9 302 résultats
201088753Princeton University Press. New. 2010. Hardcover. 069114897X . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 328 pages. -- with a bonus offer-- . Princeton University Press hardcover
200979446Museum. New. 2009. Hardcover. 0915977699 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 260 pp. 29 x 23 cm. -- with a bonus offer-- . Museum hardcover
2014110680University of Notre Dame Press. New. 2014. Hardcover. 0268038430 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened - -- with a bonus offer-- . University of Notre Dame Press hardcover
200789357Schirmer/Mosel. New. 2007. Hardcover. 3829602790 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English and Portuguese. 128 pp. ; 83 color illustrations. -- with a bonus offer-- . Schirmer/Mosel hardcover
196790841Univ of Nebraska Pr. As New. 1967. Hardcover. 0803204612 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - -- with a bonus offer-- . Univ of Nebraska Pr hardcover
190838923London: Henry Frowde / Oxford University Press. As New. 1908. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - -- with a bonus offer-- . Henry Frowde / Oxford University Press hardcover
201092983Archetype Books. New. 2010. Paperback. 1904982506 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 220 pages; 119 illustrations. Description: "The three one-day conferences from which the papers in this title are taken were jointly hosted by Paintings Group of the Institute of Conservation ICON and the British Association of Painting Conservators-Restorers BAPCR and held at the Courtauld Institute in London in 2007. The conferences explored egg tempura retouching resin retouching and retouching complex surfaces. The papers in this volume discuss various approaches to retouching paintings and the challenges that they present to the conservator. They cover the history behind techniques used today and also the scientific basis of conservation and restoration techniques." -- with a bonus offer-- . Archetype Books paperback
200893714Gallery. New. 2008. Paperback. 0915057956 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 16 pages; beautifully illustrated. -- with a bonus offer-- . Gallery paperback
201081702Gallery. New. 2010. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 26 pages. -- with a bonus offer-- . Gallery paperback
199676124Museum; Et Al. New. 1996. Paperback. 091597729X . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- Text in English. 96 pp. one foldout with 44 ills. 24 col. . 28 x 24 cm. -- with a bonus offer-- . Museum; Et Al paperback
27759London: Edward Moxon. 1839. First collected edition. First collected edition. Four volumes. Publisher's original red cloth decorated in blind to the boards and with titles and decoration in gilt to the spines. Page edges untrimmed. Engraved portrait frontispiece to volume one. A very good set the bindings square and firm with some rubbing and fraying at the spine tips and edges volume one with the loss of a small piece of cloth to the upper right side of the spine. The cloth ever so lightly and uniformly faded to the spines is otherwise clean and bright. The hinges are sound. The contents with foxing to the engraved frontispiece are otherwise in excellent order and wonderfully clean throughout remaining free from any previous owner's inscriptions or stamps. A splendid set particularly scarce in the publisher's original cloth. The first complete edition of Percy Shelley's poetical works complied and edited by his wife Mary Shelley. Previously Shelley's poetry had largely been brought before the public in a multiplicity of either private and small-run editions many of which had become increasingly scarce or pirated editions. Percy's father Sir Timothy Shelley feared that a new collected edition would be likely to draw fresh attention to the radical writings of his son. Recognising however that obscurity was unlikely in any case he relented and dropped his objections to Mary producing an official edition. After having attempted to do so since her husband's death in 1822 Mary thus brought Percy's work into the mainstream. Her notes which added significantly to the fuller comprehension of Percy's poetic writings have since become inseparable from the texts themselves and her endeavours ultimately served to secure his position as one of the foremost poets of the English language. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. London: Edward Moxon. 1839 hardcover
