54 résultats
18462111902160200502Yamatoya keizo 1846. Soft Cover. Fine. Number of books: 2 books Yamatoya keizo paperback
187730067London: William H. Harrison 1877. Very Good. London: William H. Harrison 1877. First Edition. Octavo 18.5cm.; publisher's purple pictorial cloth designed by Florence Claxton elaborately embossed in gilt and black all edges gilt black glazed endpapers; iv5-156pp. Cloth a bit scuffed and worn along extremities with brief exposure at corners and spine ends spine cloth faded brief split to rear joint rear hinge cracked but holding textblock slightly shaken in binding else a Very Good bright example. <br /> Inscribed on front flyleaf to the American medium "Mrs. Hollis Billing With the kind regards of The Author / November 1879. London."<br /> <br /> Scarce collection of humorous poems and vignettes by the British author and editor of The Spiritualist. Running in the London Spiritualist circles Harrison would presumably have made the acquaintance of the inscribee American medium Mary Hollis Billing and her husband who served on the 1877 Committee of the Theosophical Society in London. <br /> <br /> Contents only glancingly Spiritualist though true to form the imprint provides the publication date based on different calendars: A.D. 1877 Popular Chronology; A.M. 5877 Torquemada; A.M. 50800077 Huxley. Like many Spiritualists of the day Harrison was especially interested in photography and several pieces in this volume relate to the art and science of the form. Notably "The Lay of the Photographer" describes in nineteen stanzas the chemical transformations of pyroxylin iodine and silver to develop photographs. Needless to say the poem is not very good.<br /> <br /> Advertisements for the present work attribute the cover design to British illustrator cartoonist and fringe Pre-Raphaelite Florence Claxton 1838-1920. One contemporary reviewer aptly describes the book as "handsomely-bound and griffin-guarded" Liverpool Daily Courier. William H. Harrison unknown
1895042909London: J. M. Sdent 1895. 1st Edition 1st Printing. Hardcover. Very Good . Viii 251 Pp. Red Cloth Gilt Top Edge Gilt. First Printing Uncorrected Missing Letter On P. 198; Currey Reports That Wells & Hammond Is Incorrect Reversing The Order Of The Bindings And That This Is The First Binding And Far Commoner Than The Binding Lacking The Gilt Rackham Figure On The Front Cover; We'll Give Currey A Vote Of Authority On This. Light Wear And Dust No Fraying Gilt Bright Some Fading To Spine Cloth. Large Illustrated Bookplate Of Walter Dexter Showing A Smiling Man With A Hook For A Right Hand. <br/> <br/> J. M. Sdent hardcover
1897330637Chicago: Way & Williams 1897. Hardcover. Very Good. Way & Williams 1897; stated Third Edition August 1897 no later printings indicated; ix 351pp. map frontispiece and 10 b&w illustrated plates. Black cloth binding with Art Noveau-inspired red and yellow lettering and sabretooth tiger design by the great Will Bradley gilt top edge. Binding is firm and fully intact; moderate amount of wear to edges of boards a few small pen-head indentations in spine; titling/design remains bright and bold. A very presentable copy. Way & Williams hardcover
18472111902160200580Zenkoji Daimoncho Tsutaya Bangoro Bookbinding 1847. Soft Cover. Fine. Volume: 1 Zenkoji Daimoncho Tsutaya Bangoro Bookbinding paperback
18981701A<p>George Bell PublLondon 1898. HB NO DJ FINE-/VG AS-IS Blue Grey Cloth decorated Gold Gilt1898 1st edition Cover light rub Wear Tiny chips extremities Interior Nice tight Clean Light FoX wear 365 pages Index Ads NODJ. First Edition. Hard Cover.</p> George Bell Publ,London hardcover
1820015887Paris Circa 1820 1820. Early Printing . Single Sheet. Near Fine. Color Engraving. Nineteenth Century Engraving 25 5/8" X 19 3/4" On Laid Paper Watermarked Mbm Produced In Color. Complete With Full Margins As Issued With Title In French Below The Image Which Is Approximately 39.5 X 30 Cm. The Engraver's Name Is Also Present At Lower Right. Philibert-Louis Debucourt 1755 - 1832 Was A French Painter And Engraver. Debucourt Was Born In Paris In 1755 And Became A Pupil Of Vien. He Executed A Few Plates In Mezzotint Such As The Heureuse Famille The Benediction De La Mariée And The Cruche Cassée After His Own Designs. Most Of His Work Was However In Aquatint. He Became The Leading Maker Of Multi-Plate Colour Prints Combining Washes Of Aquatint With Line-Engraving.2 He Used A Number Of Different Techniques But Most Involved