâ€: 245x165 cm. loose leaves folder. Color offset. Very good copy. - - Number 3/4: subvers 34 posters / poems Bertini Bory Clavin Deman Lichtenauer Nannucci Perfetti Targowski Todorovic Valoch Wabl. august 1971; -Number 5: “Two phonographies†incomplete: only the silkscreen disc on golden cardboard with orig. Envelope waterstained. Herman Damen. 2 contributions: silkscreen disc on golden cardboard and 24 circular pages printed in offset some foxing with light traces of humidity 22x31 cm. edition of 500 numbered copies. - -Number 6: “Geschichte†by Peter Meijboom. 24x21cm. stapled unpaginated. Mimeograph. Number 8: herman de vries “On Languageâ€. 30x21 cm. softcovers 23pp recto. Offset collage. No. 34 of 600 numbered copies. Very good condition. Number 9/10: “L’Angerie†Hans Clavin. 21x15 cm. softcovers unpaginated. Offset collages. Each page reproduces a classic visual poem that is printed in black and white and in some instances with a highlight color such as red green or yellow. The work is printed as a book De Bezige Bij Amsterdam with no designation that it is an issue of Subvers. - Number 11 “Maskers†by Paul de Vree: 16x16 cm 12 cards in folder folder very lightly foxed otherwise fine. Offset. - Number 12 and last: “Poëzie voor de modale liefhebber “ Poetry for average amateur. 205x145 cm. stapled unpaginated. Mimeograph. No. 19 of 100 numbered copies. Stapled in a page iof glossy paper apparently from architectural periodical. paperback
1907141361907 Sans lieu, [1907-1908], grand panorama déroulant (9 m x 33 cm environ) sur 6 feuilles lithographiées en couleurs, réalisé par SEM en collaboration avec Auguste Roubille.Quelques restaurations anciennes au rubans adhésif, et quelques restaurations plus récentes au Filmoplast, aux extrémités au verso, très bon état de lensemble.
1805804R35Edinburgh: Archibald Constable & Co.; Bell & Bradfutt 1805-32. Paperback. Good. 11.5" by 9.5". None. A scarce collection of six volumes from 'Transactions of the Royal Society of Edinburgh' with a wide variety of important scientific and geological writings. Illustrated with folding and colour plates. First appearing in 1788 the journal Transactions of the Royal Society of Edinburgh saw the first publication of countless important works of scientific research humanities social sciences and historical studies.Comprising volumes V VI VII IX X and XII. Volume V is in three parts and contains writings such as 'Investigation of Theorems relating to the Figure of the Earth' by Mr. Playfair 'Account of Certain Phenomena observed in the Art Vault of the Furnaces of the Devon Iron Works' by Mr. Roebuck 'Experiments on Whinstone and Lava' by Sir. James Hall 'A Chemical Analysis of three Species of Whinstone and Two of Lava' by Dr. Robert Kennedy and 'A New Method of Resolving Cubic Equations' by James Ivory. There is also a history of the Society a life of Dr. Hutton and of Dr. Black. Illustrated with three plates including one folding. Volume VI contains writings such as 'Experiments on Allanite a new mineral from Greenland' by Thomas THomson 'Demonstration of the Fundamental Property of the Lever' by David Brewster 'On the Progress of Heat when communicated to Spherical Bodies from their Centres' by Mr. Playfair and 'A Geometrical Investigation of some Curious and Interesting Properties of the Circle' by James Glenie Esq. amongst other writings. With nine folding plates and two engraved plates.Volume VII is in two parts and contains 'Some Account of a Boy born Blind and Deaf collected from authentic Sources of Information' by Dugald Stewart Esq' 'Remarks on the Transition Rocks of Werner' by Thomas Allan Esq. 'On the Revolutions of the Earth's Surface' by James Hall and 'An Account of the Mineralogy of the Faroe Islands' by Thomas Allan. With nine folding plates and eleven engraved plates.Volume IX is in two parts and contains writings such as 'Account of the Establishment of a Scientific Prize' by the late Alexander Keith Esq. of Dunottar 'Description of a Vegetable Impression found in the Quarry of Craigleith' by Thomas Allan 'An Examination of some Questions connected with Games of Chance' by Charles Babbage Esq. 