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20202081502111900299Beijing Science and Technology Publishing House 2020. Soft Cover. Fine. The book is in fine condition. Beijing Science and Technology Publishing House paperback
20222081502111904319Gendai shubbansha 2022. Soft Cover. Fine. The book is in fine condition. Gendai shubbansha paperback
1833TB32375Boston and Cambridge: Hilliard Gray And Company and Brown Shattuck And Co. 1833. First Edition. All three volumes of this complete set are in near fine condition in recent 1/2 calf leather and marbled paper covered boards with five raised bands on the spine with red and black gilt stamped title blocks in two compartments and with gilt bands and gilt banding at the edges of the leather on the boards. All three are octavos of 8 3/4 by 5 1/2 inches with new end sheets. The blank leaves prior to the title pages and at the end of each text block show spots of mild foxing some of which have migrated to the title page and last printed page; otherwise the contents are remarkably clean and bright. Volume I contains 494 pages; volume II contains 555 pages; and volume III contains 776 which includes and index for all three volumes. Story was a noted and accomplished attorney a member of Congress for one term and was appointed an associate justice of the Supreme Court in 1811. His greatest contribution was this title which is still considered "the standard treatise on the subject" of the Constitution. Wikipedia Howes S-1047; Sabin 92291; DABIX p102-108 A particularly handsome set whose importance to the study of the Constitution is as important as The Federalist. Hilliard, Gray, And Company and Brown, Shattuck, And Co. hardcover
20182081502111907509national library 2018. Soft Cover. Fine. The book is in fine condition. national library paperback
20162081502111906077national library 2016. Soft Cover. Fine. The book is in fine condition. national library paperback
20192081502111906789national library 2019. Soft Cover. Fine. The book is in fine condition. national library paperback
18220204521822 - 1849. First Edition. Hardcover. Occasional foxing or staining; "withdrawn" stamps on front and rear pastedowns where there are minor remnants of a pocket. Paper library labels on the spines rubbing to joints slight edgewear. Overall Near Fine. Two 5-1/4" x 8-1/2" volumes identically bound in half calf and marbled boards with matching gilt-lettered morocco spine labels. All the pamphlets are complete except for the original wrappers which were not bound in. Both volumes with Edward Everett's bookplate on the front pastedown along with a presentation bookplate of Frederick W. Putnam to Hamilton College both stamped "Withdrawn." In addition to Emerson and Story other contributors include James Kent Charles Sumner Alexander Everett Theopholis Parson James Percifal William J. Spooner Denison Olmstead Thomas S. Grimke Benjamin Toslin Theron Metcalf Asher Robbins Seth Hawley Virgil Maxcy and Asher Ware. Story's DISCOURSE SABIN 92300 is INSCRIBED "The Honorable/Edward Everett/from the Author" on the title and has a partial correction in the author's hand on page 26. In addition to Story's INSCRIPTION to Everett Maxcy and Ware have also INSCRIBED their addresses to Everett. Emerson's address is certainly the most important present in these volumes. Published in an edition of only 500 copies all of which were sold within a months time it was generally well received and was later described by Oliver Wendell Holmes as "our intellectual Declaration of Independence." When Emerson included this essay in his seminal collection in 1841 he renamed it "The American Scholar": "The clarion cry to think to create to become a productive scholar and above all to fulfil yourself as an individualist." BAL 5183; GROLIER AMERICAN 100: 43. Each volume also with the owner inscription of Frederick W. Putnam dated 22 November 1910 Binghamton NY. Putnam a student of Louis Agassiz was the first director of the Peabody Museum of Salem president of the American Association for the Advancement of Science president of the American Folklore Society and president of the American Anthropological Association among other honors. He is widely known as the "Father of American Archaeology." A remarkable collection with an exceptional provenance and association. <br/><br/>Edward Everett--a Unitarian minister member of both the United States Congress and Senate and also a governor of Massachusetts--is perhaps best known for his oratory powers. It is he who gave the "other" address at Gettysburg on 19 November 1863. The next day he wrote Lincoln saying "I should be glad if I could flatter myself that I came as near the central idea of the occasion in two hours as you did in two minutes." hardcover
