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188052357London: Sampson Low Marston Searle and Rivington 1880. First edition. Hardcover. Very good condition. 17/50. Large Folio. 51 leaves. Original three-quarter blue leather over textured blue cloth with gilt ruling on covers gilt lettering tooling and ruling on spine; raised bands. Top edge gilt. Decorative floral endpapers rendered in lithography. Frontispiece engraving. Title page with engraving. Decorative initials. Black ribbon marker. Signed "Edition limited to 50 copies No. 17 C. O. Murray" in blue handwriting on half-title. illustrated with nineteen etchings including frontispiece and title page. All but the title page etching with C. O. Murray signature in plate and reference to the respective stanza. All plates tissue guarded with heavy paper plates. Contains list of etchings at front. Light wear along edges of binding some rubbing along hinges of spine. Offsetting to outer edges of endpapers from cover leather. Some offsetting of engravings to guards. Sampson Low, Marston, Searle, and Rivington hardcover
77-0792Hope Valley RI: Kay Dee Hand Prints 1964. 4to. Very Good. Soft Cover. 25 pp. B & W and Color Plates. Includes price list loosely inserted. Hope Valley, RI: Kay Dee Hand Prints, 1964 paperback
190517598Very Good. 1905. Print. This antique print is toned and thumbed in the margins but in very good condition. There is a small illustration on the reverse side. Size: 10.75" x 5.75". Illustration: 5.5" x 2.75". . . unknown
1987001669New York: Limited Editions Club 1987. Hardcover. Fine. Hafftka Michael. 2 53 5 p. 4 leaves of lithographed plates; 30 cm. Sewn and bound in vellum paper wrappers with yapp edges and the author's name printed in black on the spine; sewing bands are visible on the wrapper sides. Clamshell box is covered in light grey cloth with a small printed label on the spine bearing the author's name. Edges of box are black; lined with black felt. This is number 198 of a limited edition of 800 copies. Set in monotype Walbaum at the Out of Sorts letter foundery in Mamaroneck N.Y. and printed on mould-made Magnani paper at the Shagbark Press in South Portland Me. The lithographs were printed on hand-made Japanese paper at Trestle Editions N.Y. City. The book design was by Benjamin Shiff. Hand-sewn and hand-bound by Carol Joyce. Signed by the artist at the colophon. In Fine/Fine Condition. Limited Editions Club hardcover
188004411110044J Hetzel & Co Paris 1880. Edition Unstated. Hardcover. Very Good/No Dust Jacket. Illustrator: Ferat Pannemaker. Undated circa 1880. Ouvrage couronne par l'Academie francaise. Bibliotheque D'Education et de Recreation. Half leather with marbled boards small bookplate for John William Hoyland annotated by Rachel Barbara Hoyland green leather is worn with spine-label detached boards are good but paper is worn on edges binding sound pages are a little darkened but clean excellent illustrations full page map of Afrique Australe Southern Africa numbered 78 1878. Text is in French. Estimated date only. Illustrator: Ferat Pannemaker. Quantity Available: 1. Shipped Weight: under 1 kg. Pictures of this item not already displayed here available upon request. Inventory No: 04411110044. All our books music and maps are sent by a tracked mail service. J Hetzel & Co hardcover
1971ABE-10683366153Barre Publishers Massachusetts 1971 Barre Publishers 1971. Hardcover limited and slipcased signed by Michael McCurdy. The illustrations are printed from the original wood blocks. In a sturdy slip case. Signed by the artist limited to 1000 copies of which this is number 49. A beautiful small press production on 100% rag hand made paper. Slight scuffing on the leather spine edges at top and bottom. Language: eng Language: eng 0.0 Language: eng 0.0 Language: eng 0.0 Language: eng. Signed by Illustrator. Limited Edition. Hardcover. Near Fine. Barre Publishers Massachusetts hardcover
1984298176Maple Shade NJ: The Pickering Press 1984. Soft Cover. Near Fine binding. Large 8vo.; in blue paper-covered flexible boards with a decorative paper label to the upper board; 18 pages with a wood-engraved portrait as frontispiece and example of Pickering’s work tipped in and numerous illustrations in blue and black; there is minor fade to the spine. Near Fine binding. The Pickering Press unknown