'On the Radiation of Caloric' by Thomas Crompton Holland and 'Observations on the Mean Temperature of the Globe' by David Brewster. Illustrated with thirty-one plates including three in colour and one folding and three folding tables.Volume X is in two parts and contains writings such as 'On an Anomalous Case of Vision with regard to Colours' by George Harvey Esq. 'Description of Fergusonite a New Mineral Species' by George Harvey 'Astronomical Observations made at Paramatta and Sydney' by Sir Thomas Brisbane and 'On the Specific Heat of the Gases by W. T. Haycraft. Illustrated with twenty-two plates.Volume XII contains such writings as 'An Inquiry into the Geometrical Character of the Hour-Lines' 'Notice regarding some Experiments on the Vibration of Heated Metals' by Arthur Trevelyan 'On the Law of Diffusion of Gases' by Thomas Graham and 'On a New Electrometer and the Head excited in Metallic Bodies by a Voltaic Electricity' by William Snow Harris. Illustrated with nine plates including one plate in colour. In paper wraps bar volume V which has been rebound in cloth wraps. Externally generally smart; loss to the tails of the spines with spine labels worn and text block which is uncut worn and discoloured. Internally generally firmly bound with the occasional strain to the hinges including to volume X which is strained at the contents page. Pages v-x are loose as a result. Pages are a touch age-toned with the odd spot. Good Archibald Constable & Co.; Bell & Bradfutt paperback
1892900089London: Funk & Wagnall 1892 Comprising 29 Volumes. Plus a separate Old Testament and New Testament Index. Published in1892. The overall condition of the books vary but in general they are in a very good clean condition for their age. The contents are too extensive to detail here. Please enquire about any specific information you need. Funk & Wagnall hardcover
1894855A19DLondon: Elkin Mathews and John Lane 1894-97. First edition. Cloth. Very Good Indeed. 8" by 6.5". Various. A sought after set of all thirteen volumes from the widely celebrated Victorian literary and artistic periodical 'The Yellow Book'. Complete run of all first edition thirteen volumes of The Yellow Book a leading British literary quarterly magazine in the 1890s running from 1894 to 1897 with famous authors such as Kenneth Grahame H. G. Wells W. B. Yeats and Henry James contributing some first publications. The periodical was also notable for publishing many female authors and illustrators within including Ella D'Arcy George Egerton Ada Leverson and Ethel Reed.The magazine contained a variety of literary and artistic genres and was often associated with the currents of aestheticism and decadence. Including poetry short stories essays book illustrations portraits and reproductions of paintings. John Lane and Elkin Mathews the founders of The Bodley Head published this artistic and often controversial periodical. The iconic yellow cover is credited to Aubrey Beardsley its first art editor an allusion to illicit French fiction of the period although Oscar Wilde notoriously dismissed it as 'not yellow at all.' Beardsley obtained works by such artists as Charles Conder William Rothenstein and Philip Wilson Steer among other.Aubrey Beardsley was an English illustrator who contributed to the development of the Art Nouveau style known for his grotesque decadent and erotic depictions inspired by Japanese woodcuts. Volume I with fifteen illustrations. Collated complete. The first edition second issue without book lists and/or publisher's announcements to rear.Volume II with twenty-two illustrations. Collated complete. The first edition second issue without book lists and/or publisher's announcements to rear.Volume III with fifteen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume IV with seventeen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume V with fourteen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume VI with sixteen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume VII with twenty illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume VIII with twenty-six illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume IX with