883 résultats
1807937Newark: S. and J. Ridge 1807. First Edition Later Printing. =-. First Edition Later Printing. Finely bound in full dark brown crushed morocco with gilt ruled borders three-dot motif in corners five wrap-around embossed strapwork devices connecting five raised bands which have gilt ruled borders. A fine copy of the rare first edition with later issue points. <br/><br/> S. and J. Ridge hardcover books
182017071London: Thomas Davison / John Hunt 1820-24. Six volumes bound in three. Demy-octavos 16.5cm; contemporary full diced calf; bound including original title pages; half-titles and terminal leaves where called for. An attractive set in contemporary binding sympathetically re-backed preserving the original endpapers as well as most of the original spines and spine labels. Early printed bookplate of John Colston to each front pastedown with later inked ex-libris "J. Hames" added beneath each printed portion. The full foolscap octavo edition of Don Juan preceded in each case by quarto editions in the same year. Cantos I-II are from an early but not first printing with 1820 date at base of title page but no statement of "New Edition" as seems somewhat common though this issue appears unmentioned by Wise. The remaining volumes are first printings. WISE II p.3-8. Thomas Davison / John Hunt unknown books
18534676London: John Murray 1853. Two volumes. Bound in full red morocco by Riviere signed in ink on paper pastedowns with all-over gilt interlacing floral and leaf design on both covers and spine literally every square centimeter covered with this attractive repeating design. Some light foxing All edges gilt with attractive and intricate interweaved goffering to all edges on both volumes. Near fine. Exquisite. <br/><br/> John Murray unknown books
18534676London: John Murray 1853. Two volumes. Bound in full red morocco by Riviere signed in ink on paper pastedowns with all-over gilt interlacing floral and leaf design on both covers and spine literally every square centimeter covered with this attractive repeating design. Some light foxing All edges gilt with attractive and intricate interweaved goffering to all edges on both volumes. Near fine. Exquisite. John Murray unknown
1848103118<p> Large 4to 9" x12" original red cloth gilt title top cover and gilt decorated spine illustrated with 42 hand colored plates xii. 137 1 pp. and 206 pp. Spine is split and torn lower portion may have been reattached frayed at head and foot hinges weak some minor foxing and toning a little some staining to half title probably from and old flower; otherwise about very good. Plates bright and clean. Henry Noel Humphreys 1807-1879 was a graphic artist and author born in Birmingham. His illustration work ranged from natural history and book illumination to works of fiction. He would do the incredibly attractive illustrations in Jane Loudon's Ladies' Flower Garden Series 1839-1848. The present title was first published in 1841 but several editions followed. Humphreys would also publish a similar work on Moths in 1845 and a second work on moths and butterflies in 1859. The 42 plates in this volume illustrate most of the known British butterflies at that time. ODB.</p> William Smith, books
186470620Boston:: T. O. H. P. Burnham 1864. First US edition. publisher's green gilt cloth. A very attractive tight and sound copy with only the very slightest of wear at extremities. 8vo. With Illustrations by J. Noel Paton. T. O. H. P. Burnham, hardcover
184652545Paris: Lerebours et Secretan 1846. Fifth edition. 8vo. 4 vii 288 pp. folding plate loosely inserted adverts. Scattered foxing to the first and last few leaves. Quarter morocco and paper over boards gilt decorations on spine. The binding is lightly rubbed and worn at the tips. A very good copy. N.P. Lerebours is most noted for his publications EXCURSIONS DAGUERRIENNES 1841-1844 the first large-scaled publication illustrated from photographs as well as for his manufacture of apparatuses of which he was among the first. In his TREATISE he discusses the underlying theory of the photographic process and the numerous practical methodologies of the day. Even though it is largely concerned with the daguerreotype there are sections on the paper processes of Talbot Ponton and Bayard and a description of the galvanographic process to make prints from daguerreotypes with a compilation of writings by the inventors or practitioners themselves the list of which reads as a European