Illustrated by Forty EngravingsBiblio.com
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1333998686.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1334684863.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0259211141.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1334069441.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1528134753.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1330031784.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1332405819.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
028203031X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
0282839682.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1332753000.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1334285632.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
19322092902141302789white and black company 1932. Soft Cover. Fine. Number of books: 1 white and black company paperback
19742080502106510399Bunkashuppankyoku 1974. Soft Cover. Fine. Volume: 1 Bunkashuppankyoku paperback
19812110502151100945Not Available 1981. Soft Cover. Fine. Number of books: 1 Not Available paperback
19822110502150904384Sanseido 1982. Soft Cover. Fine. Volume: 1 Sanseido paperback
009824England 1808: Alnwick Printed By W. Davison Book. Very Good Plus. Hardcover. Later Edition. 16mo - over 5¾" - 6¾" tall. 1 preliminary leaf illustrated title page ix-xxvi pages 1 leaf 29-198 pages 1 leaf including plates frontispiece. Bound in contemporary pebbled calf covers with central floral decoratios in gilt surrounded by decoratibve gilt border and two rules back gilt marbled end papers all edges gilt. Very Good Plus back gilt dulled and sunned light wear at spine ends and corners. Some of the illustrations toward the back are thought to be by Bewick. Alnwick, Printed By W. Davison Hardcover
MA12F-00007The Golden Cockerel Press. Collectible - Good. London: The Golden Cockerel Press 1949. Limited edition. First thus first with these illustrations. Sm 4to Hardcover 349pp. B/W illustrations. No. 370 of 500 copies. Good Book. Corners slightly bumped. Spine rubbed. Quarter leather. Red boards with gilt spine lettering and design on front cover. Top edge gilt. In polypropylene bag. From the collection of Charles Edward Roberts owner and founder of Wonder Book & Video. With his signature on his personalized bookplate on front pastedown. middle ages historical fiction fantasy fiction allegories Inquire if you need further information. The Golden Cockerel Press hardcover
1844H19378London: Longman Brown Green and Longmans 1844. First English language edition. Hardcover. Good. 2 volumes publisher's muted lime cloth with gilt decorations on front covers good set recent matching cloth over the Summer volume spine moderate wear to bindings plates show some foxing owner's name clipped from flyleaves with 18 engravings per volume. Longman, Brown, Green and Longmans hardcover
27048401Japan n.d. ca 1830-40's. Three prints two from an erotic book each in 2 parts: 20.5 x 14; 3rd is 19 x 14 cm. and is probably a later work from about the Meiji period or 1880's. The first two are slightly discoloredthe last one is clean. . . . THREE ORIGINAL COLOR WOODBLOCK EROTIC PRINTS . . . The first two prints are from what is probably the same erotic book Shunpon both show a couple engaged in love-making. Each has text and comments of the lovers while engaged in love-making. . One pair of pages are re-backed the other not they are from about the 1830-40's. . The third item is newer and quite clean. It shows a couple under a Kimono while the man caresses her vagina. This is probably a Meiji work from about 1870-80's. Its quite clean and bright with good image. . All are tipped on to a hand-made Washi paper backing sheet which is 17 x 20 cm. . Good examples from the "Shunga" erotic woodblock prints genre. . . unknown
19001421261900. JAPANESE ORNAMENTAL WOODBLOCK PRINTS. Bijutsu Kai. Collection of Pictures Regarding Colour Designs for Japanese Textiles Costumes. Five parts in one volume. Five folding plates and 18 full-page coloured woodblock prints per section for a total of 95 original illustrations. 8vo 232 x 160 mm. bound in Japanese accordion style with Japanese fold pages and silk-thread stitched spine in new linen cloth folding box with leather spine label. Kyoto: Geisodo ca. 1900. A superb set of this important compendium of early Japanese textile designs showing a great variety of patterns and scenes. The woodblock prints are often exceptional Japanese images very much in the wabi-sabi tradition. Not in Hillier The Art of the Japanese Book 1987. hardcover
0422T961637Hardcover. Very Good. VG overall two volume set. Privately Printed New York 1929. No reader's marks. Blue cloth sl. sun-faded on covers. 5 illustrations per volume. Heavy quality pages about 50% of them remain uncut. 2 vols 8vo 250 & 331pp. "Salon Edition" at foot of spine. Blue cloth no DJs. No reader's marks. Tight bright. hardcover
fr 2 vols, 8vo, 250 &Hardcover. Very Good. VG overall two volume set. Privately Printed New York 1929. No reader's marks. Blue cloth sl. sun-faded on covers. 5 illustrations per volume. Heavy quality pages about 50% of them remain uncut. 2 vols 8vo 250 & 331pp. "Salon Edition" at foot of spine. Blue cloth no DJs. No reader's marks. Tight bright. hardcover
1993TOB217-32233-A-0.50Folio Society. Very Good- with no dust jacket. 1993. Folio Society. Hardcover. No slipcover included. Foxing light to the exterior edge of pages only. Otherwise in great condition. No writing or noteworthy blemishes. ; - We're committed to your satisfaction. We offer free returns and respond promptly to all inquiries. Your item will be carefully wrapped in bubble wrap and securely boxed. All orders ship on the same or next business day. Buy with confidence. . Folio Society hardcover
63953Hamburg Berendsohn ca. 1850. . Die Berufsdarstellung zeigt den Nachwächter bewehrt mit Degen Pieke und Ratsche. - Zu dem Maler u. Lithographen Heinrich Jessen um die Mitte des 19. Jahrhunderts tätig der vor allem Darstellungen des Großen Brandes sowie Trachten- u. Militärbilder lieferte siehe Der Neue Rump S. 212. - Zu den Rändern angestaubt; gutes Exemplar [Hamburg], Berendsohn, [ca. 1850]. unknown
