264 résultats
18801226329München, Braun u. Schneider, (1880). Imperial-Folio (ca. 56,5 : 39 cm). 12 S. erläuternder Text zu Tafel III - XXXII, 32 Tafeln, davon 1 zweifarbiger Titel m. Vignette, 1 Bl. "Vorwort" u. 30 Tafeln (numeriert 3 - 32) mit 118 Xylographien. OLwd-Flügelmappe m. geprägtem Außentitel (Ecken u. Kanten d. Mappe etwas beschabt, Deckel leicht fleckig, innen stellenw. etwas braunfleckig).
18931113# AUTEUR: Grand-Carteret John # ILLUSTRATEUR: Principaux artistes du siècle # ÉDITEUR: Firmin- Didot et Cie - Paris # ANNÉE ÉDITION: 1893 # COUVERTURE: 1/2 chagrin rouge - plats richement décorés d'un aigle et deux coqs dans un encadrement fleuri - dos lisse très décoré doré # DÉTAILS: In 4° relié XII + 774pp. Ouvrage illustré d'un frontispice chromotypographique, de 16 planches coloriées aux patrons, de 36 en-têtes et lettres ornées et de 487 gravures (dont 24 tirées en hors texte). Liste alphabétique des peintres, dessinateurs-lithographes, graveurs, aquafortistes, graveurs en médailles, statuaires, dont les oeuvres sont reproduites dans ce volume, précédant la préface. # PHOTOS visibles sur www.latourinfernal.com
18182921# AUTEUR: Racine - Regnard - Chapelle et Bachaumont - Hamilton - Voltaire - Piron - Gresset - Fléchier - Lefranc de Pompignan - Bertin - Desmahis - # ILLUSTRATEUR: Les meilleurs artistes # ÉDITEUR: Briand - Paris # ANNÉE ÉDITION: 1818 # ENVOI, BEAUX PAPIERS: Vergé # COUVERTURE: 1/2 basane verte - dos faux nerfs en liserés dorés - titre doré # DÉTAILS: 5 volumes In 16° reliés T1- VII + 225pp.+ 1ff. T2- 3ff/+ 234pp.+ 1ff. T3- 3ff.+ 205pp.+ 1ff. T4- 218pp.+ 1ff. T5- 252pp. Ouvrage orné de 36 planches, vues et portraits dessinés et gravés par les meilleurs artistes, dont une jolie petite vue du port de Marseille par Berhault et Bovimet et une représentation du ”grand jeu des diables” à Aix. Agréable exemplaire bien complet des gravures. # PHOTOS visibles sur www.latourinfernal.com
18831304053Paris, E. Bernard, 1883. 512 S. m. illustriertem Titel u. 150 ganzseitigen Selbstbildnissen. Hlwdbd d. Zeit m. schlichter Rückenvergoldung (Kanten etwas beschabt, Rücken teilw. aufgehellt, die Bildnisse haben teilw. schwach auf die gegenüberliegende Seite abgefärbt).
181946939Tbilisi.: 'Feniks'. December 1918 - 1919 February / March. Stapled as issued in original publisher's printed paper wrappers with titles to front covers in black issue no. 2 in red and black issues 2 and 3 /4 with publisher's vignettes issue 1 with advertisements to rear cover; repair to spine of issue 1 front cover of issue 2 detached. 4 issues in 3. 4to. c.220 x 190 mm. Printed text and verse in Russian throughout no. 1 with 3 mounted monochrome zincograph illustrations by A. N. Geevski no. 2 with monochrome illustrations by Terent'ev and P. Iashvili issue 3 with monochrome illustrations by Goncharova and Kruchenykh. An excellent complete set of the very scarce avant garde periodical 'Kuranty'.The short-lived literary and artistic periodical 'Kuranty' produced in Tbilisi during the Russian Civil War features contributions from many of the most important Russian and Georgian avant garde figures of the time: Alexei Kruchenykh and Igor Terent'ev contributed a large body of material but the contributions of Kyril Zdanevich the editor Boris Korneev Nikolai Sudeikin Tatiana Vechorka Rafalovich and others cannot be overlooked. Natalia Goncharova's 'Portrait of A. Kruchenykh' is reproduced in the final issue together with portraits by Kruchenykh himself.This Tbilisi-produced 'Kuranty' is not to be confused with the review 'Kuranty' published in Kiev in the same year and also of considerable rarity.'Kuranty' is extremely scarce and we can locate no complete sets in libraries although a facsimile is held and Johns Hopkins holds a copy of issue 1; auction records feature one complete copy only that sold at Christie's in 2014 as well asone other incomplete set also Christie's in 2007. 'Feniks'. unknown