03823London: Macmillan and Co. 1926. History is a Cyclic Poem Written by Time Upon the Memories of Man"<br/>A Superb Example of Ramage's Remarkably Delicate Careful and Elaborate Gilt Work<br/><br/>RAMAGE binder. SHELLEY Percy Bysshe. Poems of Shelley. Selected and Arranged by Stopford A. Brooke. London: Macmillan and Co. 1926. <br/><br/>Golden Treasury Series. Sixteenmo 5 13/16 x 3 7/8 inches; 148 x 97 mm. lxvi 2 340 pp. Title-page with vignette of Field Place - Shelley's birth place. <br/><br/>Beautifully bound ca. 1926 by Ramage of London stamp-signed in gilt on lower turn-in. Full green crushed levant morocco covers paneled in gilt surrounding a very intricate design in gilt spine with five raised bands decoratively stamped and lettered in gilt in compartments gilt board-edges wide decorative gilt turn-ins cream watered silk liners and end-leaves all edges gilt. Neat early ink presentation dated 1927 on front blank. A superb example of a later Ramage binding.<br/><br/>Born in London in 1836 John Ramage served an apprenticeship with John Wright then went to Paris where he was able to work with the distinguished Marcellin Lortic 1822-1892 who opened his shop on the Rue St. Honoré in 1840. In 1860 Ramage purchased the binding business of Alexander Banks Jr. in Edinburgh then returned three years later to London where he was in business at various locations into the 20th century. Though the range of their designs is broad Ramage bindings are celebrated for their remarkably delicate careful and elaborate gilt work.<br/><br/>Percy Bysshe Shelley 1792-1822 was one of the major English Romantic poets and is regarded by some as among the finest lyric as well as epic poets in the English language. A radical in his poetry as well as in his political and social views Shelley did not see fame during his lifetime but recognition for his poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron; Leigh Hunt; Thomas Love Peacock; and his own second wife Mary Shelley the author of Frankenstein.<br/><br/>Shelley is perhaps best known for such classic poems as Ozymandias Ode to the West Wind To a Skylark Music When Soft Voices Die The Cloud and The Masque of Anarchy. His other major works include a groundbreaking verse drama The Cenci 1819 and long visionary poems such as Queen Mab later reworked as The Daemon of the World Alastor The Revolt of Islam Adonaïs Prometheus Unbound 1820 - widely considered to be his masterpiece - Hellas: A Lyrical Drama 1821 and his final unfinished work The Triumph of Life 1822. London: Macmillan and Co.,, 1926 unknown books
1832000649London: Edward Moxon 1832 1832. FIRST EDITION FIRST BINDING COMPLETELY UNRESTORED. 1 vol. 12mo bound in the original tan boards the secondary binding was cloth printed paper spine label partially present uncut as issued outer hinges starting inner hinges fine internally clean and bright a VERY GOOD UNSOPHISTICATED COPY. Housed in a full green straight grained morocco solider slipcase gilt lettered spine. <br /><br />Written to denounce the state of things that occasioned the notorious 'Peterloo Massacre' at Manchester in 1819 for publication in The Examiner but turned down by the editor Leigh Hunt ".because he thought that the public at large had not become sufficiently discerning to do justice to the sincerity and kind-heartedness of the spirit that walked in this flaming robe of verse." London: Edward Moxon, 1832 hardcover books
04935London: Essex House Press Edward Arnold 1904. Essex House Press Prometheus Unbound<br/>In a Fine Designer Binding by Marie-Louise Farge<br/><br/>SHELLEY Percy Bysshe. ESSEX HOUSE PRESS. ASHBEE C.R. artist. FARGE Marie-Louise binder. Prometheus Unbound. A Lyrical Drama. Printed at Essex House Campden Gloucestershire under the care of C.R. Ashbee. London: Edward Arnold 1904. <br/><br/>Limited to 200 copies on paper of which this is no. 96.<br/><br/>Folio 11 1/2 x 8 3/8 inches; 293 x 213 mm. iv 96 pp. Printed in 'Prayer Book' type in black and red. Woodcut frontispiece by C.R. Ashbee lettered in red.<br/><br/>Specially bound ca. 1925 by Marie-Louise H. Farge stamp-signed in gilt on front turn-in. Full maroon crushed levant morocco covers multi-bordered in blind and richly decorated in a fine gilt design front cover lettered in gilt. Smooth spine decorated and lettered in gilt wide decorative gilt turn-ins hand-made marbled endpapers top edge gilt others uncut. Housed in the original fleece-lined beveled-edge brown cloth slipcase. A very fine copy.