4 839 résultats
2 Vols., 'Source of the Thames' plate volume folio (375 x 270 mm), large paper copy, engraved pictorial title and 76 engraved plates on India paper, occasional spotting, contemporary red morocco by C. Smith, covers with wide gilt tooled border, spine gilt, upper joint cracked, all edges gilt; 'Descriptions of the Plates' text volume 8vo (230 x 150 mm), [300pp.,], cont. half green morocco, marbled boards, lightly rubbed, spine gilt extra, all edges gilt.
4to (280 x 215 mm), [8], 64pp., plus one leaf of publishers' adverts, 28 mounted photographs (165 x 120 mm) of Nottingham street views, each with caption title in ink on lower margin, orig. green cloth, spine and upper cover decorated in gilt and black with a mounted photographic view of Nottingham Castle, re-cased, some minor fraying to head and foot of spine otherwise a very nice copy. Gernshiem describes a copy with 12 albumen prints and gives a date of 1875. In our copy page 64 notes that "While these sheets are passing through the press, an event of unusual interest has taken place in Nottingham. On Thursday, September 27th, 1877, the Foundation Stone of the new University College was laid." Inscribed on front free-endpaper "Mary Thorpe, with her brothers love and best wishes, January 20th 1882." Gernshiem, 601.
50 numéros in-4 br., Narrow Gauge & Industrial. Railway modelling Review (50 Issues - From n° 1 Year 1989 to n° 50 Year 2002) Scarce set, complete with the 50 first issues. Good condition. Price for the whole set. Anglais
From drawings by J.M.W. Turner, Comic illustrations by G. Cruikshank, 2 vol. in-4 reliure de l'époque plein chagrin vert, dos à 4 nerfs dorés orné, belle plaque à motifs romantiques estampées à froid en plats, double filet doré d'encadrement en plats, coupes et chasses ornées, toutes tranches dorées, Fisher, Son & Co, London, Paris & America, s.d. [ 1836-1838 ], 72 et 84 pp. avec 91 planches hors texte Fine copy, in its contemporary full leather binding, nicely adorned (slight foxing). Cohn, 700 Anglais
3 vols., 8vo., First Edition, with numerous maps, and maps in the text; original brown cloth, boards framed in blind, gilt backs, black endpapers, backstrips lightly chafed at heads and tails, hinges of first volume tender (but binding wholly sound), a remarkably well-preserved, bright, crisp set. A PRESENTATION COPY FROM LORD ABERCONWAY TO HIS GRANDDAUGHTER ROSALIND NORMAN WITH THE FINE ENGRAVED ABERCONWAY ARMORIAL BOOKPLATE AND SIGNED HOLOGRAPH INSCRIPTION BY LORD ABERCONWAY. The set comprises Vol. I: 1649-1651 (1894); Vol. II: 1651-1654 (1897); Vol. III: 1654-1656 (1901). COMPLETE SETS ARE VERY SCARCE, ESPECIALLY IN THIS CONDITION. Davies 220.
Second Edition, 2 vols., [x],226; [ii],262pp., without half-titles, some light foxing and staining to text, lower blank portion of F1 of vol. II torn away with old paper repair (just affecting the signature), armorial bookplate of John Waldie of Hendersyde Park near Kelso with engraved shelf label "Novels and Romances No. 559", bookbinders ticket of Lubbock, Newcastle, cont. straight grained diced green morocco, gilt decorative borders to covers, hinges lightly cracked, spines tooled in gilt, red morocco labels. A nice set of this novel narrating the adventures of a touring theatrical group. First published in 1769 with a Dublin edition appearing in 1770, all editions are rare. ESTC locates 3 copies of this second edition, all in North America (Dfo, PU, CtY).