1895biblio39444Harry C. Jones New York 1895. 384 pages. Fine Hardcover no dj. OliveGreen cloth Silver lettering and stamping. Thomas Todd's bookplate inside front cover otherwise The Book looks AsNew. 9.7"x6.8"x1.2". be41892. Harry C. Jones hardcover
1895biblio39443Harry C. Jones New York 1895.384 pages. Fine Hardcover no dj. OliveGreen cloth Silver lettering and stamping. Thomas Todd's bookplate inside front cover otherwise The Book looks AsNew. 9.7"x6.8"x1.25". Harry C. Jones hardcover
189724061416London: Elkin Mathews & John Lane Vol's I and II John Lane The Bodley Head Vol's III - XIII 1897. Hardcover. Near fine. Thirteen volumes complete octavo size approx. 4150 pp. Called "the gay nineties" in America and "the naughty nineties" in Britain the decade of the 1890s was in many respects one in which the Victorian morals and societal codes were loosening with many who on both sides of the pond "embraced more freedom fun and social permissiveness" n.b. quote from Wiki. <br /> <br /> Within the worlds of literature and art Oscar Wilde 1854-1900 and Aubrey Beardsley 1872-1898 were extremely influential both with a talent for bringing eroticism into their art and making it - almost - socially acceptable. In addition to their joint collaboration on "Salome" first published in 1892 they launched this periodical "The Yellow Book" with its first issue being April 1894. Beardsley was the first art editor and while Wilde was not a contributor his influence can be felt. <br /> <br /> Ultimately it lasted for only thirteen issues its demise coming about for almost the same reasons as its success. The public initially saw "The Yellow Book" as "something queer and rather alarming.and thus it almost immediately regarded it as symbolic of new movements." However after the trial and conviction of Oscar Wilde the publishers who were from the outset less inclined towards these new ideals than the artists combined with a reaction now negative from the public "the publisher's premises were set upon by a mob who vandalised the building" its final issue was April 1897 n.b. quotes from Wiki. <br /> <br /> ___DESCRIPTION: All volumes bound in full bright yellow cloth black illustrations and lettering on the fronts black lettering and decorations on the spines the table of contents reproduced on the back covers except the final issue which duplicated the design of the front replete with reproductions of artwork all in black and white with a single exception; bindings octavo size 8 1/8" by 6 1/2" pagination varies between 256 and 406; note that this set does not have the advertisements bound in at the rear. <br /> <br /> ___CONDITION: Overall near fine the boards mostly clean a few volumes with light spots the corners mostly straight a few slightly bumped most without rubbing and a few with minimal rubbing strong square text blocks with solid hinges we noted a few gutters just beginning to crack the interiors clean and bright and the set entirely free of prior owner markings; some light rubbing to the black ink on the bindings on most volumes light toning to some of the endpapers a few volumes with the boards very slightly bowed and some of the spines lightly sunned note that the spine of Vol. VI is significantly lighter in colour. <br /> <br /> ___POSTAGE: Please note that this set will require additional postage please inquire for details. International customers please also note that any taxes duty or tariffs charged by your country will of necessity be your responsibility. <br /> <br /> ___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind every book we sell. Please contact us with any questions you may have we are here to help. Elkin Mathews & John Lane (Vol's I and II), John Lane The Bodley Head (Vol's III - XIII) hardcover
1900748841900 Paris, Maison de la Bonne Presse, sans date (vers 1900), in 8° relié demi-basane aubergine, dos à nerfs orné ; quelques frottis.