<br/><br/>Prometheus Unbound is a four-act lyrical drama by Percy Bysshe Shelley first published in 1820. It is concerned with the torments of the Greek mythological figure Prometheus who defies the gods and gives fire to humanity for which he is subjected to eternal punishment and suffering at the hands of Zeus. It is inspired by the classical Prometheia a trilogy of plays attributed to Aeschylus. Shelley's play concerns Prometheus' release from captivity but unlike Aeschylus' version there is no reconciliation between Prometheus and Jupiter Zeus. Instead Jupiter is abandoned by his supportive elements and falls from power which allows Prometheus to be released. Shelley's play is a closet drama meaning it was not intended to be produced on the stage. In the tradition of Romantic poetry Shelley wrote for the imagination intending his play's stage to reside in the imaginations of his readers. However the play is filled with suspense mystery and other dramatic effects that make it in theory performable.<br/><br/>"On 11 March 1818 the Shelleys and Claire left England to take Claire's daughter Allegra to her father Byron who had taken up residence in Venice.He then began the long verse drama Prometheus Unbound a re-writing of the lost play by the ancient Greek poet Aeschylus which features talking mountains and a petulant spirit who overthrows Jupiter. The Shelleys moved between various Italian cities during these years; in later 1818 they were living in Florence in a pensione on the Via Valfonda. Shelley completed Prometheus Unbound in Rome and he spent mid-1819 writing a tragedy The Cenci in Leghorn Livorno." Wikipedia.<br/><br/>Charles Robert Ashbee 1863-1942 was a British architect and designer who was a prime mover of the Arts and Crafts movement that took its craft ethic from the works of John Ruskin and its co-operative structure from the socialism of William Morris. Ashbee set up his Guild and School of Handicraft in 1888 in London while a resident at Toynbee Hall one of the original settlements set up to alleviate inner city poverty in this case in the slums of Whitechapel. The fledgling venture was first housed in temporary space but by 1890 had workshops at Essex House Mile End Road in the East End with a retail outlet in the heart of the West End in fashionable Brook Street Mayfair more accessible to the Guild's patrons. The School closed in 1895 which Ashbee blamed on "the failure of the Technical Education Board of the L.C.C. to keep its word with the School Committee and the impossibility of carrying on costly educational work in the teeth of state aided competition." The following year the L.C.C. opened the Central School of Arts and Crafts. In 1902 the Guild moved to Chipping Campden in the picturesque Cotswolds of Gloucestershire where a sympathetic community provided local patrons but where the market for craftsman-designed furniture and metalwork was saturated by 1905. He was a member of the Order of Chaeronea a secret society founded by penal reformer and poet George Cecil Ives in 1897 for the cultivation of a homosexual ethos. To conceal his sexuality at a time when homosexuality was illegal Ashbee married the accomplished musician Janet Forbes in 1898 and had a rather progressive atypical marriage resulting in four daughters. The pair wrote a collaborative journal and Janet became a valued member of the Arts and Crafts community embracing the wider socialist concepts of the movement by setting up a craft cooperative with her husband. Ashbee also espoused the work of Edward Carpenter philosopher of the simple life and early gay rights campaigner who he considered his mentor. V & A. <br/><br/>Marie-Louise Farge fl. 1890-1939 was quoted first by Crauzat as a young woman bookbinder and then by Fléty in the Decorators and Bookbinders section as an amateur who participated in exhibitions between 1890 and 1939 so we can conclude that Marie-Louise Farge was already active from 1925. In a 1937 issue of the journal Arts et Métiers Graphique Alphonse-Jules Gonon former publisher and having become a bookbinder himself we learn that Madame Farge does everything in her studio from papers to gilding. Her style elegantly combines a certain fin-de-siècle archaism with a very modern sensibility that perfectly suits this "lyrical drama".<br/> <br/>Tomkinson. A Select Bibliography of the Principal Modern Presses. p. 75 Essex House Press # 43; Ransom Essex House Press #43; Franklin. The Private Presses p. 200. London: [Essex House Press] Edward Arnold , 1904 unknown books
1819001290London: C. And J. Ollier 1819. Original blindstamped red cloth. Half-title with ads on verso; four pages of ads at back. Small piece chipped from spine top; a few small ink spots on covers and spine; rear flyleaf and pastedown lightly stained. A very good copy the text clean and very nice. This is a somewhat later but original binding. This book was issued over a period of years in a variety of bindings. First Edition. C. And J. Ollier hardcover