seventeen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume X with thirteen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume XI with twelve illustrations including a colour plate. Collated complete. The first edition second issue without book lists and/or publisher's announcements to rear. Volume XII with fourteen illustrations. Collated complete. The first edition first issue with book lists and/or publisher's announcements to rear which did not appear in later impressions. Volume XIII with eighteen illustrations. Collated complete. The first edition second issue without book lists and/or publisher's announcements to rear. In the original publisher's striking full yellow cloth binding with illustrations to front board. Externally lovely with light bumping to head and tail of spine boards only lightly marked. Internally firmly bound. Light spotting scattered to leaves. Very Good Indeed Elkin Mathews and John Lane hardcover
193381752Moscow; New York; Leningrad: Various; Intourist 1933-1966. 90 with a few additional duplicates pieces of ephemeral material ranging from page copiously illustrated tour guides produced in the US on behalf of the USSR tourist initiatives to single sheet recital tickets and programs clearly produced to the lowest costs and standards many of which were not intended to last more than a single occasion. <br /> <br /> Condition is largely Very Good with a few of the pieces having some wear or damp staining a number of pieces have small "Book Sale" ink stamps presumably pieces that originated in the same collection and were then donated somewhere for sale. A fascinating and varied collection of theatrical and tourist ephemera with much of it originating in one of the most dynamic and experimental periods in Soviet performing arts. <br /> <br /> "Good intentions do not play a role in art. In art only achievements play a role." A.V. Lunacharski. <br /> <br /> Intourist was originally formed in 1929 as "Ð’ÑероÑÑийÑкое акционерное общеÑтво по приему иноÑтранных туриÑтов Ð’ÐО «ИнтуриÑт»" which more or less translates as the "All-Russian Joint-Stock Company for the Acceptance of Foreign Tourists". It was far more than a travel agency however controlling as it did almost all tourist access from the West into the USSR and operating on a number of levels to carefully control and curate the view of Soviet Russia that was presented to the rest of the world. The president of Intourist in 1933 Wilhelm Kurz of the Central Committee was the first USSR visitor to be formally accepted by the US when he visited immediately after the nation had been granted recognition. Higher officials in Intourist actually "иноÑтранный туриÑÑ‚" with the popular name simply being a contraction of the Russian language phrasing of "Foreign Tourist" or "Innostrannyy Turist" tended to be secure and solid party officials whose loyalty to the state was rarely questioned the main reason for this being that their interactions with foreign nations and nationals increased the possibility of defection; something Intourist learned early on when their UK representative in London Aron Sheinman declined to return to the Motherland when summoned and became a British citizen in 1939 which was probably rather good timing. <br /> <br /> Intourist in the 1930's midway through another Soviet Five Year Plan was given the brief to attract wealthy Western culture vultures and businesspeople to the USSR and display to them with astonishing attention to detail how much better the Soviet people were doing than their Western counterparts whilst also planting the seeds for future collaboration. The US was in the midst of the Depression not that the people paying $465 for their trip tickets in 1934 needed to worry much about that but being met from your luxurious "Soviet Ship" and ferried to your Moscow hotel by a fleet of brand new Lincoln town cars for two solid weeks of high culture and fine dining being escorted every step of the way by guides and assistants must have made quite an impression. The number of Americans who could afford a new Lincoln was pretty small at that point and the number who could travel even smaller so the Intourist agenda was aimed to