6 vols. Hardcover Very good condition, previous owner's name on endpapers v. 1, 1690-1712; v. 2, 1713-1717; v. 3, 1718-1727; v. 4, 1727-1733; v. 5, 1733-1737; v. 6, 1737-1744
3 vols., roy. 8vo., First Edition thus, ON LARGE PAPER, with 3 copper-engraved portrait frontispieces (original tissue guards present), title in red and black, 47 fine copper-engraved portraits (all original tissue guards present), and 80 fine wood-engravings in the text, free endpapers lightly browned; original Roxburghe binding of blue cloth boards, maroon cloth backs with new printed paper labels, uncut AND PARTIALLY UNOPENED, a near fine copy. EDITION LIMITED TO 300 NUMBERED COPIES (THIS COPY NO. 66) WITH ALL PLATES PRESENT IN TWO STATES: ON JAPANESE PAPER AND PLATE PAPER, AS INDIA PROOFS. With personal pictorial boookplate on front paste-downs, and 24pp publisher's catalogue (dated October 1887) bound in at end of third volume.
1 vol. fort in-folio reliure de l'époque demi-basane, Ingram Brothers, London, The Illustrated London News, 1898, 958 pp. Scarce copy, complete with the first 6 months of the year 1898 (spine rubbed, a few foxing, good condition otherwise). Anglais
Natura morta da tavolo con rose e altri fiori in un ampio vaso di vetro bombato, illuminata da sinistra. Da un dipinto di Jean Baptiste Le Monnoyer. Mezzotinto, 1691 circa, firmato sotto l'immagine "J Baptiste Monnoyer pinxit" e "J Smith fecit & excudit". Esemplare del secondo stato di tre, prima della rielaborazione con i ritocchi alla lastra. Buona impressione su carta vergata, con margini molto sottili, una piega obliqua della carta nell'angolo superiore sinistro, per il resto buone condizioni. Nagler indica per questa lastra la data del 1691. John Smith (1652-1743) fu un editore e stampatore dotato e ambizioso, la cui lunga carriera iniziò sotto il regno di Carlo II e si concluse dopo l'ascesa di Giorgio II. Nato nel Northamptonshire, lavorò a Londra, specializzandosi nella tecnica relativamente nuova del mezzotinto. Tra il 1683 e il 1729 produsse oltre trecento stampe. La raffinatezza e la "modernità" delle sue stampe gli procurarono fama e poi prosperità materiale. Smith apprese la tecnica del mezzotinto dal tipografo Isaac Beckett (1653-88 circa) e dall'artista olandese Jan Van der Vaart (1653-1727). Riprodusse anche opere di alcuni artisti contemporanei britannici e stranieri. Secondo il curatore del British Museum questo è la sequenza degli stati: (i) con la scritta "J Baptiste Monnoyer pinxit". (ii) scritta "J Baptiste Monnoyer pinxit // J Smith fecit & excudit". (iii) come sopra, ma con lastra ritoccata. L'opera è molto rara; le altre impressioni conosciute sono: Londra BM, 1876,1111.21 (ii); Parigi BN (i, ii); Chatsworth (ii, 2 impressioni); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); Londra NPG (ii); New York PL (riedizione Boydell; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); Londra V&A (ii); CLB (3 impressioni, ii). Al verso della stampa firma della collezione di Giuseppe Storck (Lugt 2291), più altro timbro di collezione sconosciuto a Lugt. Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500. Table-top still-life with roses and other flowers in a wide, rounded glass vase, lit from the left; after Monnoyer. Mezzotint, circa 1691, lettered below image with 'J Baptiste Monnoyer pinxit' and 'J Smith fecit & excudit.' Example of the second state of three, before the plate reworked. A good impression on laid paper, with very thin margins, an oblique paper crease at upper left corner, otherwise good condition. Nagler gives the date 1691 for this plate. John Smith (1652-1743) was a gifted and ambitious printmaker and publisher whose long career began in the reign of Charles II and closed after the accession of George II. He was born in Northamptonshire and worked in London, specializing in the relatively new technique of mezzotint printing. Between 1683 and 1729 he produced over three hundred prints. Trained as a printmaker he was able to retain a controlling hand when, in the early 1690s, he turned from pure printmaking to printmaking and publishing. The refinement and 'modernity' of his prints brought him fame and then material prosperity and Smith's career, largely independent of interference from outside publishers, must have been an inspiration to William Hogarth (1697-1764) and the next generation of printmakers. Smith learnt the technique of mezzotinting from the printmaker Isaac Beckett (c.1653-88) and the Dutch artist Jan Van der Vaart (1653-1727). Smith also