JD37149London C. and J. Ollier 1819 first edition. Includes all of Granniss's first edition points including half title with publisher's ads on verso and two leaves of Ollier's at the end half morocco over decorated boards gilt decorations on spine with five raised bands TEG. Rubbing edgewear and soiling to extremities corners bumped light scattered foxing and toning on pages professional repair to margin of one ad page which doesn't affect text else a solid copy. London, C. and J. Ollier, 1819, first edition. hardcover
1999062655New York: Dodd Mead & Company. Clean crisp limited edition 95/500 hardcover in fine condition. Fine DJ in mylar cover. Near fine slip-case lightly rubbed. SIGNED by Stephen King and illustrator Berni Wrightson. . Fine. Hardcover. 1st Edition. 1999. Dodd, Mead & Company hardcover
1892318687Cambridge: Printed at the Riverside Press 1892. Large Paper Edition limited to 250 numbered copies inscribed by the editor on the ffep of Volume I: "To Mr. and Mrs. Lewis S. Bigelow/ from their friend/ G.E.R. Woodberry/ April 13 1901. 8vo. Bound in modern half brown morocco over marbled boards spines gilt with burgundy and green calf title labels some foxing to endpapers uncut and largely unopened else fine. Large Paper Edition limited to 250 numbered copies inscribed by the editor on the ffep of Volume I: "To Mr. and Mrs. Lewis S. Bigelow/ from their friend/ G.E.R. Woodberry/ April 13 1901." 8vo. Centenary Edition. Printed at the Riverside Press unknown books
1923203328Montagnola: Officina Bodoni 1923. Vellum. Discreet bookplate tipped in after front flyleaf; covers a tifle marked; just about fine in publisher's slipcase a bit worn at extremities. 4to 38pp; full white vellum. One of 222 copies the entire edition. A nice example of the early work of the press this copy belonged to John Ryder a leading collector of Officina Bodoni books in England and a director at the Bodley Head. Infrequently encountered in the original slipcase. Officina Bodoni unknown
1927015786London New York: Ernest Benn Limited Charles Scribner's Sons 1927. TEN VOLUMES UNIFORMLY BOUND. Backed in vellum with black leather spine labels. Green cloth-covered boards covers with three-fillet gilt borders. Top edges gilt. Some browning in gutters from binder's glue. The first four volumes contain Shelley's poetry the next three his prose and the final three his letters. All are crisp and clean. A beautiful and comprehensive set of Shelley's works. EACH HOUSED IN A CUSTOM SLIPCASE with little or no wear. See photos. The author 1792-1822 was an English writer one of the major English Romantic poets. He drowned ina boating mishap during a severe storm in Livorno Italy at age 30. Limited Editio. 1/4 Vellum Green Cloth. Nearly Fine/No Dust Jackets. Medium Demy Octavo. Ernest Benn, Limited, Charles Scribner's Sons Hardcover
182966585Paris: A. and W. Galignani No. 18 Rue Vivienne 1829. 8vo 3 parts in 1; pp. 6 Gaglignani ads on yellow paper 6 xi 1 225 1; xi 1 275 1; vii 1 75 1; portrait frontispiece of all three poets; original tan paper-covered boards printed paper label on spine; joints spine extremities and corners rubbed spine darkened textblock largely unopened scattered foxing mostly to fore-edge pp. 225-6 with short closed tear touching text armorial bookplate of Edmund Walker very good. This volume is the first collected edition of Keats' works and only the second collected edition of both Coleridge and Shelley containing works published for the first time from all three of these poets. Produced in Paris to avoid English censorship it incorporates material provided by friends and family of the poets and includes memoirs proceeding each section with Percy Shelly's provided by Mary Shelly herself. A. and W. Galignani, No. 18, Rue Vivienne unknown
1888260925London: Printed for private circulation for the Shelley Society 1888. One of three copies on vellum signed by the printers Richard Clay & Sons. ii 17 9 pp. 8vo 8-1/2 x 5-1/4 inches. Polished tan calf gilt spine front hinge started but holding by Tout. Bookplate of Edwin B. Holden. One of three copies on vellum signed by the printers Richard Clay & Sons. ii 17 9 pp. 8vo 8-1/2 x 5-1/4 inches. Printed for private circulation [for the Shelley Society] unknown
1888260925London: Printed for private circulation for the Shelley Society 1888. One of three copies on vellum signed by the printers Richard Clay & Sons. ii 17 9 pp. 8vo 8-1/2 x 5-1/4 inches. Polished tan calf gilt spine front hinge started but holding by Tout. Bookplate of Edwin B. Holden. One of three copies on vellum signed by the printers Richard Clay & Sons. ii 17 9 pp. 8vo 8-1/2 x 5-1/4 inches. Printed for private circulation [for the Shelley Society] unknown books
