4 839 résultats
First Edition, engraved vignette on title, folding hand-coloured map (1 inch closed tear), 2 plates, viii, 717, [15] pp., cont. half half, rubbed.
First edition, xv, [5], 95, [1]pp., cont. ink coat of arms of George Barkworth on the front endpaper, with pencil notes relating to his family history, marbled endpapers, cont. half calf, marbled boards, attractive gilt decorated spine, a nice copy. Robert Franklin of Ferriby Sluice, Lincolnshire, miller, son of several generations of millers. Booksellers label of Isaac Wilson of Hull. Not in Jackson; Johnson, Provincial Poetry 339.
First edition, 3 vols., 8vo (196 x 120 mm), [2], 356; [2], 354; [2], 314pp., title and first preliminary leaf to vol. 1 loose, small neat ownership stamp to head of titles, cont. half calf, rubbed, joints cracked, auctioneers lot number label to upper cover, head and foot of spines a little chipped. Garside, Raven & Sch?werling, 1826:68; Block, p. 241; not in Wolff.
First edition, 2 vols., (210 x 135mm), vii, [1], 327, [1]; [2], 328pp., contemporary cloth, faded, uncut, printed paper label on vol.1, a nice copy. Provenance: With the signature of Maria Frances Montgomery on titles, each volume with the bookplate of M. F. Montgomery, Convoy [Co. Donegal], Garside, Raven, and Sch?werling, 11,1809:37; Block, p.128.
First edition, [10], 38 pp., the issue without the price on the title-page, engraved frontispiece, D3 is an engraved plate, disbound. Foxon, Y75; Rothschild, 2608; Straus, Unspeakable Curll, p.226.
8vo., First Edition, with 12 fine full-page coloured lithographs by Piper, small neat contemporary inscription on front free endpaper; original pictorial cloth after design by Piper, a very good, clean copy in dustwrapper, the latter lightly age-soiled and with very minor loss (nowhere affecting lettering) at extremities. Published in the series 'New Excursions into English Poetry' edited by W.J. Turner and Sheila Shannon. VERY SCARCE INDEED IN THE DUSTWRAPPER. Peterson A12a; Stapleton C75.
AA.VV American English. , Thomas Pyles 1952, Libro in condizioni mediocri, presenta pagine interne leggermente ingiallite e sovraccoperta usurata Mediocre (Poor) . <br> <br> <br> 310<br>
3 vols., 8vo., First Edition, on laid paper, with 3 portrait frontispieces; original series binding of navy cloth, upper boards blocked in blind, gilt backs, a near fine set in price-clipped, very lightly age-marked dustwrapper. Oxford English Texts. COMPLETE SETS ARE SCARCE IN THIS CONDITION.
Very Good Turkish, Ottoman (1500-1928) Original color lithograph map. Folded. Oblong folio. (35 x 52 cm). In Ottoman script (Old Turkish with Arabic letters). It shows Sudan and West Africa, Atlas Ocean shores, Sahra Desert, and other parts of Africa. Scale: 1:15.000.000. A very detailed and attractive map. Slightly fading. Otherwise a very good copy. Dated Hegira: 1310 = [Gregorian 1894]. Taken from his attractive atlas titled "Yeni cografya atlasi. [i.e. New Geographical Atlas]". The cartographer, Ali Seref, or Hafiz Ali Seref (or Esref) Pasha (1840-1907) was an Ottoman soldier and mapmaker who was schooled in Paris as a cartographer around 1862. While in Paris he published his first atlas with 22 maps, called the Yeni atlas. Upon his return to Istanbul, he became the chief cartographer at the Matbaa-i Amire Printing Press in Beyazit. Chipping on extremities. Slight foxing. Overall a good copy. Not in OCLC.; Not in TBMM Map Collection.