reproduced works of a number of contemporary British and foreign artists. According to the curator of The British Museum this is the list of states: (i) lettered 'J Baptiste Monnoyer pinxit' (ii) lettered 'J Baptiste Monnoyer pinxit // J Smith fecit & excudit.' (iii) lettering as above; plate reworked.). The work is very rare; the other known impressions are: London BM, 1876,1111.21 (ii); Paris BN (i, ii); Chatsworth (ii, 2 impressions); Cambridge Fitzwilliam (ii); Glasgow Hunterian (ii); Haddington albums (ii); London NPG (ii); New York PL (Boydell reissue; Stuart Collection 226); Oxford Christ Church (ii); Amsterdam RPK (ii); London V&A (ii); CLB (3 impressions, ii). Collection mark of Giuseppe Storck (Lugt 2291). Bibliografia Antony Griffiths, Early Mezzotint Publishing in England I John Smith, 1652-1743, in “Print Quarterly”, VI 1989 pp. 243-57; Wessely, John Smith: Verzeichniss seiner schabkunstblätter, n. 482; Chaloner Smith, British Mezzotinto portraits from the introduction of the art to the early part of the present century (undescribed); Nagler, Neues allgemeines Künstler-Lexikon n. 500.
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.
Acquaforte, 1808, firmata in lastra in basso a sinistra. Edita da H. Humphreys a Londra.Bellissima prova, impressa su carta coeva, rifilata al rame, in ottimo stato di conservazione.L'opera raffigura, nello stile satirico tipico del Gillray, il ritratto di George Granville (1758–1833), secondo Duca di Stafford, all'ingresso della casa d'aste Christie's nel 1808. Etching, 1808, signed at lower left. A fine impression, printed on wove paper, trimmed to the platemark, very good condition. Published by H. Humphreys, London.This print is the satirical portrait of George Granville (1758–1833), the 2nd Marquis of Stafford walking into Christie's Auction House. Wright & Evans 560; British Museum Satires VIII.11076; Grego, p. 360; reprint G.W.G. (1830) II.66; Godfrey, Gillray 180B
Monotipo o herkomergravure, 1891, firmato e datato sulla lastra in alto a destra Hubert Herkomer '91. Una bella impressione, stampata su carta contemporanea, con margini, condizioni perfette. “Il monotipo è il mezzo di stampa più diretto. L'artista dipinge su una superficie liscia e impermeabile, mette un pezzo di carta bianca sopra il dipinto e applica una pressione in modo che l'immagine dipinta venga trasferita sulla carta. […] Durante il diciannovesimo secolo ci fu molto ingegno nel trovare un modo per gli stampatori di creare edizioni che fossero pittoriche come il monotipo. Generalmente, gli inventori sperimentavano un composto speciale che poteva essere applicato al dipinto dell'artista ancora umido, non appena eseguito su una lastra di rame. Quando la lastra veniva asciugata e galvanizzata, poteva essere inchiostrata come una lastra incisa e stampata più e più volte, fornendo la spontaneità del monotipo, ma con la ripetibilità di altri mezzi di stampa. Vari inventori inventarono processi simili, e alla fine del 1800 erano disponibili tre processi per coloro che desideravano fare una stampa che avesse alcune delle qualità visive di un monotipo, ma che potesse anche essere prodotta in un'edizione di stampe identiche: il galvanografo, l'elettrotinta e l'herkomergravure, dal nome del suo inventore, Hubert Herkomer (1849-1914). William Merritt Chase (americano, 1849-1916) introdusse Herkomer al processo del monotipo nel 1885. Herkomer sviluppò il suo processo nel 1897, ma ne scrisse per la prima volta nel 1892. Potrebbe essere stato nel 1902 che Herkomer ricambiò il favore di Chase introducendolo all'herkomergravure, quando Chase tornò in Inghilterra. Il processo implicava la spalmatura di inchiostro su una lastra di rame e la creazione dell'immagine con le dita e/o i pennelli, come nel processo del monotipo. Poi la lastra veniva spolverata con una combinazione di polveri speciali, asciugata e placcata. L'immagine risultante era un quasi monotipo" (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer era un artista britannico di origine tedesca, e anche un regista e compositore pioniere del cinema. Sebbene fosse un ritrattista di grande successo, soprattutto di uomini, è ricordato soprattutto per le sue prime opere che avevano un approccio realistico alle condizioni di vita dei poveri Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6. Monotype or herkomergravure, 1891, signed and dated on plate at the upper right Hubert Herkomer ’91. A fine impression, printed on contemporary wove paper, with margins, perfect