18213327London: C and J Ollier 1821. Second edition. pp. xvii but xv 104. Lacking half title. The original book has been disbound and the pages cut very neatly and expertly and then carefully pasted at the hinge edge on a leaf of plain white paper so that the leaves of text are interleaved with the plain leaves. This is one way in which prompt books were made allowing for notes and directions to be written on the plain leaves without disturbing the text. The leaves of text are cut to measure 151x95mm and the plain paper is 235x190mm. Bound in contemporary tan half calf marbled paper covered boards. Rebacked with spine lettered in gilt. The centre of the upper and lower covers has a circular morocco label stamped in gilt with a coat of arms around which in a circular band is stamped in gilt in gothic lettering Johannes Ludovicus Gautier. Apart from some scuffing to the boards and bumping to the corners the binding is in very good condition. Internally it is in fine condition with a little marking to the blank pages. On the verso of the front free end paper is inscribed in Gautier's hand "8vo. 1819. Italy Printed. 8vo. 1821. 2 Edition London. Collated. 1823." This unique and somewhat eccentric book contains an interesting story and set of connections. The name on the label on the covers is Johannes Ludovicus Gautier. Almost nothing is known about him but we do know that he bought books from the collection of the actor John Philip Kemble. The collection included numerous prompt books belonging to Kemble including Shakespeare's King John and Julius Caesar which are held at the Folger and William Wycherley's The Plain Dealer at the Huntington. John Kemble retired from the stage in 1817 and mainly lived abroad until his death in Lausanne in 1823. It seems that most of his books were sold in Switzerland in 1821. Those bought by Gautier are all bound in the same way as this copy although some of them have Kemble's arms and name on the upper cover in the same style as those of Gautier's. It seems that Gautier had all the books he acquired from Kemble bound in this way. Although there is no evidence on the book itself that Kemble owned this prompt book of The Cenci the connections and associations all point to his having done so. Shelley wrote The Cenci in 1819 intending that the part of Beatrice be played by Elizabeth O'Neill. Shelley had seen her perform at Covent Garden Theatre and although he was not as Mary Shelley noted particularly keen on the theatre he was so struck by O'Neill that he composed his first play for her. In the event she retired from the stage in 1819 when she married a wealthy Irish MP. John Kemble was the leading male actor at Covent Garden until his retirement and a powerful figure in the London theatre. He was visiting Dublin in 1814 and one evening at the theatre saw Elizabeth perform. He was so impressed that he brought her to London that year where she made her debut as Juliet to huge acclaim. Given the connection between Kemble and O'Neill and Shelley's fascination with Elizabeth it seems likely that Kemble and Shelley would have met in the years before Shelley wrote The Cenci. After the play was published in Italy in an edition of 250 copies Shelley asked a friend to approach the manager of Covent Garden Theatre Kemble and O'Neill's theatre to see if it could be staged there. The manager Thomas Harris declared The Cenci "so objectionable" that it could not be put on. Despite this a second edition of the work was published in 1821. It is quite possible that John Kemble retained his links with Covent Garden theatre and that he acquired this copy through his connections there. The copy has clearly been prepared for use as a prompt book. The fact that the 1821 edition has been prepared in this way suggests that there were still plans to try and stage The Cenci. Perhaps Kemble harboured thoughts of putting on his own production or perhaps he was given this by a theatre colleague who had made it for his or her own use in some future production. It is a fascinating and tantalising object. London: C and J Ollier 1821 hardcover
1880SHELLEYP004389Reeves and Turner London. 1880. First edition. Edited with Prefaces Notes and Appendices by Harry Buxton Forman. Octavo. Eight volumes. Plates. Period binding of half calf with marbled boards raised bands gilt decorated spines leather author- and title-labels. Marbled endpapers and edges. The first important collected edition of Shelley's works.Some light rubbing to the spines and edges most noticeably at the raised bands. Some spotting of the prelims. Some fading to spine labels. Very good indeed. A handsome and scarce edition. Reeves and Turner, London. hardcover