20192081502111907756National Library Publishing Company 2019. Soft Cover. Fine. The book is in fine condition. National Library Publishing Company paperback
20202081502111906585Shanghai Bookstore Publishing House 2020. Soft Cover. Fine. The book is in fine condition. Shanghai Bookstore Publishing House paperback
20202081502111903978Shanghai Book Publishing House 2020. Soft Cover. Fine. The book is in fine condition. Shanghai Book Publishing House paperback
20202081502111906853Social Science Literature Publisher 2020. Soft Cover. Fine. The book is in fine condition. Social Science Literature Publisher paperback
6073Santa Barbara: Black Sparrow Press 1984. First Edition. Terrific story about the final act of a washed-up comic illustrated throughout in Crumb's trademark style. There's No Business was the third of four projects Bukowski collaborated on with Crumb during his lifetime. In a letter to the last owner which is laid into this copy Black Sparrow Press publisher John Martin relays the following regarding this copy: "I sent the printed colophons first to Crumb in France. About half way through the job Crumb playfully signed that one sheet with Hank's name. I didn't notice that and sent the sheets to Hank to sign. When Hank came to that sheet he responded by playfully signing Crumb's name instead of his own. Hank and Crumb genuinely admired one another." A unique "A" item from the press. Krumhansl 87c see note on p.102. Limited Cloth Issue one of seven copies marked "Presentation Copy" and signed by the author and the illustrator on the colophon. Quarto 27.5cm; pictorial paper-covered boards and purple polka-dot patterned cloth backstrip with title label mounted to spine; publisher's original acetate dustjacket; 173pp; illus. A unique copy where Crumb has signed Bukowski's name on the colophon in his usual fine-point pen and Bukowski has signed Crumb's in black felt-tipped pen. Gentle sunning and some scattered foxing to upper board edges title label faded a few shades else Near Fine in a lightly rubbed Near Fine dustjacket. Black Sparrow Press unknown
1946149446Culver City CA: RKO 1946. Revised Final Script for the 1946 film with stamps "Revised Final Script" "Please Return to RKO Story Files" and production number "1838" on front wrapper. Carbon typescript on onionskin.<br/><br/>Based on Philip Van Doren Stern's 1943 short story "The Greatest Gift" about a man at the end of his rope during Christmas. Generally considered one of the greatest films ever made and nominated for five Academy Awards including Best Picture. <br/><br/>Shot on location in California. <br/><br/>Pink titled wrappers noted as REVISED FINAL SCRIPT on the front wrapper rubber-stamped production No. 1838 with credits for Frank Capra. 167 pages onionskin stock with last page of text numbered 167. Carbon typescript rectos only. Pages Near Fine wrappers Very Good plus bound with three gold brads with washers. RKO unknown books
10902Two full-page frontis. woodcuts printed on each side of first leaf of Vol. I & one full-page woodcut on final leaf of Vol. II. 61.5; 107 folding leaves. Three parts in two vols. 8vo 287 x 171 mm. orig. wrappers Vol. I & modern wrappers Vol. II stitched orig. stitching in Vol. I. Quần phương hạ xã: Anh quang tá»± 1928.<br /> <BR> <BR> First edition of this very rare Vietnamese edition of the story of MaudgalyÄyana. The journey of MaudgalyÄyana rendered in Chinese as mulian 目連 one of the Buddha’s earliest disciples into the most abysmal and gruesome of Buddhist hells in his quest to rescue the soul of his mother was perhaps the single most important story in Chinese popular Buddhism since medieval times. The detailed depictions of tortures inflicted upon sinners relayed in MaudgalyÄyana’s story made Buddhist cosmology and morality vividly graspable to the laity and since the 12th century at the latest staged performances of his underworld travel have accompanied the Ghost Festival held at the full moon of the seventh month attended by masses of people across social strata. These theatrical retellings of MaudgalyÄyana’s travels remained highly popular until the early 20th century and are still sometimes staged today. The tale’s popularity and influence since medieval times had been so immense that David Johnson a historian of Chinese popular culture writes that “among the tens of thousands of Chinese operas none had deeper religious significance or was watched with greater excitement or was integrated into a more complex ritual matrix than MaudgalyÄyana†“Actions Speak Louder than Words: The Cultural Significance of Chinese Ritual Opera†in Ritual Opera Operatic Ritual IEAS Publications: 1989 p. 2.