1995TK254119Prestel & Museum of Modern Art New York 1995. 1st Edition. SOFTCOVER. Large 4to. in colour printed stiff glossy card covers 144pp on thick art paper colour plates etc. The first complete catalogue of Allen Jones' prints all are illustrated __CONDITION : An extremely well preserved AS NEW unread and unmarked copy. . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Prestel & Museum of Modern Art, New York paperback
18298060London: Jones 1829. Hardcover. Fine. Rebound in maroon cloth with black paper spine labels stamped in gilt. Fine condition. Minor foxing otherwise fine condition. 70 pages of text and 38 pages of steel engravings two illustrations per page in the first title. 52 pages of descriptive text and 40 pages of steel engravings two illustrations per page in the second title. Altogether 156 steel engravings on 78 pages. <br/><br/> Jones hardcover
18754432<p>One of 170 numbered copies on Hollande paper. Bound in 3/4 leather with marbled boards gold gilt top edges silk bookmarks. In very good condition sturdy and sound decorative bookplates on front pastedown of each volume some wear at spine and edges small chip at edge of half title page of volume 2</p> Édition Jouaust hardcover
1785000633London: Harrison & Co. 1785. Old Calf. Good Plus. 8.5" x 5.25. Stothard Thomas. London: Harrison & Co. 1785. Illustrated with 14 copper-engraved plates after Stothard. Vol 1. only which includes: Johnson Samuel. The Rambler 4 vols. in 1. bound with: Lyttleton George Lord. Letters from a Persian in England to his Friend at Ispahan. 1 vii 463 81 pp. Old calf 8v0 8.5" x 5.25". Joints weak with later three gilt incuse compartments added over spine edgewear; internally quite clean with lovely fine Thomas Stothard plates. L-40n <br/> <br/> Harrison & Co. unknown
18051317131London; Edinburgh: William Miller; The Letter Press by James Ballantyne 1805. Hardcover. Quarto iii 197 pages; VG; bound in period blind and gilt calf newly rebacked with brown leather paneled spine with a black label and gilt lettering; marbled text block and endpapers; mild rubbing and wear to boards; bookplate of the Countess of Beauchamp on the ffep; ownership stamp on sfep; with 4 engraved plates and an engraved headpiece vignette; wide margins. Shelved Room A Oversize. The History of Rasselas Prince of Abissinia originally titled The Prince of Abissinia: A Tale though often abbreviated to Rasselas is an apologue about happiness by Samuel Johnson. Early readers considered Rasselas to be a work of philosophical and practical importance and critics often remark on the difficulty of classifying it as a novel.1 Johnson was a staunch opponent of slavery revered by abolitionists and Rasselas became a name adopted by emancipated slaves. wikipedia. 1317131. Special Collections. William Miller; The Letter Press by James Ballantyne hardcover
71-2085Kensington CA.: John Wolf Prints 1991. 8vo. 12 pp. Soft Cover. Stapled Wraps. Black and white plates throughout. Tipped in is a 12-page typed listing of works offered and the prices. Very Good. Kensington, CA.: John Wolf Prints, 1991. paperback
1986246251Mexico: Editorial Dante 1986. Trade Paperback . Very Good. Two volume set; 127 engravings including three fold out illustrations by Catherwood. Mild wear. 321 volume one & 352 volume two. Editorial Dante paperback
2001058641The Folio Society 2001. First Edition Thus . Hardcover. Fine/Slipcase. Xix 472 Pp. Hardcover In Slipcase. First Printing Thus 2001. Text Following The Third Penguin Edition 1988 With Removal Of Otho The Great King Stephen And Poems Of Doubtful Attribution. Quarter Leather Gilt Illustrated Boards Green Endpapers. Fine In Fine Slipcase. <br/> <br/> The Folio Society hardcover
1640biblio319Antwerpt ca1640. <p>Portrait de Camillo Borghese Pape Paul V de 1605 à 1621 feuille de 222x160mm cuvette 170x115mm petites taches de rousseurs en marge trés bel état Non répertoriée</p> 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
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
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
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
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
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
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
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