Very Good Turkish Paperback. Cr. 8vo. (20 x 14 cm). Bilingual in English and Turkish (Modern, with Latin letters). 109, [3] p. Occasional foxing and stains on covers. Otherwise a very good copy. First separate edition in book form of Shakespeare's sonnets, covering 40 sonnets selected by Halman, among 154 sonnets. Talât Sait Halman, (1931-2014), was a famous Turkish poet, translator and cultural historian. He was the first Minister of Culture of Turkey. From 1998 onward, he taught at Bilkent University as the Dean of the Faculty of Humanities and Letters. The sonnets had been translated into Turkish, some of the long and heavily rhymed poems of Shakespeare such as Venus and Adonis, The Rape of Lucrece, and A Lover's Complaint remained yet to be translated. These remaining verses were translated by Talat Halman and published in 1964, and then in 2014, as a complete edition. This book is published as the publisher's 137th book. Agop Arad, (1913-1990), was a Turco-Armeno painter, graphic designer, cover and book illustrator, and journalist.
Very Good Turkish, Ottoman (1500-1928) Modern cloth bdg. Cr. 8vo. (19 x 13 cm). In Ottoman script. 56 p. Tabsira-i Âkif Pasa. Akif Pasha was an Ottoman / Turkish statesman, poet, author, and intellectual. "Tabsira" is the famous work written by Akif Pasha to reveal the origin of the Churchill Case, which caused him to be dismissed from his Foreign Affairs Ministry. This rare 'politic quittance' work covers both domestic and foreign policy of the Mahmud period; It reveals its delicate relations with European states, especially Britain as well as contains important testimonies that will contribute to determining the position of the Fener Greek Patriarchate in those years. The work, albeit subjective, contains valuable information and approaches to historical researchers as a primary source. One of its most important features is that it is an early step towards new literature and style. The work, which probably was written in 1836, made Âkif Pasha a "münsî" [i.e. builder, a pioneer] that the writers of the Tanzimat era [i.e. Ottoman Reform period] took as an example. The Churchill Case was the main reason for the writing of this book. British origin William Nosworthy Churchill, (1796-1846), who published the Ceride-i Havadis [i.e. The Journal of the News] newspaper, injured a Turkish child while hunting and he was imprisoned in 1840. the British ambassador made it turned into a political event. The Minister of Foreign Affairs Akif Pasha was dismissed on the grounds of his illness in 1836. Hegira: 1309 = Gregorian: 1891. Özege 19181. Third Edition.
4 vols., 8vo., First Edition; cloth, gilt back, a fine set. Includes over 8,000 artists who exhibited at the Club's annual exhibitions.
3 vols., 8vo., First Edition, with 3 frontispieces (all original tissue guards present) and 397 fine half-tone plates (the great majority full-page) from photographs, endpapers (only) mildly browned; original red cloth gilt, upper boards and backstrips lettered in gilt, small fade patch on upper board of third volume else a near fine set. With uniform personal bookplate on front paste-down of all three volumes. The first work of its kind since Oliver's Ecclesiastical Antiquities [1839-42] and one of the glories of the published ecclesiology of Devon. Indeed few, if any, English counties benefit from surveys illustrated to this extent and standard. INCREASINGLY SCARCE, ESPECIALLY AS A SET IN THIS CONDITION. Apparently (and inexplicably!) not recorded by Brockett.
8vo., First Edition, with engraved frontispiece and 13 engraved plates, title and fore-edges mildly spotted, recipe in a neat contemporary hand on frontispiece recto; original dark green pebble-grain cloth, red roan back, wanting B7 (pp. 15-16), neatly rebacked with large fragments of old backstrip gilt laid down, yellow endpapers, a very good, firm copy of a very scarce work. RARE; AND APPARENTLY UNRECORDED IN THIS GUISE. This may well be a third edition, with an original title, of Walsh's 'English Cookery Book'. This latter work was first published in 1858 (Cagle 1045) with a second edition in 1859 (see Simon BG 1595). A possible substantiation is that all three works acknowledge [in the title] the assistance of 'a committee of ladies'. The present work is considerably more illustrated. Further to confuse, Walsh states in his Preface (dated 1857) that the present work, together with its possible forbears, are all themselves extracted from his 'Manual of Domestic Economy', the bibliography of which is equally labyrinthine. Not in BLPC; Cagle (but see 1045); Simon BG (but see 1595). We have able to find no copy in any of the standard bibliographies.