1700229131700. Cross-DressingWomen Military Joan of Arc engraving archive depicting the French military leader and martyr Jeanne d'Arc in iconic images of battle persecution and faith ca. 1770-1850s. The prints focus on Joan's leadership during the Hundred Years' War and on the gender-bending aspects of her identity and dress that contributed to her 1431 trial for heresy. Particular attention is given to her appearance in armor while directing troops or appearing before political authorities. These visual depictions emphasize Joan's adoption of male military clothing an attribute which has lead modern scholars of LGBTQ history to celebrate the saint as a queer and proto-transgender figure.<br /> <br /> Archive of eight engravings and proof impressions executed primarily in copperplate and steel engraving processes during the eighteenth and nineteenth centuries. The images depict several key episodes associated with Joan of Arc's historical narrative including portraits showing her wearing armor and holding a sword scenes of military command in which she appears mounted or directing troops and representations of her recognition by Charles VII and entry into the city of Orléans. A prison scene portrays Joan during captivity prior to her execution in 1431 emphasizing the moment when her continued cross-dressing became a major point of contention during her heresy trial. Several engravings were produced for historical publications and illustrated histories circulating in the eighteenth and nineteenth centuries including editions associated with François Guizot's History of France reflecting the renewed interest in Joan of Arc as a figure of national history. Archives includes:<br /> <br /> 1 Engraved for J. Sydney's History of England. The Maid of Orleans Receiving the Sword of St. Catherine. England c.1770-1820. A fine copper engraving framed within an elaborate Rococo border showing Joan receiving the sacred sword of St. Catherine an episode derived from medieval hagiography rather than strict historical documentation. Joan is mounted on horseback surrounded by armed men and clergy with a fortified tower rising behind her. The ornamental border and English publication context reveal the 18th-century Protestant fascination with Joan as a paradoxical figure: a warrior-prophetess both admired and viewed with suspicion.<br /> <br /> 2 Anonymous Artist. Va va fille de Dieu; délivre la France! Vision Scene. France c.1820-1850. A preparatory hand panciled engraving proof depicting Joan of Arc's divine revelation framed within penciled border guidelines. An angel descends from the clouds carrying a banner while pointing downward toward Joan who kneels in astonishment as cherubs hover above. The inscription "VA VA / FILLE DE DIEU / DELIVRE LA FRANCE!" anchors the scene as an allegory of Joan's heavenly mandate.<br /> <br /> 3 Henry Richter after. Joan of Arc Recognizes the King. London: The London Printing and Publishing Co. mid-19th century. A steel engraving portraying Joan's revelation of Charles VII at Chinon the pivotal moment when she identifies him despite his attempt at disguise. The richly detailed crowd scene and Gothic architectural setting emphasize both spectacle and legitimacy visualizing Joan as divinely guided rather than politically manipulated. <br /> <br /> 4 G. Greatbach engraver; after a painting by J. Opie R.A. Joan of Arc Declaring Her Mission. London: The London Printing and Publishing Co. Ltd. mid-19th century. Joan is shown making a dramatic gesture as she proclaims her mission before astounded soldiers and clergy. The engraving captures the tension between gender expectations and prophetic authority: Joan's outstretched arm determined expression and illuminated figure contrast with the skeptical figures behind her. <br /> <br /> 5 E. Scriven engraver. Joan D'Arc. London: H. Moore Sons & Co. mid-19th century.An engraving presenting a romanticized half-length portrait of Joan of Arc in armor holding a sword upright while gazing serenely into the distance. Behind her appear faint bystanders rendering her both an individual and an emblem of national deliverance. <br /> <br /> 6 Entry of Joan of Arc into Orléans. From Guizot's History of France. Paris/London c.1840s. A sweeping steel engraving of Joan riding triumphantly into Orléans accompanied by monks soldiers and citizens. The composition foregrounds her as a mounted military leader sword raised while crowds kneel and look upward in awe. Johannot's design visualizes Joan as a unifying national leader.<br /> <br /> 7 G. Stodart engraver; after H. E. Selous. Joan of Arc and Charles. London: Virtue & Co. mid-19th century.A dramatic steel engraving showing Joan standing beside Charles VII directing his attention toward the field of battle. The caption references their military collaboration. The interplay of armor banners and a stormy sky underscores Joan'smilitary might. <br /> <br /> 8 T. Brown engraver; after E. Corbould. Joan of Arc in Prison. London: The London Printing and Publishing Co. mid-19th century. A somber interior scene depicting Joan in captivity clasping her hands as guards and clergy surround her. Corbould emphasizes her steadfastness and the emotional gravity of her final days. Produced for an illustrated royal history King Henry the Sixth the image cast Joan as a martyr of conscience.<br /> <br /> In recent decades scholars in LGBTQ history and gender studies have increasingly examined Joan of Arc as a proto-queer icon who challenged traditional ideas of gender identity and expression. Medieval trial records document that Joan consistently wore male military clothing during her campaigns and continued to wear such clothing during imprisonment a choice that became a central accusation in the charges brought against her in 1431. Some historians and queer theorists have interpreted Joan's refusal to abandon male dress even under threat of execution as evidence of a personal gender identity that did not conform to contemporary expectations for women. Joan of Arc has been cited as an example in Medieval history of an individual navigating queer identity long before the modern understanding of terms like trans non-binary or genderfluid. <br /> <br /> Light toning and mild foxing to some edgewear and staining present to some margins. Prints are clear and paper crisp. Overall very good condition. A compelling and diverse archive of eight Joan of Arc engravings and artistic proofs representing two centuries of European historical illustration and devotional imagery. The collection captures Joan's transformation from medieval visionary to modern nationalist and feminist icon. unknown