<br /> <BR> <BR> Unsurprisingly then there was wide dissemination of MaudgalyÄyana narratives and rituals not only in China but throughout East Asia in local and vernacular retellings of his story in a large range of religious and literary genres. Our copy of Penitence at the Compassionate Ritual Grounds of MaudgalyÄyana printed in northern Vietnam in 1928 is one such example. It opens with two illustrations from the canonical narrative of MaudgalyÄyana: the assembly of disciples attentively surrounding the Buddha and MaudgalyÄyana entering AvÄ«ci Hell riding a cloud holding the Buddha’s magical staff. The book itself is simultaneously a narrative account of MaudgalyÄyana’s travels and a Buddhist ritual of penitence opening as it does with prayers of refuge and devotion to “Shakyamuni the benevolent father†ThÃch-ca từ phụ 釋迦慈父 an interesting appellation. The prayer sections also make use of the placeholding name giáp má»— ç”²æŸ which during ritual readings of the text was probably to be replaced with one’s own name.<br /> <BR> <BR> Despite sharing the same title as a canonical Buddhist scripture T. 1909 composed in the Liang dynasty a comparison of contents suggests that ours is a related but substantially different text. The first Preface makes it clear that this text is indeed based on an original in the “northern country†— i.e. China — and an earlier domestic edition was made possible by the secular and ritual offerings of the monk Trà Giác 智覺. For some time the woodblocks had been stored in the Trác Ä‘iá»n temple å“田寺 in Bình Lục 平陸 Hà Nam province and did not circulate widely. As a result a reprint was made in Tá»± Äức 9 1856 by a monk named Thanh Tuyá»n Bhiká¹£u 清泉比丘. His Preface also dated 1856 is found in the first volume.<br /> <BR> <BR> By the 1920s however there was another problem: there were too many variants of the text in circulation which became a source of confusion. The monk Thanh Hưởng 清亨 using the earlier woodblocks stored at the Anh quang temple 英光寺 Quần phương hạ 羣芳下 commune Nam Äịnh province and with the guidance of Phổ Tụ æ™®èš collated various editions in circulation and created a new edition. This editorial history might explain why our copy does not correspond to known Chinese versions of the text as it probably has incorporated local Vietnamese elements. The woodblocks were carved by two craftsmen named Phó Dung 付瑢 and Phó Huênh 付轟 from the Liá»…u choà ng xã 柳幢社 with monetary offerings from monks and laypeople across many temples and communes listed towards the end of the second volume. The carving began in Bảo Äại 1 1926 and concluded two years later in 1928; the completed woodblocks were kept at the Anh quang temple.<br /> <BR> <BR> Despite the country’s long history of Buddhist and Confucian learning woodblock-printed books published within Vietnam itself are far fewer in number today than their Chinese or Japanese counterparts. This scarcity of extant Vietnamese books is due to a variety of factors including the cost of local printing a humid climate that makes preservation difficult as well as the country’s recent war-torn past. Outside of Buddhist texts kept by individual temples in Vietnam whose collections are difficult to access the bulk of these books are now kept at a handful of institutions such as the Institute of Sino-Nôm Studies in Hanoi and l’École française d’Extrême-Orient in Paris. The catalogue of these collections shows two items with the same title as ours Viện nghiên cứu Hán nôm AC.607 and AC.647 but there is insufficient detail to determine their editions. We find no Vietnamese woodblock-printed copy by this title on WorldCat.<br /> <BR> <BR> Very good set. Final three leaves of the second volume are carefully repaired. The full-page woodcut on the final leaf is partially defective at the borders but the main image is completely intact.<br /> <BR> <BR> â§ Rostislav Berezkin Many Faces of Mulian: The Precious Scrolls of Late Imperial China Univ. of Washington: 2017; Beata Grant and Wilt Idema Escape from Blood Pond Hell: The Tales of Mulian and Woman Huang Univ. of Washington: 2011; David Johnson ed. Ritual Opera Operatic Ritual IEAS Publications: 1989; Stephen F. Teiser The Ghost Festival in Medieval China Princeton: 1988; Yuenan Hannan wenxian ziliaoku è¶Šå—æ¼¢å–ƒæ–‡ç»è³‡æ–™åº« Academia Sinica. unknown