directory of the most famous of the period and the gravure process of Fizeau. Although stated as the fifth edition it should be referred to as the fifth enlarged and revised edition; his earlier publications had various other titles and were less than half the length of this work. The appended catalogue p. 269 -288 lists all manner of photographic apparatus and is priced. There are several pages concerned with his publication EXCURSIONS DAGUERRIENNES and the various contents that could be ordered. <br /> <br /> "French daguerreotypists achieved wide reputation especially daguerreotypists Lerebours and Secretan opticians to the observatory and to the navy in Paris. Before the end of 1839 N.P. Lerebours had constructed large daguerreotype cameras which produced pictures of 12 x 15 French inches. He worked at first with Gaudin then established himself in Paris as a manufacturer of optical physical and mathematical instruments . and later associated himself with Secretan. Their studio was opened about 1845 and it flourished for several years. In 1850 Lerebours and Secretan made one of the most excellent panoramic daguerreotypes of a view of Paris ever made." Eder p. 314 HISTORY OF PHOTOGRAPHY. <br /> <br /> Roosens and Salu No. 2842. Bellier de la Chavignerie Manuel Bibliographie du Photographe Francais 1863 No. 18. Lerebours et Secretan unknown
18091405230013Milano Batelli 1809-01-01. Hardcover. Good. 8 Volumes. Italian. Later black cloth. Gilt lettering on spine. Library bookplate on front paste downs. Numerical stamp on title pages. Clean unmarked page with minimal tanning. Brunet IV 851; Graesse V 429. <br><br> Pagination: Vol. I: 523p. 15 pl. of which 14 are hand-colored; Vol. II: 558p. 13 pl. of which 12 are hand-colored with one folding; Vol. III: 759p. 27 pl. of which 24 are hand-colored with one folding; Vol. IV: 747p. 22 pl. 1 folding of which 15 are hand-colored; Vol. V: 714p. 15 pl. of which 11 are hand-colored; Vol. VI: 856p. 24pl. of which 19 are hand-colored; Supp. I: 607p 9 pl. of which 8 are hand-colored with one folding; Supp. II: 660p. 46 pl. of which 45 are hand-colored with one folding. <br><br> Felice Romani was an Italian poet and scholar of literature and mythology who wrote many librettos for the opera composers Donizetti and Bellini. Romani was considered the finest Italian librettist between Metastasio and Boito. At the University of Genoa he translated French literature and with a colleague prepared a six-volume dictionary of mythology and antiquities including the history of the Celts in Italy. Romani's expertise in French and antiquity is reflected in the libretti he wrote; the majority are based on French literature and many such as Norma use mythological sources. <br> This volumetric work not only details the mythology of Ancient Greece and Rome but all know cultures in the world at the time between 1809-1825 spanning all continents from Okee from North American Powhatan lore to the lore of the First Emperor of China to Mitra. <br><br> This is an oversized or heavy book that requires additional postage for international delivery outside of Canada and the US. Milano, Batelli hardcover
1866058389London: Blackie & Son Limited 1866. Deluxe Reprint . Quarter Leather. Very Good/No Dust Jacket. 9 7/8" Tall. Illustrated with More Than Two Thousand Figures and Including Color Plates. Vol. I With 568 Pages Uncolored Frontispiece Colored Title 9 Uncolored Plates Of 14 Listed In Index No Trace Of Missing Plates And All 13 Colored Plates. Vol. Ii With 663 Pages Including Directions To The Binder At The Rear Uncolored Frontispiece Colored Title All 21 Uncolored Plates And All 23 Colored Plates. Deluxe Binding Of Quarter Red Calf Spine Adjacent Areas Tips And A Spine With Seven Bands And Six Compartments Elaborate Gilt Designs In Each Compartment Bands And Double Rules Gilt Etc. Two Morocco Spine Labels On Each Volume Top One Dark Green Bottom One Black Each Fine Gilt Brilliant. Marbled Boards Endpapers And Edges Of Page Block. Beautiful Hand-Colored Plates With Unusual Delicacy Of Color Detail. Bindings Refurbished And Refreshed Even Color Throughout; Boards Worn Along Edges. Slight Foxing To Pages. Calligraphic Inscription To Lovell James Hamlin From William Bentley Dated Christmas 1868. <br/> <br/> Blackie & Son Limited hardcover