within a minute of accuracy at the Westerners who could do them the most good; the rich the famous and the culturally influential. There's nothing accidental about the Intourist literature being filled with Margaret Bourke White's photographs and commentaries from notable Western culture critics and authorities. <br /> <br /> Tales abound from the Western tourists able to take advantage of Intourist's services of constant surveillance an absence of any freedom of movement usually disguised by the concept that there was so much to see in the Wonderland of the USSR that wandering off would just mean you missed the best parts and some very strict non-fraternisation policies that only eased off after 1953 when Stalin's strictures against marrying non-Soviet citizens were rolled back. <br /> <br /> At the height of the Cold War a period parts of this collection span Intourist was essentially an arm of the KGB rather than a tour company; hotels were bugged drivers recorded all conversations the guides reported even the most casual of disclosures to their superiors and no opportunity was lost to gather information on the one hand and disseminate pro-soviet propaganda on the other. Itineraries of Intourist tours for the period show very clearly that even the First Class tourists paying an eye-watering premium were not permitted anything other than the most token periods of 'freedom' with one Moscow-Leningrad tour timetabling only 8 hours of 'unsupervised' time spread across 10 days beginning at 8am and ending at around 11pm. <br /> <br /> All forms of Soviet culture from collective farm visits to mountain hikes to visits to the Bolshoi served a concrete purpose; to showcase the USSR's successes whilst concealing any of its blemishes. Impromptu hangouts with the actors at the Moscow State Theatre were in fact carefully scripted and choreographed encounters with no dissonant or dissident notes night life was restricted to a carefully chosen list of venues and wherever possible visitors were kept moving from one location to another in quick succession emphasizing the cavalcade of wonders whilst denying any insights that might be gathered by more leisurely viewing. Looking behind the scenery would only result in you seeing more scenery. <br /> <br /> "in the alternate universe that was the Soviet Union the 'giant squid' of the Soviet state would engulf the traveler. There were myriad ways in which the Soviet tourist monopoly Intourist both hindered the foreigner and shielded him from the vagaries of Soviet material life and above all the psychological costs of 'routine surveillance'. and the barriers the Soviets erected between foreigners and unvarnished and uncomfortable truths about the Soviet Union." Alex Hazanov "Porous Empire; Foreign Visitors and the Post-Stalin Soviet State" University of Pennsylvania 2019. <br /> <br /> Parts of this collection have some cursory presence in OCLC but the ephemeral nature of the majority of pieces means that their specific representation is largely invisible in US institutions. Various; Intourist unknown
1932WALTER-FILM004090A collection of 230 vintage photos chronicling Katharine Hepburn's 62 year theatrical motion picture career. Forty of Hepburn's fifty-three film credits are represented. It includes her classic Academy Award winning performances and multiple nominations as well as her popular classic films including: <br /><br />A BILL OF DIVORCEMENT ADAM'S RIB THE AFRICAN QUEEN ALICE ADAMS BRINGING UP BABY GUESS WHO'S COMING TO DINNER HOLIDAY LION IN WINTER LITTLE WOMEN LONG DAY'S JOURNEY INTO NIGHT MORNING GLORY THE PHILADELPHIA STORY THE RAINMAKER ROOSTER COGBURN STAGE DOOR SUDDENLY LAST SUMMER and WOMAN OF THE YEAR. <br /><br />The collection comprises the following photographs: <br /><br />BILL OF DIVORCEMENT 1932- 1 <br />CHRISTOPHER STRONG 1933 - 6 <br />MORNING GLORY 1933 - 1 <br />LITTLE WOMEN 1933 - 6 <br />SPITFIRE 1934 - 2<br />THE LITTLE MINISTER 1934 - 8<br />BREAK OF HEARTS 1935 - 2<br />ALICE ADAMS 1935 - 7<br />SYLVIA SCARLETT 1935 - 4<br />MARY OF SCOTLAND 1936 - 1 program with photo of Hepburn signed in pencil by photographer Ernest Bachrach<br />A WOMAN REBELS 