Three Colour Plates And A Fourth Key Plate Outlining The Design In Black. Debucourt's Father-In-Law Was The Sculptor Louis-Philippe Mouchy. In The Marriage Contract Mouchy Generously Offered To Provide A Three-Room Apartment At The Louvre Where Debucourt Lived For Twelve And A Half Years. The Address Of This Apartment Is Often Given On His Prints. Some Of His Work Was Satirical Such As La Promenade Publique An Aquatint Of 1792 Showing A Crowd In The Gardens The Palais-Royal. As Well As Work From His Own Designs He Made Aquatints After Carle Vernet Including The Horse Frightened By A Lion The Horse Frightened By Lightning And The Strayed Huntsman. Debucourt Was Assisted For Some Years By His Pupil And Nephew Jean-Pierre-Marie Jazet. <br/> <br/> unknown
1888221661888. Original patent documentation for Edmond Verstraete's innovative 1888 railway car design an uncommon surviving artifact from the era of rapid industrial expansion and technological advancement in American rail transport. Verstraete Edmond. Railway Car. Washington D.C.: U.S. Patent Office July 24 1888. Patent No. 386512. First edition. 2 printed lithograph sheets measuring 9" x 7". Signed by inventor and witnesses. Includes two detailed mechanical drawings by Verstraete with formal submission details signed by the inventor and his attorney.<br /> <br /> This patent filed during a period when the U.S. railroad network was transforming American commerce and mobility documents Verstraete's reconfiguration of the passenger car interior and structural layout. The diagrams show side and overhead views of a self-contained passenger railcar marked by articulated platform entries segmented internal seating and a defined vestibule region. Of note are the annotated elements marked "x" in red ink labeled as "Lower entries" and "Passengers" likely indicating areas of operational focus or examiner queries. The first sheet offers a longitudinal cross-section while the second presents a plan and elevation revealing design emphasis on safety comfort and structural balance.<br /> <br /> The late 19th century witnessed a proliferation of railway car patents as inventors sought to enhance efficiency passenger experience and operational safety in the context of growing urban transit systems and long-haul travel routes. Verstraete's work fits within this inventive surge paralleling the emergence of Pullman cars electric trolleys and elevated rail networks. As cities like New York Chicago and San Francisco expanded rail-based infrastructure designs such as this laid the groundwork for more integrated mass transit and intercity rail travel. Light toning minor smudge at lower margin of first sheet archival notations in red and pencil at margin; "EXAMINER" hand-stamped at top. Overall very good condition. A scarce and compelling primary document reflecting the ingenuity and regulatory mechanics of the Gilded Age railroad boom ideal for researchers in industrial history transportation technology and the evolution of public transit. unknown
186912844Paris: Librairie Generale 1869. 1st. Hardcover. Good. 10.8x7.2x0.9in. paper covered boards with 3/4 cloth; boards are unevenly faded and soiled bumping to corners color plates have pencil number in upper corner 2 plates have old tape repair at gutter pages are generally clean but with toning at gutter. <br>A history of religious civil and military costume in France from the establishment of Christianity to the middle of the 19th century illustrated with 148 hand-colored plates. Text in French. <br>300pp 2.03lb 10.8x7.2x0.9in Librairie Generale hardcover
1820181123Likely Norwich: c.1820s. An eye-catching and infectious spectacle A prepossessing collection of textile swatches for clothing or furnishing likely produced in Norwich for selling to the German market. Using the whole spectrum of colours the designs incorporate stripes geometric shapes diaper patterns zigzags and chevrons floral and foliate motifs and ikat designs. The samples are arranged by pattern under titles in German and at times French and Italian. These include for example Weisbodige Croisé white strips and colour chevron-pattern stripes Rothbodige Köper thick red stripes alternating with those of other colours and Cuttni multicolour swatches with fine diaper or lozenge patterning. The samples are woven from wool a factor - together with their design - that points to their origin in Norfolk. "The presentation of choice in the books of samples from Norwich is literally fascinating with some pages so stunning and dazzling in their effect and we might argue that it could be the effect of the whole page that seduces the buyer rather than the individual sample. The almost infinite variations of colour and pattern accentuated in their intensity in the context of a book or card create an eye-catching and infectious spectacle" Mitchell. Accompanying these books are two other unrelated sets of several dozen samples both dating from later in the 19th century and at least one from France. Provenance: Cora Ginsburg 1910-2002 the expert in fine textiles purchased by her in England in 1962 - Stephen C. Massey. 