1885195560New York.: Harper's Weekly. 28 November1885. Three wood engravings on a single newspaper leaf two quarter-page each 14 x 11.5 cms and one half-page 18.3 x 13.3 cms; 40.8 x 27.8 cms sheet unrelated text on the verso light age-toning very good condition. Wood engravings from "Harper's Weekly" published on the day Mandalay fell to the British at the close of the third Anglo-Burmese War. The short-lived war led to the annexation of the Konbaung Dynasty into British India by the proclamation of the Viceroy and Governor-General of India Lord Dufferin on January 1 1886. The engravings are from original photographs likely military photographs recording the war. The engravings are captioned: <br> "The Shiva Dagon Pagoda at Rangoon"; "The Great Bell at Mengdoon" and one larger half-page illustration "Monastery Near the Eastern Gate of Mandalay". . Harper's Weekly. unknown
1875174361London.: Walter. 1875. Fine hand coloured lithograph heightened with gum arabic 53.8 x 36.8cm plate size 55.7 x 38.7cm sheet size toning at the plate mark and to the margins verso of the plate browned but the face of the plate clean and unmarked small tear to the inner margin not affecting the plate. A very good example. Magnificent plate no.13 from the 7th and final volume of John Gould's magisterial "Birds of Asia" published over a twenty-three year period 1850-1883. <br> <br>"Numerous as have been the acquisitions rendered to ornithology during the last few years by the opening up of the great countries of China Yunnan and the vast territories lying between our Indian frontier and the Celestial Empire here has not been one fraught with greater interest than the fine Pheasant figured in the accompanying Plate. <br> <br>This beautiful bird is a native of Borneo and at first sight it might seem as if it might have been kept in one or other of the genera of gallinaceous birds.but on closer inspection it will be found to differ not only from these birds but from every from of Pheasant yet discovered; and I quite agree with Mr Sharpe who has had the honour of describing this magnificent species that its generic separation was necessary." John Gould from the text to accompany the plate. . Walter unknown
19004432England 1900. Very good. Small 4to 250 x 194 mm. 20 pp. printed on glazed linen color printed text and illustrations throughout. Color printed wrappers backed with red cloth with text and illustrations on both sides affixed with three staples as issued. On front cover: a young child looking into or through an aquarium; on back cover: 4 children on the bank of a river one of whom is seated in a rowboat. Thumbing and signs of considerable use by small and large hands covers are soiled and worn SEE IMAGES. RARE CHILDREN'S BOOK PRINTED ON LINEN THE COVERS OF WHICH FEATURE UNSETTLING RENDERINGS OF CHILDREN'S FACES. WHILE THE PRESENT PUBLICATION IS LIKELY ENGLISH WE DRAW ATTENTION TO CERTAIN SIMILARITIES WITH THE STRANGE AND WONDERFUL ILLUSTRATIONS PUBLISHED IN AMERICA BY THE IMMORTAL MCLOUGHLIN BROTHERS. <br /> <br /> We suggest that the book dates from 1880 to 1900 and was published in England based on the illustrators who contributed to it and the selections of the rhymes one of which "On the Fence" mentions London four times. The names of the illustrators include: Ernest Griset d. London 1907; E.J. Walker English active 1878-1886 and the English wood engraver Paul Jonnard 1840-1902; unidentified monograms include "LL" "HJR" and "AH" are found on others. Some of the illustrations appear to have been inspired by or copied from Kate Greenaway's great work. <br /> <br /> Not in JISC Library Hub Discover. Worldcat locates just two copies worldwide: Univ. Kansas Kearney and Univ. Minn. although claiming "5" copies exist only two are actually identified. unknown
1811910931811. Watanabe Nangaku 渡辺å—å²³ & Kawamura BumpÅ æ²³æ‘æ–‡é³³ artists. Nangaku BumpÅ KaidÅ SÅga å—丘文鳳 è¡—é“åŒç”». å…¨ Kawachiya Kihei and Yoshidaya Shimbei of Osaka and Kyoto respectively. Bunka 8 1811 26.2 x 17.9 cm. There is a preface by Bunya Shigetaka. Buff covers blindstamped with a geometric pattern of squares and octagons. Printed paper title label. Our copy of this bibliographically complex work appears to resemble most closely the copy at Ryerson 385 one of Mitchell's "B" examples. It would appear that the two volume edition Mitchell's "A" with a poetry volume is of extraordinary rarity. The KSSM only lists three examples and Mitchell lists his own and one other - a variant.<br /> <br /> What is clear in the midst of all the detail is that the impressions of this copy are fresh and beautiful. The juxtaposition of Nangaku and Bumpo designs is instructive and interesting. There is a bit of soiling and staining to the covers a very few internal spots and thumbing and a very mild internal waterstain - but overall still a pleasing copy of this uncommon and important book. unknown
