2 119 résultats
1939179237New York: Society of Illustrators 1939. Softcover. VG- general wear around wrap and spine edges. Red and B&W illustrated wraps. Profusely illustrated in B&W. Unpaginated. Includes list of pictures for sale. Published to accompany an exhibition which took place April 13-May 6 1939 Grand Central Fifth Avenue Galleries Fifth Avenue at 51st Street New York. Society of Illustrators unknown books
1993007311New York NY: Watson-Guptill Publications Incorporated 1993. Book. Near fine condition. Hardcover. First Edition. Quarto 4to. Hardcover binding. Unclipped dustjacket protected in archival mylar. Contains 493 illustrations most of which are in color. Almost new condition. The text is clean and unmarked. First edition. Watson-Guptill Publications, Incorporated Hardcover books
20161852806229Society of Illustrators 2016. Paperback. Good. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Ex-Library copy with typical library marks and stamps. Shelf and handling wear to cover and binding with general signs of previous use. Covers show shelf wear and creasing. Sticker residue on bottom of spine strip. Binding is sound; no writing or other markings. Secure packaging for safe delivery.Dust jacket quality is not guaranteed. Society of Illustrators paperback
20071-006114424XHarper Design Intl 2007. Paperback. New. 625 pages. 9.75x7.50x1.25 inches. Harper Design Intl paperback
2016G0692549196I3N00Society of Illustrators 2016. Paperback. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Society of Illustrators paperback
1986Q-0942604091Robert Silver Assoc 1986. Hardcover. New. In shrink wrap. Looks like an interesting title! Robert Silver Assoc hardcover
Z1-Q-003-03172Collins Design / Society of Illustrators. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Collins Design / Society of Illustrators unknown
201256770Society of Illustrators and Collins Design Harper Design 2012. A very light dampstain to fore-edges of first few pages else fine. Soft. Near fine. 4to. Society of Illustrators and Collins Design Harper Design Paperback
1935277439Budapest: George Vajna 1935. Limited. hardcover. near fine. Translated by Frances Shires. Ten original colored etchings by Lidia Farkas and Zoltan Poharnok. Thin 8vo unpaged bound in linen with an embroidered decoration. Budapest: Dr. George Vajna & Co. n.d. ca.1935. Limited Edition.<br/><br/> Number 103 of 250 copies signed by both artists. The etchings are printed by hand-press and are hand-colored. Small damp-stain on the upper corner of the binding otherwise a fine copy of this exquisite and quite rare book printed in Hungary.<br/><br/> George Vajna unknown books
1935277439Budapest: George Vajna 1935. Limited. hardcover. near fine. Translated by Frances Shires. Ten original colored etchings by Lidia Farkas and Zoltan Poharnok. Thin 8vo unpaged bound in linen with an embroidered decoration. Budapest: Dr. George Vajna & Co. n.d. ca.1935. Limited Edition.<br/> <br/> Number 103 of 250 copies signed by both artists. The etchings are printed by hand-press and are hand-colored. Small damp-stain on the upper corner of the binding otherwise a fine copy of this exquisite and quite rare book printed in Hungary.<br/> <br/> George Vajna unknown
06188London: Macmillan & Co. Limited 1903. Beauty That Hath Terror in It"<br /> The Detmold Brothers' Sublime and Unsettling Vision of The Jungle Book<br /> <br /> KIPLING Rudyard. DETMOLD Maurice & Edward J. illustrators. Sixteen Illustrations of Subjects from Kipling's "Jungle Book" by Messrs. Maurice & Edward Detmold. London: Macmillan & Co. Limited 1903.<br /> <br /> First edition. Folio 21 3/8 x 15 1/2 inches; 543 x 394 mm. Title page contents leaf and sixteen fine colored prints tipped onto white board with gray window mounts each with a cover sheet providing the title and a short extract from the text. Title-page and list of illustrations expertly repaired at fold second plate description with short marginal tear some light foxing to text and mounts only - the plates clean and fresh.<br /> <br /> Housed in the publisher's green cloth portfolio front cover lettered and with illustration in gilt one of two original green silk ties. An excellent example of the Detmold's finest work.<br /> <br /> Rendered in the rich colors characteristic of the Detmolds' artwork the plates in this portfolio far surpass the later small book edition published five years later whose reproductions appear comparatively muted. Considered among the finest book illustrations of all time R. Dalby notes: "These paintings were praised for their realistic detail and decorative arrangement" while Diana Johnson intriguingly observes: "The end result of this incongruous joining together of the quasi-scientific and the ornamental is an image which is both fanciful and often rather disturbing." <br /> <br /> Published when the Detmold twins were only twenty years old this portfolio was their final collaboration before Maurice's tragic suicide in 1908. Because the illustrations closely resemble original artwork when framed many individual plates were separated from their sets making a complete portfolio a rare find today.<br /> <br /> The sixteen plates in Sixteen Illustrations of Subjects from Kipling's Jungle Book represent the Detmold brothers at the absolute height of their early powers combining natural history accuracy with a highly personal imaginative symbolism. Executed when Maurice Detmold and Edward J. Detmold were only twenty the images reveal an astonishing maturity of design color harmony and psychological insight.