2 vols tall octavo 260 x 150 mm. With 1063 unique samples of varying sizes mounted on rectos of 125 leaves printed in ornamental blue 2 folding at fore edge manuscript titles and numbers direct to leaves or on labels. Contemporary blue paper wrappers manuscript number or label on inner front covers. Housed in 19th-century calf pull-off box green lining and gilt decoration. Within custom blue cloth box with red label by James Brockman. Samples fine and bright wrappers creased pull-off box worn: a well-preserved collection. Victoria Mitchell "A Marketplace in Miniature: Norwich Pattern Books as Cultural Agency." hardcover
18672111902160201293Toto Shorin and others 1867. Soft Cover. Fine. Number of books: 4 books Toto Shorin and others paperback
1895DEMO013574INew York: Dodd Mead 1895. First edition thus. Hardcover. fine. George Wharton Edwards. Octavo full vellum extra gilt top cover marbled endpapers. <br/><br/>Stopford Brooke called this "the most glorious love-song in the English language". One of only 450 copies. Illustrated in an art nouveau style. Parsons declared Spenser to be the third name in English literature. Dodd, Mead hardcover
1805biblio167<p><i>The second edition with additions. Longman Hurst Rees and Orme. London. 1805 G. Woodfall Printer Paternoster Row to verso of half title. Octavo. Half title Title xv 300 21 bl. 1 1pp. 6 folding engraved plates. Later half calf marbled boards spine in six compartments leather label gilt lettering rules and embellishment. Minor corner chips to half-title. Short closed fold tear to Plate I. Toned with some light offsetting of plates foxing/browning to index.</i></p><p><i>This edition has an additional plate to the 1790 edition plus additional material. The plates are each dated September 1 1805. </i></p><p><i>Significant to the library of the vine. A handsome volume.</i></p><p><i>William Speechly 1723 – 1819 gardener to the Duke of Portland at Welbeck Abbey Nottinghamshire. ODNB.</i></p><br /> Longman, Hurst, Rees, and Orme. hardcover
185843744San Francisco: Whitton Towne & Co 1858. Hardcover. g- to g. Octavo. 324pp. Original blind-stamped cloth with gilt lettering on spine. Illustrated frontispiece. The life of Samson presents many examples of the principle on which the providence of God is conducted his power to deliver his people by whatever means he pleases the bitter consequences that results to them from their sins and the terrible judgments with which he overwhelms his enemies. Illustrated throughout with a total of 14 woodcut illustrations mostly plates with a few in-text. Binding with some bumping rubbing and sunning to extremities. Covers with some staining and scratches. Interior with light foxing. Starting at a few pages throughout. Binding tight overall. Binding in good- interior in good condition overall. Whitton, Towne & Co hardcover
1876020044Sunnyside Orpington Kent: George Allen for the author 1876. First edition. Published as Volume VII of "The Works of John Ruskin". Illustrated octavo pp vi 266 very clean internally full polished calf blind-stamped lining and decorations raised bands to the spine slightly rubbed and marked the spine head very slightly worn marbled endpapers all edges gilt the fore-edge bevelled a prize label for the Durham College of Science dated 1896 on the front endpaper. 'A Mansell binding . First Edition. Full-Leather. Very Good. George Allen (for the author?) Hardcover