18591661Paryż Paris: W Drukarni L. Martinet 1859. First illustrated Polish edition. With four illustrated plates protected with tracing paper. Illustrations made by Juliusz Kossak. In later half leather. The original yellow wrappers bound into. Artistically restored. Traces of old stamps on title page stamp on last leaf. Light water stain to the lower edge in the second half of the book. Overall in very good condition. First illustrated Polish edition. With four illustrated plates protected with tracing paper. Illustrations made by Juliusz Kossak. In later half leather. The original yellow wrappers bound into. 13 some misbound 4–89 1 p. and 4 illustrated plates. <p><br /> First illustrated Polish edition of Byron’s Manferd illustrated by Juliusz Kossak.<br /> <p><br /> <p><br /> Lord Byron’s closet drama Manfred was originally published in 1817 and its first Polish edition appeared in 1835. The present book is the first edition of its second translation and the first Polish edition with illustrations.<br /> <p>. [W Drukarni L. Martinet] unknown
1847990W39London: Longman Brown Green and Longmans 1847. First edition. Hardback. Very Good Indeed. 6.5" by 5". Henry Noel Humphreys. Strikingly bound in decorative metal boards this is the richly decorated first edition of this illuminated Anglican work with chromolithographic leaves. An uncommon first edition in handsome in a heavily decorative relief binding.Consisting of thirty-two vibrant chromolithographic leaves. Collated complete.Filled with densely decorated gilt pages rendered by artist naturalist entomologist and numismatist Henry Noel Humphreys who produced a number of ornate works in these striking gothic relief covers throughout the 19th Century.All pages of the main text illustrated in rich swirling colour accompanying the gospel accounts of the parables of Jesus.Features a small index on each parable to the rear of the work.In a striking decorative metal binding with calf spine. In calf backed ornate metal boards. Externally in lovely condition. Slight cracks to relief binding to perimetrts. Internally firmly bound. Chromolithographs vibrant with significant handling marks to perimeters. Very Good Indeed Longman, Brown, Green, and Longmans hardcover
18149301John Murray 1814. 8vo. First Edition; handsomely bound in early twentieth century green crushed half morocco marbled boards with gilt rules backstrip lettered in gilt gilt top marbled endpapers BY ZAEHNSDORF uncut very neatly rebacked with old backstrip laid down a very good clean copy. The binding is signed by Zaehnsdorf on front free endpaper verso. As usual this copy is bound without the half-title and advertisement leaf. 'Very rare in any condition - the half-title is usually lacking. A copy in wrappers is an extreme rarity' Randolph. Randolph p. 40; Wise I p.100. John Murray, hardcover
1843c3202London: Longman Brown Green & Longmans. G : in Good condition. Cover rubbed and faded. Splitting tp cloth along external joint. Rebacked with original title. Inner hinge cracking. Some foxing. 1843. First UK Edition. Red hardback cloth cover. 200mm x 130mm 8" x 5". xix 216pp ads. B/w frontis folding. English translation of the 'Traité de Photographie'. . Longman, Brown, Green, & Longmans hardcover
1819191925London: Thomas Davison for John Murray 1819. The true first edition First edition of the first two cantos of Byron's epic satire published anonymously. The poem has an unorthodox publishing history. John Murray was nervous about the first two cantos and requested cuts but Byron was uncooperative. Murray only agreed to publish in quarto format with his printer Thomas Davison named and therefore bearing the legal responsibility. Priced at £1 11s. 6d the first volume was as Murray no doubt intended prohibitively expensive. Quarto 280 x 210 mm. Twentieth-century brown morocco spine lettered in gilt double gilt rule to boards gilt inner dentelles marbled endpapers top edge gilt. Armorial bookplate of philanthropists Jean S. Armour 1915-1963 and A. Watson Armour III 1908-1991. A few spots of rubbing to extremities occasional foxing. A bright copy. hardcover