SEVEN VOLUME SET. FRENCH-ENGLISH. [ALL VOLUMES]: 21X13.5 cm. [1538]+[XXII+1478]+[1558]+[XCI+1394]+[XVII+1701]+[XXIII+1547]+[XXVIII+1588] pages. Gilt hardcover. Cover slightly stained. Cover edges slightly stained. Spine edges slightly torn and stained. Pages slightly yellowing. [VOL.I]: Spine upper edge torn. [VOL.II]: Cover corners slightly bumped. [VOL.III]: Cover corners slightly scratched. [VOL.IV]: Cover corners slightly scratched. [VOL.VII]: Inner spine slightly torn. [SUMMARY]: Else in good conditions. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
First Edition, 4to, [10], 178pp., with 3pp., list of subscribers, frontispiece (foxed on margins), 7 engraved plates (one folding), orig. boards, early ink signature of 'Ingilby' to upper cover, uncut, backstrip defective.
First edition, 4to, [14], xii, 486, [6]pp., with 3pp., list of subscribers, large paper copy, frontispiece bound opposite page 37, 14 engraved plates, cont. calf, worn and rubbed, covers detached. Provenance: Three early engraved armorial bookplates to endpapers: Edward Harman, Clay Hill; George Gold; Archibald D. Dawnay.
3 parts in 1 vol., 8vo., some moderate age-staining throughout, neat eighteenth-century inscriptions (some dated) on endpapers, front free endpaper expertly mounted, small contemporary signature on title of first part; contemporary panelled calf elaborately tooled in blind, back with four raised bands, uncut, first compartment replaced in calf to style, joints rubbed, lower outer corner frayed, a good, sound copy in a sympathetically restored contemporary binding. Contains the First Part [with 'The Author's Life'], Printed by E.P. for Geo. Sawbridge in Little-Britain, 1704; the Second Part [with 'An Heroical Epistle of Hudibras to Sidrophel', first added in 1678], Printed for R. Chiswel, G. Sawbridge, R. Wellington, and G. Wells, 1704; the Third and Last Part, Printed for Thomas Horne, at the South Entrance of the Royal Exchange, MDCCIV.Early collected edition of all three parts. In keeping with the so-called 'collected editions' of this period, each part retains its individual title and pagination; the first dition with continuous pagination did not appear until 1710. The Author's Life', ascribed by Oldys to Sir James Astrey, APPEARS HERE FOR THE FIRST TIME (the writer professes to supplement and correct the notice given in Wood's 'Athenae Oxonienses'.)CBEL, II: 260; Greco's Catalogue of the Severance Collection (Chapel Hill), 18.
London, printed for Richard Phillips, Bridge Street, Blackfriars, 1810, volumi 2, in-8 piccolo, legatura coeva in pelle, titolo, filetti e numero di volume in oro ai dorsi (spellature ed erosioni alla pelle sui piatti e sul dorso), pp. VIII, 328 - VII, [1], 359, 7]. Qualche fioritura e lievi ondulazioni all'interno. Non comune e interessante per lo sguardo che ci consente di dare al tipo di istruzione ed educazione della classi agiate nell'Inghilterra del primo Ottocento.
Piece en deux actes. Prima edizione, ma ristampa del 1954 (Later printing of the first edition) Nel frontespizio data 1952, ma nel colophon viene specificata la data di stampa 1954. 16mo. pp. 164. . Buono (Good). Fioriture leggere alle copertine (Yellowing of the covers). Prima edizione, Ristampa (First Ed, late printing). .