189756093Cuba IL; Chicago IL Topeka KS & St. Louis MO: Raymond Whitnah Display Products Co. Kaye Whitnah Industrial Designs 1897-1970. Fifteen vols. sized 4to. 9.5 x 12 in. up to Folio. 14 x 17 in. Approx. 1414 pp nearly all unpaginated or unnumbered. including 295 silver gelatin & silver print photographs Polaroid and albumen images sized from 2 x 2 in. up to 13 x 15 in. hand-coloured silver prints the majority of the photographs are tipped-in 8 x 10 in. images into albums with thick black paper stock some linen-backed some are hand-coloured many of the silver print designs have been hand-painted or hand-coloured most on glossy photo stock 1 albumen photo mounted on studio card sized 6 x 12 in. many w/ annotations on versos some w/ captions in lettering below or dittoed and/or mimeographed explanatory texts on versos or mounted below the images; the majority of the silver print designs are mounted on beige or black linen hinges; with four of the photo albums still preserving all or at least have of the original binding covers 2 renewed 1 w/ hand-lettered title page and table of contents; many TLS ALS promotional inserts printed catalogues printed mimeographed and dittoed text several telegrams and all preserved in archival mylar sleeves together with the remainder of the archive. With 229 original designs paintings pen & ink pencil and water-coloured drawings artist’s renderings blueprints cyanotype blue-prints ranging in size from 6 x 8 in. up to 17 x 38 in. some framed by studio board others mounted on glossy paper stock and a significant portion on tinted paper stocks of gray brown taupe and tan some loose and others mounted with linen hinges most having either the Display Products Co. printed at lower fore-edges or printed in the explanatory texts below or on versos with some signed by artist at lower edge of the image occasional soiling creasing lifting & chipping to fore-edges of some renderings others with minor creasing or curling still nearly all bright and all preserved in post-binders or portfolio cases with stamping on covers. This incomparable archive of photographs and original advertising art was created by Ray Whitnah his company Display Products Co. and later his son Kaye Whitnah who were innovative commercial artists and industrial designers through the Jazz Age Great Depression World War II and the post-War era. Ray Whitnah’s displays incorporated life-like scenes wax models and often inventive display apparatus and mechanical elements incorporating stunning Art Deco graphics and story telling all heavily influenced by the displays of L. Frank Baum Ernst Goldsman and Gordon Selfridge pioneering window display artists at Marshall Field in Chicago at the beginning of the 20th century. The first volume includes prize-winning letters for displays across the Midwest for the Pugh Store Co. department stores and later for Crosby Bros. Co. department stores in Topeka KS incorporating photos documents announcements and trade journals. Photographs in the second volume reveal how Whitnah created striking sales tableaux for women’s furs hosiery girdles bathing suits Hoover Vacuums Motorola heaters and kitchen ware. Of special interest are the surrealist bathing suit windows superimposed behind a reverse painted clock face featuring undersea flower & shell arrangements and large sea snail. Other images show striking windows for Kotex Sanitary products DeFildiss Perfumizer Eline’s candies and apple bars Nemo-Flex Corsettes Phoenix Hosiery and others. Volume III entitled the “Championship Class†album provides a superb overview of Whitnah’s prize-winning displays including an elaborate Chinese rugs window with Chinese mah jong players; Pyrex ware window featuring four & 20 blackbirds flying from the pie; a mechanical bathing display; toy display featuring paraffin falls imitating