<br /> <br /> Across the series animals are rendered with an almost zoological precision - musculature fur scale and movement observed with scientific care - yet the compositions are unmistakably poetic and stylized. Wolves stand with hieratic gravity; panthers and tigers possess an elegance that borders on the mythic; serpents coil with hypnotic inevitability. <br /> <br /> These are not merely illustrations of stories by Rudyard Kipling but visual interpretations that deepen and at times darken the emotional tenor of the text.<br /> <br /> Several plates focus on Mowgli himself depicted as a lithe vulnerable yet resolute figure often isolated against vast spare landscapes. His nudity is treated without sentimentality: the Detmolds emphasize his animal belonging rather than childhood innocence reinforcing the central tension of The Jungle Book - the precarious boundary between human and beast. In scenes with Bagheera Baloo and Akela the animals are endowed with a quiet authority their gazes expressive and morally charged suggesting intellect and memory rather than simple instinct.<br /> <br /> The Monkey People shown amid cold stone lairs and architectural fragments are among the most unsettling inventions in the set: simian forms twisted into almost grotesque attitudes animated by restless purposeless energy. By contrast the great predators - Shere Khan especially - are portrayed with a terrible beauty: powerful controlled and ominously calm embodying what the Manchester Guardian aptly described as "that beauty which hath terror in it."<br /> <br /> Color plays a central role throughout. The Detmolds employ a restrained but sumptuous palette - burnished browns smoky grays deep greens and muted ochres - heightened by subtle tonal transitions rather than overt brilliance. This lends the plates a painterly richness and a unity of mood that far surpasses the later reduced-format book edition whose reproductions inevitably dull these effects.<br /> <br /> Decorative framing carefully balanced negative space and rhythmic patterning of foliage fur and stone give each composition an architectural coherence. The result is a body of work that stands apart from conventional Edwardian illustration: neither merely narrative nor purely ornamental but a rare fusion of naturalism symbolism and psychological depth.<br /> <br /> Taken as a whole the portfolio reads as a visual cycle - grave hypnotic and occasionally disturbing -confirming the contemporary judgment that the Detmolds "prevent their work from ever sinking to the level of mere illustration." <br /> <br /> Complete portfolios are now scarce as many plates were long ago removed for framing making intact examples such as this especially prized.<br /> <br /> A report on the publication in the New York Times for 5 December 1903 stated that "the edition is strictly limited to 500 copies for England and America". This portfolio is a magnificent presentation of the Detmold brothers' celebrated book illustrations. Reviewing the London exhibition of the original artwork the Manchester Guardian commented that the Detmolds "are able to prevent their work from ever sinking to the level of mere illustration". The reviewer enthused that "the drawing of the Monkey People in the Cold Lairs who 'were not thinking of Mowgli's friends at all' is full of character subtle observation and invention. The figure of Bagheera in 'Mowgli and the Red Flower' has something of that beauty which hath terror in it. Baloo and Nag Kaa and Akela the lone wolf are brought before our eyes in a singularly convincing and engaging form". Manchester Guardian 5 November 1903. London: Macmillan & Co., Limited, 1903 unknown
9953reliure éditeur - 14x20.5 - 155 pp - 1981 - IDEAL BIBLIOTHEQUE - éditions HACHETTE - ilustrations de PAUL DURAND
9954reliure éditeur - 14x20.5 - 155 pp - 1981 - IDEAL BIBLIOTHEQUE - éditions HACHETTE - ilustrations de PAUL DURAND
Duc Dèje, Paris, s.d. (vers 1945). In/4 reliure éditeur demi-toile, cartonnage éditeur illustré, 24 p. en couleurs. Petites usures sur les coins et bords des plats, traces de manipulations sur les bords inférieurs des feuillets. André Galland né en 1886 et mort en 1965. Dès 1904, il illustre des livres pour la jeunesse, notamment pour les éditions Offenstadt. Avant 1914, il réalise des fascicules de romans populaires et des illustrations, grâce à Charles Clérice qui ayant besoin d’un aide le prend à ses côtés. Il succède à René Giffey pour la bande dessinée L’espiègle Lili dans la revue Fillette, en 1916. Il participera à la création des personnages Ninette et Clolo, avec Joseph Valle. Il contribue également à deux autres revues pour enfants, L'Épatant et L'Intrépide. Lorsque les progrès de la photographie retirèrent aux dessinateurs-reporters leur gagne-pain, il resta l'un des derniers à concurrencer victorieusement l'appareil, notamment dans les colonnes de L'Illustration. Après la guerre il conserva, par goût plus que par nécessité, le reportage judiciaire. Il se passionnait pour les grands procès et crayonna des centaines de croquis d'audience. Certains de ces "clichés" passaient à la une du Parisien. Il travailla aussi pour d'autres journaux, comme illustrateur ou dessinateur, tels que Le Dimanche Illustré, Les Belles Images, Le Petit Journal, Le Journal, Le Matin ou encore Le Charivari.