1936 - 6<br />STAGE DOOR 1937 - 4<br />BRINGING UP BABY 1938 - 8<br />HOLIDAY 1938 - 1<br />THE PHILADELPHIA STORY 1940 - 1<br />WOMAN OF THE YEAR 1942 - 4<br />KEEPER OF THE FLAME 1943 - 13<br />DRAGON SEED 1944 - 6<br />WITHOUT LOVE 1945 - 1<br />UNDERCURRENT 1946 - 8<br />THE SEA OF GRASS 1947 - 7<br />SONG OF LOVE 1947 - 10<br />STATE OF THE UNION 1948 - 1<br />ADAM'S RIB 1949 - 7<br />THE AFRICAN QUEEN 1951 - 6<br />SUMMERTIME 1955 - 10<br />THE IRON PETTICOAT 1956 - 6<br />THE RAINMAKER 1956 - 1<br />DESK SET 1957 - 1<br />SUDDENLY LAST SUMMER 1959 - 14<br />LONG DAY'S JOURNEY INTO NIGHT 1962 - 15<br />GUESS WHO'S COMING TO DINNER 1967 - 13<br />THE LION IN WINTER 1968 - 25<br />THE MADWOMAN OF CHAILLOT 1969 - 2<br />THE TROJAN WOMEN 1971 - 8<br />A DELICATE BALANCE 1973 - 5<br />ROOSTER COGBURN 1975 - 4<br />ON GOLDEN POND 1981 - 1<br />GRACE QUIGLEY 1984 - 3<br />LOVE AFFAIR 1994 - 1<br /><br />230 photos total.<br /><br />The life and career of Katharine Hepburn is a true study of the independent woman. Both her professional and personal life reflect the social attitude towards independent women and their influence and acceptance throughout the 20th century. <br /><br />Born May 12 1907 in Hartford Connecticut to a doctor and a suffragette she was from birth encouraged to speak her mind develop her brain and be physically fit. Independent and somewhat rebellious from youth she shunned convention and this was embraced in her early career. <br /><br />A result of the Depression meant that many women needed to re-invent their lives -- many seeking jobs and needing to be aggressive in doing so. Hepburn's early films reflected strong women in the workforce many of them professionals -- no matter the setting and period of the story. These portrayals gave hope to women that they too could achieve independent success. The scripts were saddled with romantic convention but that made the overall story acceptable to all tastes -- particularly as the 1934 Production Code took force. <br /><br />Moviegoers became tired of the aggressive maverick as the economy improved in the late-1930s. Hepburn's home studio RKO became less open to finding the unconventional vehicles it had taken a chance on for several years and Hepburn was labeled box office poison. <br /><br />As independent in the handling of her own career's fate as she was her personal life she found her own project: THE PHILADELPHIA STORY. It became a hit on Broadway and she single-handedly launched a new and successful branch of her film career by working with MGM for the film rights and signing a contract which took her through the 1940s.<br /><br />THE PHILADELPHIA STORY bridged a gap from independent woman who gets her comeuppance to independent career woman who also needs a seemingly conventional and equal partner. This she found in her teaming with Spencer Tracy. This worked well both during and after World War II particularly as women needed to fill jobs left by men during the war thus empowering them with an independence which continued in the workplace after. <br /><br />Hepburn's 1950s and 60s career reflects attitudes towards women as they age. She starts to play spinsters such as in THE AFRICAN QUEEN and SUMMERTIME who are looking for love. As America became seemingly a bit more conservative so did some of her roles -- but the 1950s and early-60s were a strange period of convention and dark psychology and her roles in SUDDENLY LAST SUMMER RAINMAKER and LONG DAY'S JOURNEY INTO NIGHT reflect that. As the 1960s progressed her characterizations grew to accept the changes in society such as in GUESS WHO'S COMING TO DINNER and her roles later were those of older age reflecting on the past but embracing the present. <br /><br />Hepburn was one of the very few film actresses whose career spanned the entire sound film era of the 20th century. She would be nominated for 12 Academy Awards winning 4 and bookend her work with awards for MORNING GLORY 1933 and ON GOLDEN POND 1981. She was one of the few talents to have control over her career and one of the few to have such great longevity. <br /><br />This collection reflects nearly every theatrical film that she appeared in between the years of 1932 and 1994. It is a collection worthy of study. There are 230 photographs all but a few are 8 x 10" single weight glossy original release prints a few are slightly smaller or on double weight paper. Overall condition of the collection is FINE. Various books