18545203London: David Bogue. 1854 1854. First edition. pp. viii 176. 28 plates many of which thirteen are beautiful examples of Victorian chromolithography mostly Day & Son. Black embossed pierced and moulded papier maché over" red paper show-through" covered boards rebacked with part of the spine laid down. Spine lettered in gilt. All edges gilt. Some small cracks to the papier maché and there is some foxing but overall an excellent copy. McLean notes that it is surprising that The Origin and Progress of the Art of Writing should have been given such an elaborate papier mache binding when the book was clearly meant to be read rather than just admired. The two are not mutually exclusive of course but this wonderful book does tread a careful line between the strictly utilitarian and the very beautiful. But then of course writing and books more generally can be both beautiful and useful. As McLean says "there is an integrity and originality in Noel Humphrey's work" and "the width of his learning was obviously great". London: David Bogue. 1854 hardcover
185443816London: David Bogue 1854. <p>Humphreys Henry Noel 1810-79. The origin and progress of the art of writing. viii 176pp. 28 lithographed plates 13 in color. London: David Bogue 1854. 256 x 170 mm. Pierced high-relief papier-mâché binding over crimson paper; boxed. Rebacked preserving original spine a few cracks and chips to the fragile papier-mâché minor foxing first and last leaves browned but very good. Ownership signature on title.</p> <p> Second issue with title-page dated 1854 and the imprint of David Bogue.; first issue is dated 1853 and bears the imprint of Ingram Cooke & Co. "Twenty-eight plates supplement Humphreys's text which is further enriched with woodcut diagrams and initial letters. Twelve of the plates are chromolithographed . . . This book was attractive to general readers for the clarity of its prose the beauty of the chromolithography and the sculptural fascination of the original black papier-mâché cover . . . By introducing the general reader to the study of ancient writing Humphreys contributed to the growing public awareness of manuscript illustration and further stimulated Victorian bibliomania" Beckwith p. 3. A. Beckwith Victorian Bibliomania: The Illuminated Book in 19th-Century Britain no. 17 first issue. King Victorian Decorated Trade Bindings 1830-1880 no. 66 first issue.</p> . David Bogue unknown
183718480nantes Forest 1837 1 -in-4 demi chagrin 5 tomes reliés en 1 volume, reliure demi-chagrin havane in-quarto (half binding leather in-quarto (27,4 x 22 cm), Reliure d'Epoque , dos à nerfs (spine with raised bands), décoré "or" et à froid (gilt and blind-stamping decoration), titre et auteur frappés or (gilt title), filet à froid en place des nerfs avec un filet à froid de part et d'autre des nerfs, filet à froid en tête et en pied, plats décorés à froid d'un double filet à froid aux mors, papier peigné marron clair, marron foncé et rouge aux plats (cover with painting paper), toutes tranches lisses (edges smooth) jaunes, abondamment illustré (plentifully illustrated) de 31 lithographies hors-texte (full page engraving) en noir par E. de La Michellerie, Messager, Louis Petit, Hersart du Buron, Jules Noël et Rivière Fils + 2 importantes vignettes in-texte en noir (7 au Tome 1, 6 au Tome 2, 9 au Tome 3 + 2 vignette in-texte , 5 au Tome 4, 1 au Tome 5), texte 2 colonnes (text - 2 coloumns), quelques Rousseurs Habituelles, pagination normale jusqu'à la page 32 du 1er volume, ensuite pagination à la colonne, Tome 1 : 417 pages + 6 de tables, Tome 2 : 398 pages + 6 de tables, Tome 3 : 429 pages (tables comprises), Tome 4 : 398 pages (tables comprises), Tome 5 : 494 pages (tables comprises), 1837-1841 Nantes Forest Imprimeur Editeur,
183724629nantes Forest 1837 1 -in-4 demi chagrin 5 tomes, reliure demi-toile violine in-quarto (half cloth-bound in-quarto) (26,2 x 20,5 cm), RELIURE D'ÉPOQUE, dos long (spine without raised bands), décoré "or"(gilt decoration), Titre et Tomaison frappés "or" (gilt title and volume numbering), pièce de titre et de Tomaison sur fond bleu-marine avec un filet "or" de part et d'autre, papier peigné bleu, vert, rouge et crème aux plats, toutes tranches lisses, couvertures marron clair imprimées en noir et ornées d'un encadrement orné en noir conservées, abondamment illustré (plentifully illustrated) de 31 lithographies hors-texte (full page engraving) en noir par E. de La Michellerie, Messager, Louis Petit, Hersart du Buron, Jules Noël et Rivière Fils + 2 importantes vignettes in-texte en noir (7 au Tome 1, 6 au Tome 2, 9 au Tome 3 + 2 vignette in-texte , 5 au Tome 4, 1 au Tome 5), texte 2 colonnes (text - 2 coloumns), quelques Rousseurs Habituelles, pagination normale jusqu'à la page 32 du 1er volume, ensuite pagination à la colonne, Tome 1 : 417 pages + 6 de tables, Tome 2 : 398 pages + 6 de tables, Tome 3 : 429 pages (tables comprises), Tome 4 : 398 pages (tables comprises), Tome 5 : 494 pages (tables comprises), 1837-1841 Nantes Forest Imprimeur Editeur,