Acquaforte, tratta da 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', edito a Roma nel 1850. Magnifica prova, impressa su carta cina applicata su cartoncino, pieni margini, in perfetto stato di conservazione. Charles Coleman è stato un pittore inglese di paesaggi e animali, nato a Pontefract, nello Yorkshire, in Inghilterra. Fu attivo principalmente a Roma, dove fu un'importante influenza su Nino Costa e diede un contributo significativo alla formazione della Scuola di pittura di Campagna Romana. Dalle brulle colline dello Yorkshire, Charles Coleman arriva a Roma nel 1831 e si mostra un pittore appassionato del territorio che circonda l’urbe, pubblicando alla metà del secolo, presso la libreria Spithover, un ricco volume con 53 acqueforti: A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman. I paesaggi che Coleman rappresenta somigliano molto alle vedute desolate del suo Yorkshire, “ventose e abitate soltanto dall’erica”. Nella gran parte delle vedute dell’artista inglese il paesaggio si presenta con vivaci contrapposti, facendo sì che Coleman rappresenti un vero e proprio maestro per una o due generazioni di pittori romani e non solo. Era sprezzante dell'insegnamento accademico, credendo che l'osservazione dalla natura fosse la migliore educazione per un artista. Espose cinque volte alla Royal Academy di Londra, per l'ultima volta nel 1869. Etching from the 'A series of subiects peculiar to the campagna of Rome and Pontine marshes designed from nature and etched by C. Coleman', printed in Rome in 1850. A fine work, printed on China paper and laid on cardboard, full margins, in perfect condition. Charles Coleman was an English landscape and animal painter, born in Pontefract, Yorkshire, England. He was active primarily in Rome, where he was an important influence on Nino Costa and made a significant contribution to the formation of the School of "Campagna Romana" Painting. From the barren hills of Yorkshire, Charles Coleman arrived in Rome in 1831 and showed himself a passionate painter of the territory surrounding the urbe, publishing in the middle of the century, at the Spithover bookstore, a rich volume with 53 etchings: A series of subiects peculiar to the countryside of Rome and Pontine marshes designed from nature and etched by C. Coleman. The landscapes that Coleman depicts are very similar to the desolate views of his Yorkshire, "windy and inhabited only by heather". In most of the English artist's views, the landscape is presented with vivid contrasts, making Coleman a true master for a generation or two of painters in Rome and beyond. He was contemptuous of academic teaching, believing that observation from nature was the best education for an artist. He exhibited five times at the Royal Academy in London, for the last time in 1869.
In-4° pp. (8), 263, (5) e le illustrazioni; copertina originale in tela rossa con titolo e illustrazione impressa al piatto superiore e titolo in oro al dorso. Piccolo marginale foro tarlo passante alle prime carte.
Scena di una riva del Tamigi a Sonning; sullo sfondo, fattorie ed edifici; area non lavorata a sinistra. Acquaforte e puntasecca, 1865, non firmata; stampata su carta vergata, con margini, condizioni perfette. Questa impressione su carta vergata fu stampata nel 1868 per lo scarso primo volume di Philip Gilbert Hamerton, Etching and Etchers. Seymour Haden era l'improbabile combinazione di un chirurgo e un incisore. Sebbene abbia perseguito una carriera medica di grande successo, è ricordato soprattutto per i suoi lavori all'acquaforte e per i suoi scritti sull'acquaforte. Fece parte di un gruppo di artisti, tra cui James McNeill Whistler (1834-1903) e Alphonse Legros (1837-1911), il cui appassionato interesse per questo mezzo portò al cosiddetto revival dell'acquaforte, un periodo che durò fino al XX secolo. L'esaltazione dell'acquaforte per le sue intrinseche qualità spontanee raggiunse il suo apice durante questo periodo. Mentre la linea dell'ago da acquaforte, scrisse Haden, era "libera, espressiva, piena di vivacità", quella del bulino era "fredda, costretta, poco interessante" e "senza identità". Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. (116.II); Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. (106.IV). Scene of a Thames river bank at Sonning; in the background, farms and buildings; unworked area to the left. Etching and drypoint, 1865, not signed; printed on laid paper, with margins, perfect condition. This impression on laid paper was printed in 1868 for Philip Gilbert Hamerton's very scarce first volume of Etching and Etchers. Image size: 4 x 6 1/4 inches (102 x 157 mm) with an irregular platemark, as printed. Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity." Bibliografia Henry Nazeby Harrington The Engraved Work of Sir Francis Seymour Haden, P.R.E.: an illustrated and descriptive catalogue. Liverpool, 1910, cat. no. (116.II); Richard S. Schneiderman A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden. London, 1983, cat. no. (106.IV).