condition. “Monotype is the most direct print medium. The artist paints on a smooth, impermeable surface, places a blank piece of paper on top of the painting, and applies pressure so that the painted image is transferred onto the paper. […] Through the nineteenth century there was much ingenuity expended on finding a way for printmakers to create editions that were as painterly as monotype. Generally, inventors came up with a special compound that could be applied to the still-wet artist’s painting executed on a copper plate. When the plate was dried and electroplated, it could then be inked like an etched or engraved plate and printed again and again, providing the spontaneity of the monotype, but with the repeatability of other print media. Various inventors came up with similar processes, and by the end of the 1800s three processes were available for those wishing to make a print that had some of the visual qualities of a monotype, but could also be produced in an edition of identical prints: the galvanograph, the electrotint, and the herkomergravure, named after its inventor, Hubert Herkomer (English, 1849–1914). Herkomer was a popular painter of portraits and social genre scenes, and an inveterate experimenter in the arts. William Merritt Chase (American, 1849–1916) introduced Herkomer to the monotype process in 1885. Herkomer developed his process by 1897, but first wrote about it in 1892. It may have been in 1902 that Herkomer returned Chase’s favor by introducing him to the herkomergravure, when Chase next returned to England. The process involved smearing ink onto a copper plate and creating the image with fingers and/or brushes, as with the monotype process. Then the plate was dusted with a combination of special powders, dried, and electroplated. The resulting image was a quasi-monotype” (cfr. Andrew Stevens, American Monotypes from the Baker/Pisano Collection, pp. 3-6). Sir Hubert von Herkomer was a German-born British artist, and also a pioneering film-director and composer. Though a very successful portraitist, especially of men, he is mainly remembered for his earlier works that took a realistic approach to the conditions of life of the poor. Bibliografia Herkomer, Hubert. Etching and Mezzotint Engraving: Lectures Delivered at Oxford. New York: Macmillan, 1892; Andrew Stevens, American Monotypes from the Baker/Pisano Collection, Exh. Cat., by Russell Panczenko, Andrew Stevens, and D. Frederick Baker, pp. 3-6.
Acquaforte e bulino, 1747, stampata da H. Woodfall per John e Paul Knapton a Londra, nel 1749. Ottima impressione su carta vergata coeva, con margini, perfette condizioni. Questo raro lavoro fa parte dello splendido atlante anatomico del XVIII secolo, il The Tables of the Skeleton and Muscles of the Human Body di Albino. Venne pubblicato da John e Paul Knapton, a Londra, senza il permesso dell'autore solo due anni dopo la prima edizione del 1747, a Leida. Questa seconda edizione è stampata nello stesso enorme formato della prima edizione, con le illustrazioni derivanti dalle celebri tavole di Jan Wandelaar, curate qui da Charles Grignion, Jean-Baptiste Scotin, Ludovico Antonio-Ravenet e Louis-Pierre Boitard. Wandelaar posò scheletri e figure muscolose contro lussureggianti sfondi ornamentali per dare loro l'illusione di vitalità, arricchiti con contrasti di massa e luce per produrre un effetto tridimensionale. Etching with engraving, 1747. Printed by H. Woodfall for John and Paul Knapton, London, 1749. A very good impression on contemporary laid paper, with margins, perfect condition. This rare work is part of the most splendid anatomical atlas of 18th century, The Tables of the Skeleton and Muscles of the Human Body, published by John and Paul Knapton in London without author's permission (later that year they issued an English translation of the work), only two years after the 1st edition was published in 1747 in Leiden (largely at Albinus' own expense). This second edition is printed in the same enormous format as the first of 1747, with the celebrated Jan Wandelaar's plates re-engraved for this edition by Charles Grignion, Jean-Baptiste Scotin, Ludovico-Antonio Ravenet and Louis-Pierre Boitard. Wandelaar placed his skeletons and musclemen against lush ornamental backgrounds to give them the illusion of vitality, using contrasts of mass and light to produce a three-dimensional effect. ESTC (RLIN) N49651 Garrison-Morton (5th ed.), no. 399 Russell, K.F. British anatomy (2nd ed.), no. 5 Wellcome cat. of printed books, vol. II, p. 26.