frozen water; an elaborate Congoleum flooring display; and his tour-de-force mechanical Nemo Corset Display featuring a large turntable revolving with women’s figures representing seven ages appearing in order within four minutes per revolution and a ribbon to pull the layered photos to recreate the effect in the album. The fourth album incorporates inventive millinery and women’s fashions in minimalist vignettes for the Crosby Bros. Department store with some incorporating Moorish or Oriental inspired designs vivid Art Deco backdrops and historiated scenes reflective of the fashions in the opening years of the Roaring 20s. The fifth volume reflects the increasing creativity and daring of Whitnah including window displays showing flying Hoover vacuums increased storytelling and elaborate displays for Christmas Radiola record players an elaborate fairy tale scene for Hickock belts Maytag washers featuring backdrop of children dancing around the Maypole and series of Santa Fe RR windows celebrating travel on the Honeymoon. Of particular interest in this album is the large elaborate Kotex Sanitary Specialties window entitled “Kotex: A “Justice†to the World†featuring a lady justice on top of a globe Kotex packaging balanced in the scales and other products displayed around the window.The sixth & seventh albums mark the 1930 shift by Ray Whitnah to establish not only his own manufacturing company for window display fixtures and apparatus but also an Automotive Displays Inc. intending to target the burgeoning window display market with automobile dealers across the country producing lithograph posters newspaper camera ready ads catalogues along with flood lights backgrounds finished products no chassis and one-lithograph signs. The company was incorporated in Delaware in 1931 with Whitnah holding 51% of the voting stock. The sixth volume shows many different devices for displaying men’s clothes wooden shirt stands adjustable clothes stands and even their introduction into the Cohn-Storthz men’s shop in St. Louis MO. The famed St. Louis Mart and Terminal Warehouse was a massive Art Deco edifice later named the Robert A. Young Federal Building and designed by Preston Bradshaw who began with McKim Mead & White. Acquired by the U.S. Army in 1941. Volumes VIII thru XIII consist primarily of original artwork and renderings by Whitnah and his Display Products Co. team for a variety of companies and encompassing a broad range of stands risers product displays and mechanical devices to create stunning advertising displays. These include ocean liner stacks for swim togs Easter bunny displays stork displays for infant apparel as well as a striking 4 foot tall hat box display store unit which holds hatboxes. Also included are Art Deco streamline inspired Concert Rotors for Christmas merchandise a custom built beach shop toy & gift displays for toy departments and more. Volume IX & X include large vividly coloured Art Deco Christmas Box and North Pole holiday designs; decorations and metal filigree displays for handkerchiefs and windows; a large giraffe and a firework display unit for toys and of special interest a vivid “Bell-Hop Series’ display pieces of caricature Chinese-American and African-American display holders for Christmas wreaths. In addition Whitnah’s company had developed the “Horizons†display system which included Flexible Wood Panels that could be incorporated into window displays become the window display themselves and served as a kit system to attach other Display Products Co. fittings all executed with an Art Deco modernist aesthetic. The Horizon system also incorporated interchangeable forms to create arresting streamline floor and window displays that would enable the company to come into any department store client’s business and create an entire display system for them right down to the glue and lighting. Volume XI presents artwork of caricature cartoon and humor signs drawing from major cartoonist of the period and created exclusively for the Display Products Co. each mounted as enameled triangle and hanging from stanchions next to the Men’s Department or other Departments employing their display fixtures. Many of the original designs in the last couple volumes reflect an animated whimsey with stylized figurines cartoon-like characters some appearing to draw from Held while others from Pogo or