1850588Philadelphia: A. Hart 1850. Very Good. <p dir="ltr">First American edition; first printing. 444 2 pp. Original publisher’s brown/black embossed cloth gilt spine lettering decorative blind-stamped boards brown coated endpapers. Heavy shelf-wear and rubbing; edge/corner wear with small losses at spine tips; noticeable surface abrasions to the back board; text block toning appropriate to age.<br /> <br /> Issue dated 1850 explicitly “TWO VOLUMES IN ONE†a classic 19th-century Anglo-American occult / demonology / apparitions compilation in book form. Victorian-era publisher’s cloth with ornate blind stamping and gilt spine titling in an attractive but clearly used example. Very good condition for the book’s age.<br /> <br /> A foundational supernatural reference scarcer in original cloth than later reprints. Display case 3.</p> . A. Hart unknown
185058074London: Grant and Griffith Corner of St. Paul’s Churchyard 1850. Thick 4to. 6.75 x 9.25 x 2 in. 4 iv 208 pp. plus 2 pp. publisher’s ads decorated colophon leaf in red & black inserted errata leaf at rear. Title printed in red & black. With 10 plates featuring 114 embossed relief facsimile coins featuring gold silver copper & bronze leaf applied mimicking the originals all preserving their original printed cover leafs and some text woodcut engraved illustrations. Original embossed padded green publisher’s calf ornamental design borders & lettering in relievo marbled endpapers black linen tape reinforcement at gutter margin sunning & chipping to spine wear offsetting to text leaves minor wear & chipping to fore-edges of covers embossed raised letter spine label present still a VG bright original copy. First edition of this rare and inventive numismatic sample book on ancient Greek & Roman coins by the influential British illustrator and noted numismatist. He proclaims in his introduction how he has invented a new process to recreate actual facsimile coins in their original metals as he had found no other printing or reprographic process properly conveyed either the weight or appearance of the coins quite separate from the chromolithograph colour printing process for his very successful Coins of England. The coin specimens appear as they would have in a Victorian cabinet specimen trayHenry Noel Humphreys 1810-1879 was also fascinated with illuminated Medieval manuscripts and began producing beautiful books with painted ornaments by using the beautiful chromolithography process of Owen Jones 1809-1874. However he also had a keen interest in the natural world writing on aquariums butterflies entomology biology and more. See: Twyman A History of Chromolithography pp. 153-156; Alexander Del Mar A History of Money in Ancient Countries from the Earliest Times to the Present p. xv; Leitzmann Supplement to Lipsius Bibliotheca Numaria 60. Grant and Griffith, Corner of St. Paul’s Churchyard, unknown
1819elala1625Paris: Firmin Didot 1819. 1819. 7 Volumes. 8vo. with half-titles. 7 folding engraved maps & plans some hand-coloured. contemporary mottled calf a few corners worn else a fine set. First Edition. Darus history of the republic of Venice is regarded as one of the best works on the subject. "Il néparna rien pour en fair un monument historique: recherches sur place et dans les registres de cette république comparaison des documents imprimés et manuscrits." Nouvelle Biographie Générale The eminent French statesman was highly regarded by Napoleon who made him a councillor of state a count of the empire and intendant-general of the imperial household and employed him as commissary-general financier and negotiator. In 1811 Daru became chief minister of state and in 1815 he was chosen president of the French Academy. Brunet II 524. Graesse II 336. 1st Edition. Paris: Firmin Didot, 1819. unknown