201405026Paris, Editions Aubier Montagne, 1985 ; in-8, 118 pp., br. BROCHÉ en bon état.
1928GITj697Paris chez Emile-Paul Frères 1928. In-4 2 feuillets non chiffrés (faux-titre, titre) 1-277pp 1 feuillet non chiffré (achevé d'imprimer et justificatif de tirage). Demi chagrin bleu nuit, dos à nerfs, filets dorés en tête, en queue et soulignant la pièce de titre rouge, plats de papier maroquiné rouge, non rogné, dos et plats de la couverture conservés, reliure de l'époque. illustrations de Edy Legrand: titre-frontispice, 8 têtes de chapitre, 8 hors texte. Tiré à 225 exemplaires, celui-ci 1 des 200 numérotés sur papier de Hollande (n°25), après 25 Japon Impérial. Bel exemplaire très frais et bien relié. Carteret V page 92.
Editions Didier & Richard, collection “Cités, paysages”, Grenoble, s.d. vers 1934, In/4 broché, couverture imprimée, 31 eau fortes de Drevet J. dont un frontispice, 139 pages. Exemplaire de luxe numéroté à la main (V / XXX) sur BFK des Rives. Le papier est en excellent état sans rousseur ni oxydation. Bel exemplaire.
Omnibus 2003, in/8 broché, fort volume de 1734 pages. Texte choisis et présentés par Francis Lacassin.
200509880Lausanne, Chez Franck Lüthi, imprimeur, 1966 ; in-12, 242 pp., broché, couverture illustr. Avec une dédicace - rare - illustré par Peynet.
189185548Keppler & Schwarzmann New York 1891. Hardcover. Used - Very Good. Puck Keppler & Schwarzmann New York 1891. iv232 pages no advertisements. Engravings. 7 x 5.5" gold stamped green cloth spine green stamped white boards; top edge trimmed. Bibliography of American Literature 1913. Sept. 2 1890 autograph letter on Puck stationery inserted: 'As there is no published portrait of me I am unable to accede to request'. Cover edges rubbed toned bit shaken VG. Keppler & Schwarzmann, New York hardcover
19781380552Novato: Presidio Press 1978. Hardcover. Quarto 576 pages. In Good condition with a Very Good dust jacket. Spine is white with black print. Dust jacket in mylar. Taped to interior pastedowns.Price unclipped: "$45.00". Boards in blue cloth with gold print. Light wear to spine caps and corners. Text block has owner name stamp on front flyleaf. Illustrated: b&w photographs. Inscribed in ink by the author on the front flyleaf.<br /> <br /> Oversized books. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers please inquire for rates. <br /> <br /> <p>NOTE: Shelved in Netdesk office Case #1. 1380552. FP New Rockville Stock. Presidio Press hardcover
1979GITg353Paris Editions Dominique Leroy 1979. In-8 broché couverture illustrée 253pp 1 feuillet non chiffré table. Orné de 16 illustrations par Carlo hors texte dont le frontispice. Exemplaire en bon état dans l'ensemble, bien complet de son texte et des illustrations. Réédition d'un célèbre roman des années 1920-1930.
Editions de la Maison Française, 1947. Grand in/4 en feuilles, couverture rempliée et illustrée sous étui et chemise cartonnés, illustrations de Decaris : 12 burins originaux hors-texte, 227 p. Monod 11226. Exemplaire numéroté sur pur chiffon corvol. Excellent état de l'exemplaire. Albert Decaris Marius-Hippolyte : 1901 - 1988, peintre, décorateur et graveur français. Il a beaucoup travaillé à l'aquarelle et au lavis d'encre, souvent pour préparer ses gravures, et a gravé de très nombreux timbres-poste. Formé aux arts graphiques à l’École Estienne, Albert Decaris est placé dans l’atelier de gravure d’Antoine Dezarrois. Reçu à l'École des Beaux-Arts de Paris, atelier Cormon, il obtient le premier prix de Rome de gravure en 1919 pour une œuvre titrée Ève avant le péché. Il a Albert Besnard comme directeur de la Villa Médicis de 1924 à 1926. Il est considéré comme l'un des grands dessinateurs et graveurs de timbres-poste, avec environ de 500 à 600 timbres réalisés, dont 174 pour la France métropolitaine.
190488203MLuther Minter 1904. Hardcover. Good. Blue cloth cover with illustrations and lettering in black and red. Unmarked with the exception of a red-ink soil stain on the front flyleaf. Pages yellowed with age and foxing on edges. No dust jacket. Cover has some wear and bumping along edges and spine. Cover is disolored around edges and spine. Creasing on some pages. Luther Minter hardcover
Robert Morel Editeur, Forcalquier, 1965. In/8 reliure toile noire Imprimé par Vitrant à Villiers Le Bel sur un “mauvais papier d’emballage fabriqué spécialement par les papeteries des Salvages à Castres” ; reliure d’après les maquettes d’Odette Ducare. Une dédicace notée sur la page de garde au stylo. Introduction de Monseigneur Trochu.