20212081502111902656Social Science Literature Publishing Company 2021. Soft Cover. Fine. Size: Hardcover Social Science Literature Publishing Company paperback
19732080402107100635Not Available 1973. Soft Cover. Fine. The book is in fine condition. Not Available paperback
1833128644Hilliard Gray and Company: Cambridge 1833. 4th. Leather. Very Good. 9x0x6. 1833 Hilliard Gray and Company: Cambridge 3 volumes set in modern 1/2 leather over marbled boards. Stain to lower 1/3 of volume 1's spine. Tight bindings text unmarked. oversized and overweight. Please email for photos. Hilliard, Gray and Company: Cambridge hardcover
20062083002115802622Sakka 2006. Soft Cover. Fine. Number of books: 12 Sakka paperback
20172081502111906608Chunghwa Book Bureau Tianjin Ancient Books 2017. Soft Cover. Fine. The book is in fine condition. Chunghwa Book Bureau Tianjin Ancient Books paperback
20172081502111907689Hoo 2017. Soft Cover. Fine. The book is in fine condition. Hoo paperback
20212081502111903326Shanghai Dictionary Publishing House 2021. Soft Cover. Fine. The book is in fine condition. Shanghai Dictionary Publishing House paperback
20172081502111905764Hua Mulan Culture Publishing Company 2017. Soft Cover. Fine. The book is in fine condition. Hua Mulan Culture Publishing Company paperback
20202081502111904496China Airlines Registration Office 2020. Soft Cover. Fine. The book is in fine condition. China Airlines Registration Office paperback
20202081502111902890Kaiten Publishing Company 2020. Soft Cover. Fine. The book is in fine condition. Kaiten Publishing Company paperback
1986132794Universal City CA: Universal Pictures 1986. Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters both elaborately designed and executed in a calligraphic style from Adler to author illustrator and editor Fridolf Johnson relating to Adler's work with Hitchcock. <br/><br/>Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" 1963 his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "In the Heat of the Night" 1967 and "Justine" 1969. <br/><br/>In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. <br/><br/>In the first letter dated May 16 1986 Adler describes after touching on other topics meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill stating that Hitchcock "was amazed" by this answer and after that would "request 'to be sure to bring that nice young man along" meaning Adler whenever he had a job for Adler's firm. <br/><br/>The second letter dated June 10th 1986 focuses almost exclusively on Adler's work on "The Birds" going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did knew what he wanted and smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. <br/><br/>The letters themselves are works of art executed in a variety of inks in Adler's detailed penmanship with Johnson's name on each in particular receiving full calligraphic treatment. <br/><br/>Also included are draft title cards for the film stylistically similar to each other but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in holograph colored pencil with titles executed in white paint on black board. The third card photo stat on black paper which accompanied the June 10th letter has been annotated by Adler on both the recto and verso explaining the in more detail the technical process of putting the lettering on film. <br/><br/>Overall a significant collection of material illuminating a little explored aspect of film design with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. <br/><br/>Each letter 19 x 24 inches single leaf rectos only. May 16th letter folded twice for mailing June 10th letter folded. Two long diagonal creases to the May 16th letter else both are Fine. Original mailing envelope for the May 16th letter included. <br/><br/>"Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. Universal Pictures unknown books