Funk & Wagnalls Co.. 1898. In-4 Carré. Relié plein cuir. Etat d'usage. Coins frottés. Dos abîmé. Intérieur acceptable. 2318 pages. Illustré de très nombreuses gravures en noir et blanc et en couleur, dans et hors texte. Texte sur 3 colonnes. Pages à onglets. Titre doré sur le dos. Motifs en cuir repoussé sur le dos et les plats. Tranche marbrée (passée). Etiquette de code sur la couverture. Mors gauche fendu. Complete in 1 volume. Upon original plans designed to give in complete and accurate statement, in the light of the most recent advances in knowledge, and in the readiest form for popular use, the orthography, pronunciation, meaning and etymology of all the words, etc. Prepared by more than 200 specialists and other scholars. Under the supervision of Isaac K. FUNK, Francis A. MARCH, Daniel S. GREGORY, etc.
First and only edition of this collection of carefully rendered yet somewhat naive lithographic views of York churches. 23 plates, including the frontispiece, each accompanied by a page of letterpress description. Complete with the 24th and final plate, which was published as an afterthought and thus is not included in the list of plates. A LARGE-PAPER COPY, WITH THE PLATES IN INDIA PROOF STATE. With the bookplate of John Tricks Spalding. 4to. Attractively bound in 19th century half crushed morocco and cloth, WITH SPALDING'S INITIALS, IN STYLIZED LETTERS, BEAUTIFULLY LAID INTO THE FRONT COVER IN MOROCCO. Light wear to extremities of binding, light occasional internal spotting. Plates bright and fine. A very good copy of a rare book.
188 pages. Occasional black and white illustrations in text. Copyright 1902. No indication of prior printings. Includes 72 reading lessons with titles such as Confucious and the Wise Boy, A Cunning Fox, and The Camel and the Miller, plus exercises on vowel sounds, consonant sounds, and articulation. "The lessons cover quite a large range of subjects. In this way the Chinese scholar will acquire much valuable knowledge." - from Preface. Includes text in English and Chinese, side-by-side, on each page. Minimal faint markings to contents. Binding intact. Average wear to maroon cloth. A sound copy of this wonderful vintage reader. Book
Pages 413-452 plus xvi pages of great vintage ads. Many great black and white photos. Features: "Indian Ridge" - The Summer Home of Dr.l F.B. Harrington, at Ipswich, Massachusetts; Decorations and Furnishings for the Home - IV - Furnishing a Young Girl's Room; English Garden Mazes; A Group of New England Homes - nice two-page photo spread of homes belonging to Mr. E.B. Stearns at Brookline, T.P. Hollander on Misery Island, and Mrs. Frances Robeson at Brookline; Handicraftsman - Home-made Pottery; Glue for Model Making; The Steam Radiator in France; Residence of William L. Bailey, Esq., at Ardmore, PA; The Mirror; The Wasp's Year (life cycle); Stucco Houses of Distinction; The City of the Sun; Garden Notes - Tennis Courts; Conservatory and Greenhouse Heating; Glass Espalier Walls; L. Wolff Mfg. Co. ad features Chicago home of Walter H. Miller; Back cover color ad for the Columbia Grafonola includes photos of ten famous vocalists of the day; and more. Printed on glossy stock. Complete and unmarked with average wear. Covers loose but present. A worthy copy of this great vintage issue. Magazine
266 pages including index of authors cited. Second printing of 1939 First Edition. "In the first and longest essay Hayek develops his well-known theory of industrial fluctuations beyond the point at which it was left in his Prices and Production. While the central argument of this theory remains the same, it is now restated on somewhat different and more realistic assumptions and in less abstract forms and certain important improvements are introduced. The main advance concerns the relationship between the rate of interest and the rate of profit. The other essays deal with particular