In 8° (18,1x10,5 cm); 4 tomi: (4), XI, (1), 336 pp. e 4 c. di tav. fuori testo compresa antiporta, (4), 344 pp. e 4 c. di tav. fuori testo, (4), 282 pp. e 4 c. di tav. fuori testo, (4), 341, (1) pp. e 4 c. di tav. fuori testo. L'ultima carta di indice del quarto volume è stata per errore rilegata, per errore, alla fine del terzo volume. L'ultimo volume presente un leggerissimo alone al margine basso del volume, probabilmente antecedente alla stampa, sempre leggerissimo ed ininfluente. Esemplare in buone-ottime condizioni di conservazione. Legature della prima metà dell'ottocento, in mezza-pelle verde con piatti foderati con carta marmorizzata coeva. Titolo, numero dei volumi e filetti in oro al dorso. Prima edizione francese di questo celeberrimo romanzo del grande scrittore, drammaturgo e giornalista inglese, Henry Fielding (Sharpham, 22 aprile 1707 – Lisbona, 8 ottobre 1754). Tom Jones è considerato il suo capolavoro. Assieme a Daniel Defoe, in primis e a Samuel Richardson, Fielding è considerato uno dei padri fondatori del romanzo realista inglese. Ed è proprio una parodia di Richardson che Fielding nel 1741, fa il suo debutto nel mondo dei romanzi con il suo "An Apology for the Life of Mrs. Shamela Andrews", parodia di "Pamela, o la virtù premiata". Tom Jones è universalemnte considerato come uno dei più grandi romanzi della letteratura inglese. L'opera è allo stesso tempo un romanzo picaresco (vicenda avventurosa, ritmo narrativo rapido ed incalzante) e di formazione dal ritmo sempre incalzante che ricostruisce la vita avventurosa ricca di "disavventure" del giovane protagonista, Tom Jones e della sua amata Sophia Western. L'opera si concolude poi con le nozze. L'opera che si sviluppo lungo una tarama sapiente, è pervasa da una garbata satira prototipi ed emblemi della società inglese dell'epoca, cosa che fa di Fielding anche un precurosore di Dickens e da Thackeray. First franch edition. Rif. Bibl.: Cioranescu, 36934; Cohen, 394; Quérard III, 120.
L'acquaforte mostra la chiesa di Chelsea e il vecchio Battersea Bridge, e il titolo originale, 'Chelsea', è preferibile anche se alcuni studiosi gli assegnano il nome Fulham. Si vedono tre chiatte in mezzo al Tamigi, quella più vicina al ponte presidiata da due barconi. Dietro di loro c'è un vecchio ponte, con quattro pilastri di legno visti a sinistra, una larga campata di ferro, e poi altri tre pilastri a destra. Ci sono figure, cavalli e carri sul ponte. Attraverso le arcate si vede un approdo di un battello a vapore, altri alberi e case su un terrapieno a destra, e un ponte sospeso. La marea è bassa, così che i due moli di destra sono fuori dall'acqua, e un paio di chiatte a fondo piatto si trovano sulla spiaggia a destra. A destra, un campanile quadrato si erge dietro il ponte, il casello è appena visibile alla fine del ponte, e una sostanziale casa quadrata e altri edifici si trovano all'estrema destra, circondati da alti alberi. L'incisione è stata denominata Fulham da Wedmore e dai catalogatori successivi per distinguerla da altre incisioni di Battersea Bridge e Chelsea. Tuttavia, non mostra Fulham. James Abbott McNeill Whistler (Lowell, 10 luglio 1834 – Londra, 17 luglio 1903) è stato un pittore ed incisore statunitense, raramente menzionato come James Whistler. Genio nella produzione di incisioni calcografiche, Whistler è stato tra i più inventivi ed influenti incisori della storia, realizzando quasi 500 opere in cinque decenni. L’acquaforte ha offerto a Whistler l’opportunità di unire la velocità di esecuzione, disegnando rapidamente le idee sulla lastra, alla possibilità di perfezionarle e svilupparle attraverso molteplici stati, mettendo in luce la sua complessa estetica. Il suo lavoro, con