other animators of the 1930s-1950s and many of the drawings with a decided Western inspired cowboy theme. Also appearing in these portfolios are many designs incorporating bamboo and bamboo shapes for stands displays shelving and backdrops. Many of the silver print blueprints and reproduced designs refer to the specific wood finishes on the wood carved and wooden stands created by the company. The final volume is devoted to the seat and interior designs by Kaye Whitnah for the Sabrejet 60 upgrade noted in this design proposal as the Sabre 70 and dated 1970 which would later become the Sabrejet 75 when it went into production at the end of the 1970s. Featuring 5 windows on the fuselage the Sabrejet Series 60A was over 3 feet longer than the original series 40 approved in 1963. The original drawings show window and and window frame assembly units as well as the interior cabin and seats designed by Whitnah along with manufacturing steps and Polaroid photos showing the process. Ray Whitnah 1893-1973 was the son of Arthur Whitnah a general store owner in Cuba IL and later Gardner KS where he worked as a sign painter and letterer until 1909 when he moved to Chicago to take a course in window display at the Chicago School of Window Decorating apprenticed with Jack Cameron -- famed commercial artist and designer at the Harris Emery Co. Department Store in Des Moines IA and later as the display manager for the 35 store Pugh Store Co. chain. After their bankruptcy in 1919 he became the prize-winning display manager for Crosby Bros. and by 1930 had set up his own successful display businesses in St. Louis MO where he would remain for the rest of his life. Kaye Lamoyne Whitnah 1918-1992 worked with father by World War II as an industrial designer and artist with Display Products Co. at 3944 1/2 Olive in St. Louis MO. Also an inventor he patents portable grids for Terrazzo Floor securing plates in displays in 1968 and later became the only manufacturer in the United States for the BMW Isetta parts with a customer list of 350 different Isettas. He was the owner of Whitnah’s Angler’s Isle Resort in Hay Lake MO and by 1989 had accumulated a collection of 13 1/2 Isettas manufacturing gas caps windshields and even hubcaps by creating molds and designs from the original parts. See: Appliances for Pillar Decorations Merchants Record & Show Window 1919 vol. XLV No. 5 p. 28-29. Who’s Who in the Profession R.T. Whitney Crosby Bros. Topeka KS Merchants Record & Show Window 1919 vol. 44 pp. 46-48; Designer Defies “Bubble Car†Parts Blight Pine River Journal Vol. 54 No. 17 July 13 1989. Raymond Whitnah, Display Products Co., Kaye Whitnah, Industrial Designs, hardcover
189239123Paris France: Librairie D'Art L. Baschet. As New. 1892. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - TEXT PRISTINE - 108 pages. Text in French. Contains portraits of 24 artists including F. A. Bridgman Francais W. Gay Guillaume and Raffaelli; also includes more than 70 photogravure illustrations of works by Jules Breton Bartholdi Puvis de Chavannes; A. Stevens Bonnat Lamy & many others. Red coverboards embossed with a gold palette and brushes. -- with a bonus offer--; Folio - over 12" - 15" tall . Librairie D'Art L. Baschet hardcover
187843Belles lettres - Théâtre journal hebdomadaire paraissant le jeudi du numéro 209 de Mai 1877 au numéro 364 de Mai 1880, soit 156 numéros reliés en 2 volumes. rédacteur en chef : A. Godement Reliure demi cuir à 4 nerfs, plats de percaline verte, format : 29 x 38 cm (plats et dos frottés). Chaque numéro de 4 pages, comporte la biographie d'une personnalité de l'époque et son portrait photographique en photoglyptie contre-collée sur la page de titre. Les photographies ont un format d'environ 9 x 12 cm. La photoglyptie est signée : LEMERCIER et les clichés sont signés de : NADAR, Pierre Petit, Carjat,, Dagron, Lopez, etc, etc, .... Extraits de la liste des célébrités : Emile Augier, Jules Verne, Jules Simon, Berthe Deligny, Léon Gambetta, Cécile Daubray, Ernest Renan, Emma Thursby, Jane May, Louis Blanc,MaurelLouise Thuillier, Dalbret, Labiche, George Sand,
1876142060F. Roy, Libraire-éditeur 1876 In-4 28,5 x 20 cm. Reliure de l’époque demi-chagrin brun, dos à 4 nerfs, caissons ornés de fleurons dorés et de filets à froid. 476 pp., 76 gravures dans le texte. Coins émoussés et usés, sinon assez bon exemplaire en l’état.