187629341Boston: Roberts Brothers 1876. Hardcover. 26 Volumes of the "No Name" Series. 4.25 x 6.25in. Publisher's cloth boards. Titles included and in order of their publication: "Deirdre"; "Is That All"; "Kismet"; "The Great Match"; "A Modern Mephistopheles"; "Hetty's Strange History"; "The Wolf at the Door"; "Mirage"; "A Masque of Poets"; "Signor Monaldini's"; "The Colonel's Opera Cloak"; "His Majesty Myself"; "Salvage"; "The Tsar's Window"; Manuela Paredes"; "Baby Rue"; "My Wife and My Wife's Sister"; "Her Picture"; "Aschenbroedel"; "Her Crime"; "Barrington's Fate"; "A Daughter of the Philistines"; "Princess Amelie"; "Diane Coryval"; "Almost a Duchess"; "A Question of Identity." The series was conceived by Thomas Niles Jr. of Roberts Brothers in an attempt to publish both known and unknown authors in complete anonymity. As he wrote "the idea of being able to write fearlessly intrenched behind an anonymous and all the critics at bay is pleasing." The two most famous contributions to the series would be Emily Dickinson's poem "Success" the only poem published in her lifetime and Louisa May Alcott's extreme stylistic and thematic departure from her earlier novels "A Modern Mephistopheles." Madeleine B. Sterne writes in her essay on the series that "a close study of the No Name Series yields many blessings to scholars for it casts light upon publishing history popular literary taste author-publisher relations and the role of American women novelists during a significant decade." The overwhelming majority of authors whose identities have been ascertained are women including Helen Hunt Jackson Harriet Waters Preston Julia Constance Fletcher Annette Calthorpe Lucretia Peadbody Hale etc. Also notable is "The Great Match" which is perhaps the first novel pertaining to baseball. All 26 volumes are in generally VERY GOOD condition showing variously marginal loss from the head and foot of the spines some gilt titling lightly rubbed or tanned some corners shelf rubbed and tapped the occasional former owner name of the period otherwise the bindings remain strong the texts are clean and unmarked and the boards remain colorful and distinct. As pictured. Roberts Brothers hardcover
Komplettes Exemplar der wichtigen Kunstzeitschrift mit ausführlichen Berichten über Auktionen, Kunsthandel, Sammlungen und Ausstellungen. Zahlreiche Werke sind hier erstmals publiziert. Komplett kaum mehr auffindbar. - Prause 159-160.
ria9781138741423_inpMultiple-component retail product. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Psychology Library Editions: Child Development 20 Volume set brings together a diverse number of titles across many areas of developmental psychology from children’s play to language development. unknown
1894815D24DLondon: Elkin Mathews & John Lane; John Lane The Bodley Head; The Bodley Head 1894-1949. Cloth. Very Good Indeed/Very Good. 8" by 6.5". Various. A lovely set of all thirteen volumes of 'The Yellow Book' literary quarterly published at the end of the nineteenth century with numerous plates throughout each volume. Complete and highly sought after first edition thirteen volume set containing second impressions without the adverts to the rear of text. This collection also includes one additional volume from 1949 containing selections from the 1894-97 volumes with the very rare dust wrapper for this.Illustrations include title-page engravings and numerous illustrated plates to each volume illustrated by a range of artists.This is a lovely collection containing the entirety of 'The Yellow Book' the literary periodical that was published from 1895 to 1897. These issues contained a range of literary and artistic poetry short stories and essays from very important writers of the day. These quarterlies were edited by Henry Harland with the art edited by Aubrey Beardsley who came up with the idea of the periodical's