un approccio così innovativo, non ha solo attirato seguaci e imitatori, ma ha influenzato l’intero mondo dell’arte. Bibliografia Howard Mansfield A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler. Caxton Club, 1909, cat. no. 179; Edward Guthrie Kennedy, Royal Cortissoz The Etched Work of Whistler: illustrated by reproductions in collotype of the different states of the plates. The Grolier Club, 1910, cat. no. 182 ii/ii; Katharine A. Lochnan The Etchings of James McNeill Whistler. Ex. cat., The Metropolitan Museum of Art, New York, September 14–November 11, 1984; The Art Gallery of Ontario, Toronto, November 24, 1984–January 13, 1985. Yale University Press, Art Gallery of Ontario, New Haven, 1984, cat. no. 179, pp. 179, 280; Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow on-line website at http://etchings.arts.gla.ac.uk. University of Glasgow, 2012, cat. no. 181 v/v. Etching and drypoint, 1879; fifth state of five; printed in black ink on cream laid paper, good condition. The etchings shows Chelsea Church and old Battersea Bridge, and the original title, 'Chelsea', is preferable although some scholars assign it the name Fulham. Three barges are seen in the middle of the River Thames, the one nearest the bridge manned by two bargees. Behind them is an old bridge, with four wooden piers seen to left, a broad iron span, and then three more piers to right. There are figures, horses and carts on the bridge. Seen through the arches are a steamboat landing-stage, more trees and houses on an embankment on the right, and a suspension-bridge. The tide is low, so that the two right-hand piers are out of the water, and a couple of flat-bottomed barges sit high on the beach to right. To the right, a square church tower rises behind the bridge, the toll-booth is just visible at the end of the bridge, and a substantial square house and other buildings stand at far right, surrounded by tall trees. The etching may have been called 'Fulham' by Wedmore and subsequent cataloguers to distinguish it from other etchings of Battersea Bridge and Chelsea. However, it does not show Fulham. The changes have led to confusion and problems in identifying the subsequent history of this etching. James Abbott McNeill Whistler (Lowell, July 10, 1834 - London, July 17, 1903) was an American painter and engraver, rarely mentioned as James Whistler. A genius at producing intaglio etchings, Whistler was among the most inventive and influential printmakers in history, producing nearly 500 works over five decades. Etching offered Whistler the opportunity to combine speed of execution, drawing ideas quickly on the plate, with the ability to refine and develop them through multiple states, highlighting his complex aesthetic. His work, with such an innovative approach, not only attracted followers and imitators, but influenced the entire art world. Bibliografia Howard Mansfield A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler. Caxton Club, 1909, cat. no. 179; Edward Guthrie Kennedy, Royal Cortissoz The Etched Work of Whistler: illustrated by reproductions in collotype of the different states of the plates. The Grolier Club, 1910, cat. no. 182 ii/ii; Katharine A. Lochnan The Etchings of James McNeill Whistler. Ex. cat., The Metropolitan Museum of Art, New York, September 14–November 11, 1984; The Art Gallery of Ontario, Toronto, November 24, 1984–January 13, 1985. Yale University Press, Art Gallery of Ontario, New Haven, 1984, cat. no. 179, pp. 179, 280; Margaret F. MacDonald, Grischka Petri, Joanna Meacock James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow on-line website at http://etchings.arts.gla.ac.uk. University of Glasgow, 2012, cat. no. 181 v/v.