problems in the same field such as demand for capital, capital maintenance, the factors governing investment, and the supply of savings. The first essay appears for the first time; the others are collected, and in part translated from various English and foreign journals in which they were originally published." - from dust jacket. Contents clean and unmarked. Light wear to red boards. Slight lean to spine which bears bright gilt lettering. Average wear to dust jacket which bears several small chips and tears, primarily at spine ends, and several small marks upon back panel. Overall a nice solid copy. Book
A.J. Casson cover art features robin hunting for worms amongst trilliums. 80 pages. Additional features include: Nostalgic colour ad for new KB International Trucks inside front cover - ad features photo insert of Jule Chartrand and Frank Bell - Champion Canadian truck drivers; Four-photo full-page ad for Ipana toothpaste features Eileen Cochrane of Montreal and her seven-year-old son Michael; Editorial - Are the Communists entitled to Liberty?; 2-colour full-page ad for DeSoto cars; Top Man in Totem Poles - Marius Barbeau is hot on the trail of that strange beast - the Canadian; Wives Have It So Easy, by James Bannerman; Nightmare Pills - Pierre Berton on Sleeping Pills; Fiction by Arthur Gordon - Listen to Your Heart; Can we Prevent Race Suicide?, by Arnold Toynbee; Newsboy - James Joseph Murph (Murph) has been selling papers outside the Canadian National Railways Building on the northwest corner of King and Yonge, Toronto's busiest intersection, for 58 years - with photo; Fiction - Double or Nothing by Henry Norton; Are Fishing Laws Bunk? - what use are limits when we make our rivers unfit homes for fish?; Nice full-page colour ad for Old English Rubbing (Floor) Wax; What's Wrong with Work?, by Gwethalyn Graham; The Old Man - Lionel Barrymore; You, Too, Can fly, by Eva-Lis Wuorio; Fiction by Arthur Mayse - Someday You'll Thank Me; Leper Colony on Bentinck Island in BC; Black and white Fargo truck ad; Nice two-colour Plymouth car ad; Full-page black and white Austin Motor company ad; Half-page colour photos Pepsi ad shows ping pong players; Lovely full-page colour Lifesavers ad; Dawes Black Horse Brewery ad honours weathermen; Great full-page colour ad for Pontiac cars; Very attractive Gene De Nunzio-illustrated ad for Wabasso Cottons inside back cover shows mother and daughter and their print dresses; Carling Breweries ad on back cover illustrates the main flyways of North American waterfowl; plus many more wonderful ads. Pages yellowed with age. Clean and unmarked with light wear. A quality copy of this wonderful A.J. Casson collectible. Magazine
97-192, [158] ads, pages. Profusely illustrated with black and white photos and drawings. Printed upon glossy stock. The many pages of ads include an abundance of nostalgic photos and illustrations. Features: Residence of Otto H. Kahn, Esq., New York - J. Armstrong Stenhouse, Architect; The Hampton Normal and Agricultural Institute, Hampton, VA - Ludlow and Peabody, Architects; Some Principles of Design and Construction in Church Building; English Architectural Decoration, Part IXb; The Jade Fence About the Gardens of the Pan-American Building, Washington, D.C. - Albert Kelsey, Architect; Portfolio of Current Architecture; Workingmen's Houses in Italy; The Architect's Library; Notes and Comments. Above-average external wear. Covers nearly loose.. Binding intact. Two small binding holes near spine. A worthy copy of this wonderful vintage issue. Book