1894013830Boston: Copeland and Day 1894. First Edition Thus. Hardcover. Very Good. As stated on the colophon the first complete edition this one of 500 copies on French paper with lettering and decorations by Bertram Grosvenor Goodhue in a custom inlay leather binding by Virginia Chester signed and dated 1911. Full dark green crushed morocco elaborately decorated front and rear covers and their versos aeg. Executed in Art Nouveau style perfectly appropriate to Goodhue's decorations. Signed by Chester with gilt pressed conjoined initials VC flanked by 19 and 11 for 1911 at the bottom of the rear inside cover. Spine moderately worn corners worn joints too more noticeably to front and shallow loss at spine ends more noticeably at top. Chester dropped out of university in Illinois in 1902 due to illness and took up bookbinding as a hobby. She never returned to college but continued professionally with bookbinding studying in Chicago with Gertrude Stiles in New York with Helen Haskell and in Paris with Henri Mulhae and Jules Domont. Around 1912 or so she returned to the Chicago and opened her own bookbinding studio in the Fine Arts Building. Penciled at the bottom of the fly leaf is perhaps her notes or a collector's: "Virgina Chester / Chicago/ 1024 Fine Arts Bldg/ code/ 11/28/13/ code". This binding appears to have been influenced by French design and technique. Copeland and Day hardcover
18632111902160201223Not Available 1863. Soft Cover. Fine. Volume: 1 Not Available paperback
1883128924New York 1883. Softbound. VG soiling to outer wraps. Wraps. appx. 50 pp. plus 21 sheets with well over 100 line engravings. Catalogue lists 714 works many of which are reproduced by line engraving. Includes names and adresses along with numbered catalogue entries for each artist at rear. Rare. paperback
188330421883. Softbound. Good wraps have edge-wear & rubbing; tanned. spine chipped. corners rubbed. Wraps. appx. 120 pp. numerous line engravings. Catalogue lists 605 works many of which are reproduced by line engraving. Includes names and adresses along with numbered catalogue entries for each artist at rear. Rare. paperback
188535921885. Good wraps highly tanned/darkened; smudged & rubbed w/ soiling. chipping to wraps & closing pg. soiling to extremities of pages. Wraps. appx. 110 pp. 48 numbered and others with illustratens 9 pp ads at rear numerous line engravings. Catalogue lists 740 works some of which are reproduced by line engravings. Includes names and adresses along with numbered catalogue entries for each artist at rear. Rare. paperback
18921895181892. Softcover. VG- soiling to front cover rear cover and perhaps one sheet of ads lacking. Wraps. appx. 46 numbered pages along with unnumbered sheets of bw illustrations and ads at front and rear 2 pp ads at rear more may be missing along with the rear cover. Catalogue lists 676 works many of which are reproduced by line engraving. Includes names and adresses along with numbered catalogue entries for each artist at rear. Rare. paperback
18941992731894. Softcover. VG- small area of chipping at base of spine. Illustrated stapled and glued wraps. 44 pp. plus 21 full-page photographic plates and one line engraving plus ads at beginning and end. Catalogue lists 607 works many of which are reproduced by line engraving. Includes names and adresses along with numbered catalogue entries for each artist at rear. Rare. paperback
18801895161880. Paperback. Fair covers off and are chipped and soiled. Contents better. Green cloth. iv 42 8 pp. 75 line engravings. Lists 765 works almost all of which are priced. The line engravings appear slightly exagerated but convey the sense of the work depicted. Quite rare in green cloth binding quite nice internally printed on fine paper. Included in this catalogue are appx. 130 etchings many of which are by members of the New York Etching Club. Addresses of members and non-members at rear. paperback
1845669New York: Israel Sackett Printer 1845. 8vo. 220 x 135 mm. 8 ½ x 5 ¼ inches. 32 pp. Removed from a pamphlet volume wanting front and rear wrapper. List of 369 works by American artists with a list of members of the Academy and an index of painters represented in the exhibition. The final leaf a subscription advertisement to the American Art Union for a fee of five dollars and the option of receiving an engraving of an artwork purchased with the proceeds of the subscription. 669. Israel Sackett, Printer unknown
1837674New York 1837. 8vo. 230 x 140 mm. 9 x 5 ½ inches. 20 pp. Removed from pamphlet volume. Title-page soiled corners folded with some minor loss. The pamphlet begins with a list of officers and members of the Academy followed by a list of pictures organized by room Large Saloon or Small Saloon and finally a list of all the exhibitors arranged in alphabetical order. Over 100 artists are listed most with their addresses following their names. unknown