18656502Edinburgh and London: William Blackwood and Sons 1865. Later printing. Fine. Bound in a 20th-century full straight grain red morocco with gilt crest on front panel gilt fluer-de-lis and decorative gilt foliate and blue inlaid borders on front and back boards with raised six-compartment spine with gilt fleur-de-lis and title. Red marble endpapers with decorative gilt inner dentelles with a floral and vine pattern. Binding by J. Ramage & co. with binding stamp on version of free endpaper. All edges of the text block gilt interior bright and clean with in-text illustrations headpieces and tailpieces throughout. A Fine copy overall.<br /> <br /> A delightful collection that mixes prose and poetry inspired by the 19th century interest in revival texts and Scottish history. Aytoun's Lays first published 1849 were modelled on the works of Macaulay and Scott ODNB. The Paton Edition is prized for its expressive illustrations which embrace a medieval-revival style to emphasize historic costume and create a sense of drama. <br /> <br /> The London-based bindery John Ramage and Company helped "restore the fine hand-craft of bookbinding in an era when that process was increasingly mechanized" Morgan Library. John Ramage 1836-1911 apprenticed with both English and French binders before buying his first binder business in Edinburgh 1860. He opened a London bindery three years later Gertz. "Though the range of their designs is broad Ramage bindings are celebrated for their remarkably delicate careful and elaborate gilt work" Gertz. Fine. William Blackwood and Sons unknown
184760420London:: Longman & Co. 1847. First edition. original lettered leather-backed relief boards simulating a gothic carved wooden binding incorporating "Scripture / Parables" on front and rear panels; a.e.g. There is some inoffensive marginal foxing to a few of the leaves some leaves starting as is nearly always the case; tiny losses to two of the corners; but otherwise an extremely attractive example of a landmark binding rarely found intact. 12mo. Chromolithographed title leaf and 32 chromolithographed pages. This copy has 3 additional chromolithographed prayers in similar style affixed to blank leaves at front. See: Ray The Illustrator and the Book in England 231. Longman & Co., hardcover
184817405London: Longman & Co 1848. First edition. Hardcover. Very good. 8vo. iv1312pp. Thirty-two pages are chromolithographed by Humphreys in addition there is a leaf of the illuminator' s remarks and one comprising an index of the miracles. Bound in the original black papier-mache covers designed to look like carved ebony. The binding was based on one carved in ivory in the 12th Century and has medallions of the principal miracles intertwined with ornate decorations and the title. The front and rear covers are identical. The book is exuberantly illustrated using chromolithography on 32 pages alternating between hot bright colors and cool pages subtly tinted with various shades the whole combining to make both a magnificent tribute to Medieval illustration and to the then new and novel technique of chromolithography. Marbled endpapers all edges gilt. Nicely rebacked in plain black leather;; a few small cracks in the binding edges and corners neatly mended but a very good copy. The Art of Publishers' Bookbindings 160-162. Housed in a custom slipcase. Longman & Co hardcover books
185146518London: Longmans & Green 1851. <p>Humphreys Henry Noel 1810-79. Shakespeare William 1564-1616. Sentiments and similes of William Shakespeare. Edited by Henry Noel Humphreys 1810-79. 6 100pp. Elaborate chromolithographed border by Humphreys on the first page remaining text pages printed in black and gold with 2-color initials. London: Longman Brown Green Longmans and Roberts 1851. 194 x 147 mm. Pierced high-relief papier-mâché covers over gold foil featuring a cameo bust of Shakespeare on the front cover and the initials "WS" on the back gilt dentelles all edges gilt. Skillfully recased and rebacked; boxed. Minor soiling and fore-edge wear on first few leaves but very good. 19th-century gift inscription on the title. Bookplate.</p> <p> First Edition. "According to his preface Shakespeare was the first author Henry Noel Humphreys thought of honoring with a modern printed illuminated book . . . Humphreys's enshrinement of Shakespeare's words is completed by the black papier-mâché binding with a terracotta cameo portrait of Shakespeare on the front cover and Shakespeare's initials in a similar oval on the back cover. In the first edition the pieced strapwork is placed over a striated gold foil while the second edition 1857 has a red background and an indented bevel at the outer edge. This cover the illuminated first page and Humphreys's remarks about selecting ornament that Shakespeare might have requested himself reflects the emergence of an understanding that there was a difference between the style of the Middle Ages and that of the 16th and 17th centuries" Beckwith p. 43. A. Beckwith Victorian Bibliomania: The Illuminated Book in 19th-Century Britain no. 30. </p> . Longmans & Green unknown