97-192, 126 [ads] pages. Profusely illustrated with detailed drawings and black and white photos. Printed upon glossy stock. Includes dozens of magnificently illustrated ads. Features: The Residence of Charles D. Blaney, Esq., Saratoga, California - Willis Polk & Co, Architects; The Art of the Middle Ages - Part I; The Destruction of Historic Buildings as Revealed by the Official French War Photographs - Part III - Parish Churches; The Memorial Quadrangle of Yale College - James Gamble Rogers, Architect; English Architectural Decoration - Part IV - text and measured drawings; The Small Country School House; Community Courts for Factory Workers; The Architect's Library - War Books of the Cathedrals - Part II - Verdun; Notes and Comments. Above-average wear. Lacking covers. Two small binding holes near spine. Last page of advertising loose but present. Not pretty but a worthy vintage copy. Book
1 vol. in-8 br., Published by British Museum Press for the Trustees of the British Museum, 1996, IX-98 pp. et 34 planches Good (scarce foxing on edges, otherwise a very good copy). Anglais
8vo, The Macmillan Company, New York, 1927, xxiv-213 pp. with a folding plate. Rappel du titre complet : Researches into the Mathematical Principles of the Theory of Wealth by Augustin Cournot 1838. Translated by Nathaniel T. Bacon with an Essay on Cournot and mathematical Economics and a Bibliography of Mathematical Economics by Irving Fisher [ Inscribed : "G. H Bousquet Don d'Irving Fisher" ] From Irving Fisher's library. Joseph Schumpeter described him as "the greatest economist the United States has ever produced". Good (waterstains on cover, a few manuscript annotations by G. H. Bousquet). Annotation manuscrite en garde : "G. H. Bousquet Don d'Irving Fisher" [ unidentified manuscript indication in french : Gift from Irving Fisher ]. Le professeur Georges-H. Bousquet (1900-1978) fut notamment professeur aux facultés d'Alger puis de Bordeaux. Juriste de formation initiale (docteur en droit en 1923 avec une thèse sur "L'évolution sociale en Hollande 1914-1922"), il devint un spécialiste de questions économiques, proche de Pareto et Schumpeter, ainsi qu'un islamisant de l'école de Goldziher et Snouck-Hugronje. Il fut proche de son maître en sociologie Vilfredo Pareto, dont il servit fortement la pensée, avec lequel il échangea une correspondance et qu'il rencontra, en Suisse. En septembre 1923, à Vienne et par l'intermédiaire de Paul Lazarsfeld, il fut présenté à son autre maître et ami Joseph Schumpeter. "A ce moment, Schumpeter avait 40 ans. Il était alors totalement ignoré en France, mais connu aux Etats-Unis où il avait été invité à professer quelque temps, et en Angleterre, où il avait eu également l'occasion de se faire entendre". Georges Bousquet sera fasciné par l'oeuvre de Schumpeter, qu'il fera notamment découvrir, tant par ses articles que par les discussions, à l'économiste François Perroux. Dans les années 1933-1934, les Bousquet et Schumpeter seront en contact permanent à Harvard, où Schumpeter était devenu professeur, et ou G.-H. Bousquet avait été envoyé faire un séjour de recherche, avec le soutien de la fondation Rockfeller. C'est à cette occasion que Bousquet rencontre Irving Fisher (1867-1947), l'un des premiers économistes américains de l'école néoclassique. On peut signaler que G.-H. Bousquet est l'un des quelques économistes français contemporains à être plusieurs fois cité par Schumpeter dans sa monumentale Histoire de l’Analyse Economique. Anglais
Second edition, greatly enlarged (422 additional Flags), compiled by James Griffin, 8vo, editor's cloth, Griffin & Co, Portsmouth, 1891, full title : Flags National and Mercantile ; for the use if Officers of Royal Navy, Mercantile Marine ; and Yacht Squadrons. Containing flags of the Royal Navy ; National Ensigns for men-of-war ; national colours for mercantile marine ; international code ; fog signal ; optional signals ; signals of distress , vessels' kughts as seen by look-out man, 782 House Flags and Funnels of the Mercantile Marine and 12 National Flags and Signals Scarce copy of the second edition (dated 1891), greatly enlarged. Quite good condition (weakness on the 2 first leaves, otherwise a good copy). Anglais