signature yellow cover. Volume I April 1894 contains fifteen illustrated plates with essays such as 'The Death of the Lion' by Henry James 'A Defence of Cosmetics' by Max Beer Bohm and 'Irremediable' by Alla D'Arcy. Volume II July 1894 contains twenty-three illustrated plates with essays such as 'Thy Heart's Desire' by Netta Syrett' 'Reticence in Literature' by Hubert Crackanthorpe' and 'An Epigram' by William Watson. Volume III October 1894 contains fifteen illustrated plates with essays such as 'The Headswoman' by Kenneth Grahame 'Second Thoughts' by Arthur Moore and 'The Ballad of a Nun' by John Davidson. Volume IV January 1895 contains seventeen illustrated plates with essays such as 'Theodora a Fragment' by Victoria ross 'Day and Night by E. Nesbit and 'The End of an Episode' by Evelyn Sharp. Volume V April 1895 contains fourteen illustrated plates with essays such as 'The Ring of Life' by Edmund Gosse 'Shepherds' Song' by Nora Hopper and 'L'Eveche de Tourcoing' by Anatole France. Volume VI July 1895 contains sixteen illustrated plates with essays such as 'The Digger' by Edgar Prestage and 'Consolation' by J. A. Blaikie. Volume VII October 1895 contains twenty illustrated plates with essays such as 'A Sonnet' by A. C. Benson and 'Under Grey Skies' by S. Cornish Watkins. Volume VIII January 1896 contains twenty-six illustrated plates with essays such as 'A Slip under the Microscope' by H. G. Wells and 'Aubade' by Rosamund Marriott Watson. Volume IX April 1896 contains seventeen illustrated plates with essays such as 'A Ballad of Victory' by Dollie Radford and 'Hand and Heart' by Francis Prevost.Volume X July 1896 contains thirteen illustrated plates with essays such as 'Dogs Cats Books and the Average Man' by 'The Yellow Dwarf' and 'Kathy ' by Oswald Sickert. Volume XI October 1896 contains twelve illustrated plates with essays such as 'The Elsingfords' by Robert Shews and 'A Chef-d'oeuvre' by Reginald Turner. Volume XII January 1897 contains fourteen illustrated plates with essays such as 'The Lost Eden' by William Watson and 'St. Joseph and Mary' by Marie Clothilde Balfour.Volume XIII April 1897 contains eighteen illustrated plates with works such as 'The Blessed' by W. B. Yeats and 'On the Toss of a Penny' by Cecil de Thierry. 1949 volume contains a frontispiece and thirty-six plates with works like 'The Butterflies by D. Y. Cameron and 'Study of Durham' by F. G. Cotman.Aubrey Beardsley 1872-1898 was an English illustrator and leading figure in the aesthetic movement alongside Oscar Wilde who was also linked to 'The Yellow Book'. Henry Harland 1861-1905 was an American novelist and editor whose works include 'The Cardinal's Snuff-Box' 'My Friend Prospero' and 'Grandison Mather'.Collated complete. In the publisher's original cloth binding with the 1949 volume in the original unclipped dust wrapper. Externally very smart. Minimal edge wear to extremities with just a bit of discolouration particularly to the spine of volumes. A few marks and fading to boards particularly to Vol VII X and XIII. Offsetting to endpapers with light spots to the endpaper of Vol XI. Dust wrapper is generally smart with edge wear and chipping particularly to the bottom of spine region and age-toning to reverse of wraps. Light spots to the reverse of wraps and to the fly leaves. Internally firmly bound. Binding is loosening towards middle of Vol VII. Pages are bright and clean throughout with light age-toning to pages and the odd spot throughout text. A bit more spotting to Vol V. Some pages are unopened to volumes such as Vol V VIII. Plates are very bright and clean and are protected by tissue guards. Very Good Indeed Elkin Mathews & John Lane; John Lane The Bodley Head; The Bodley Head hardcover
191363032Boston, The Hall Publishing Company, (1913). Large4to (340 x 280 mm). In publisher's original full black morocco, pictorially stamped in gilt on frontboard, spine with gilt lettering, all edges gilt. No. 251 of 525 copies. Binding with light wear and a few scratches. Endpapers brownspotted, with very light occassional marginal brownpostting throughout, but generally a nice copy. (10), 450, XI pp. Richly illustrated throughout.