1808288495London: R. Ackermann 1808. First. hardcover. near fine. Thomas Rowlandson & Augustus Charles Pugin. Beautifully illustrated with 104 brilliantly hand-colored aquatint plates after Thomas Rowlandson and A.C. Pugin Pugin engraved the architectural details & Rowlandson the figures. 3 volumes. Illustrated woodcut titles and engraved dedication page to the Prince of Wales in each volume. 4 iv 2 231; 6 vi 239; 4 iv 280 6 pages. Large 4tos bound in contemporary 3/4 red calf over marbled boards with gilt spines; marbled endpapers; all edges yellow. London: R. Ackermann 1808-1810. <BR><BR>First edition likely bound from the original parts without the half titles as was often the case; the papers are watermarked 1806 & 1807 and containing 11 of Abbey's 12 key plates are in the first "luminescent" state and 12 of the 13 errata points still un-corrected. Offsetting from plates as usual and dedication pages are foxed but otherwise an exceptionally clean and bright copy with very infrequent spotting in margins on a handful of pages.<br/><br/> Rowlandson's first and most famous color-plate book increasingly difficult to obtain in early state as so many copies were broken up to sell the images individually. Ackermann is credited with establishing art lithography in England and this is one of his most interesting and valuable works. "The Microcosm of London is one of the great colour-plate books and a carefully selected copy should form the cornerstone of any collection of books on this subject. The plates present an unrivaled picture of London in the early 19th century of historic value as many of the buildings no longer exist." --Tooley 7. "Original impressions of these splendid plates have a luminous quality entirely absent from later printings". --Abbey Scenery 212.<br/><br/> R. Ackermann unknown books
1894RO20144567LIBRAIRIE DE L'ART / LES ARTISTES CELEBRES. 1894. In-4. Broché. Etat d'usage, Couv. convenable, Dos abîmé, Intérieur frais. 108 pages. Frontispice en noir et blanc. Nombreuses gravures en noir et blanc, dans le texte et hors texte. Dos manquant.. . . . Classification Dewey : 927-Artistes, sportifs
1896R160006011MERCURE DE FRANCE. 1896. In-12. Broché. Etat d'usage, Couv. légèrement passée, Dos frotté, Rousseurs. 322 pages. Portrait noir et blanc en frontispice, sous serpente. Traces de tampons de l'ancien propriétaire sur le 1er plat et en page de titre. Dos légèrement plié. Petite trace de crayon sur le premier plat.. . . . Classification Dewey : 927-Artistes, sportifs
18881226973Hamburg, C. Boysen, (1888). Folio. Illustrierter Titel, 1 Bl. über "Club Eintracht", 43 Taf. m. montierten Lichtdruckwiedergaben der Originalzeichnungen Allers'. OLwd.-Mappe m. Deckelillustr. u. Goldprägung (Mappe etwas berieben, Textblatt leicht braunfleckig).
1859BOOKS341609New York NY: W. A. Townsend & Company. Collectible-Acceptable/NO DUSTJACKET. 1859. . LeatherBound. Produced by a new application of Photographic Art under the supervision of John W. Ehninger; 12 mounted albumen prints and etchings . Folio text block is 0.5 in thick book cover has shelf wear on edges and corners title and text block gilt rear hinge torn and separated front hinge cracking; light foxing on pages; pages unmarked . W. A. Townsend & Company hardcover
1895NF0026ESSAYS ON AMERICAN ART AND ARTISTS American Art Co. 1895 first edition some dust soiling to cloth covers and light scuffing to leather spine and leather corners else a tight vg copy bound in half-blue leather and white cloth with all edges gilt. A literal Who's Who of contemporary American artists with both work by them and photos of them. American Art Co. 1895 hardcover
1888R260128927H. LAURENS. 1888. In-8. Broché. Etat d'usage, Livré sans Couverture, Dos abîmé, Intérieur frais. 383 pages. Portrait en marron et blanc à l'eau-forte en frontispice avec serpente. Nombreuses gravures en noir et blanc dans et hors texte dont deux héliogravures. Manque le dos et les plats.. . . . Classification Dewey : 927-Artistes, sportifs
1847006823Leipzig: Böhme. Plates printed by Halle & Walther Weimar 1847. First Edition. Contemporary Half Green Calf. Marbled paper pastedown on boards. Very Good Minus. Complete three year run of Biedermeier period beautiful plate or illustration-oriented German decorative arts publication. Styles promoted include neo-classical Greek and Gothic Revival -- in other words the full range of styles associated with the Biedermeier period. While this was a German publication and Biedermeier was most tightly associated with the German-speaking world the designs shown here are very much in keeping with the designs coming out of other parts of Europe and America. 4to. 28.5 by 19 cm. 108 plates most of which are color plates depicting ovens urns bowls other porcelain ware mantels friezes cornices other ornament and architectural features. Explanations of the plates are pasted onto the backs of some of the plates several plate explanations running on a single sheet which is cut smaller than the plates. Plates are numbered in three series essentially. The plates were issued four at a time. Original wrappers bound in. The publication is scarce with no institutional copies found outside of Europe and all but two of these in Germany. The magazine was published concurrently or slightly later in Weimar by a different publisher. Condition: foxing throughout sometimes heavier in darkness. Binding worn along edges and marbling surface sometimes rubbed. Spine calf darkened. Böhme. Plates printed by Halle & Walther, Weimar unknown