1 033 résultats
02146321.4 cm x 16.4 cm. Photograph by Adam Clark Vroman Koshari-Pueblo of Santo Domingo ca. 1900. Between 1895 and 1904 Adam Clark Vroman photographed the landscape and native peoples of the American Southwest. He photographed the Hopis Zunis and Pueblos among other tribes. His portraits of Native Americans humanize rather than romanticize his subjects. The process he used most frequently was the platinotype or platinum print known for its non-reflective surface rich detail broad tonal range and permanence. The platinum process was widely used in the United States and Europe from 1880 through the 1930s when the cost of platinum became prohibitive and the silver-based processes gained prominence. Vroman moved to Pasadena California in 1892. He soon opened a book stationery and photo-supply shop there in November of 1894. He traveled through southern California Arizona and New Mexico on seven separate trips from 1895 to 1904 to document the area's landscape Indians and Indian communities. Vroman was employed as a photographer by the Bureau of American Ethnology a research unit of the Smithsonian Institution for two separate trips to the Southwest the former involving a climb to the Enchanted Mesa in central New Mexico to prove the existence of Indian habitation and the latter a documentation of Southwestern pueblos and cliff dwellings. books
04374Paris: Maison Martinet - Hautecoeur Frères 1860. With Twenty-Four Superb Hand Colored Lithograph Plates<br/>Depicting All Species of Animals<br/><br/>ADAM Albert illustrator. ROSTAING Jules. Le Jardin Des Plantes en Estampes. Dessiné et Lithographié par A. Adam. Accompagné d'une histoire De Tous Les Animaux Que Possède La Ménagerie par Jules Rostaing. Paris: Maison Martinet - Hautecoeur Frères 1860. <br/><br/>First edition. Large oblong quarto 10 3/16 x 13 1/2 inches; 259 x 343 mm. iv 30 1 table 1 blank pp. Twenty four superb hand-colored lithograph plates heightened with gum arabic and with multiple images. Some light foxing to text leaves only the plates bright and clean.<br/><br/>Publisher's black pebble-grain cloth front cover pictorially stamped and lettered in gilt lower cover with center blind-stamped decoration yellow coated end-papers front inner hinge expertly and almost invisibly repaired. Neat early ink inscription on front fly-leaf dated 1860. <br/><br/>The wonderful hand-colored plates depict Bison Deer Moose Antelope Lama Goats Birds Giraffe Buffalo Elephant Hippopotomus Rhino Camel Zebra Donkey Lion Tiger Leopard Jackal Wolves Hyena Orang-Outang Monkeys Dogs Birds of Prey Crocodile Snakes Gazelle and People.<br/><br/>Albert ADAM 1833-1900 was the son of Caricaturist and lithographer Jean Victor Adam 1801-1867 whom he often assisted with his commissions.<br/><br/>OCLC locates just one copy - The Morgan Libary NY Gordon Ray copy.<br/><br/>Unknown to Denise Bibliography of the Jardin des Plantes. Paris: Maison Martinet - Hautecoeur, Frères, 1860 unknown books
1961144660Paris: Cinedis 1961. Archive of 749 vintage keybook photographs from the 1961 French-Italian film. Over 200 are loose the remainder being affixed with cello tape on thick stock in two folio sized spiral bound notebooks with one title label present. Each photograph is numbered in holograph pencil on the versos 13 photographs credit photographer Water Limot 18 with his name stamped on the verso and each notebook page with corresponding numerical annotations in holograph pencil. Also included is a vintage Cinedis manila mailing envelope.<br/><br/>Limot's action photographs are poignantly interlaced with on-the-set images including tender exchanged between actors Bourvil Annie Fratellini and Colette Castel herself seen in striking authority behind a handheld camera. A few feature Black musicians <br/><br/>in the background surrounded by paparazzi and a few photos are slightly more candid with subjects hamming for the camera. <br/><br/>A businessman wants to buy land around the village of Cabosse claiming his desire for seclusion but with intentions to sell the water from the village fountain purportedly a fountain of youth. <br/><br/>747 photos are 3.5 x 4.5 inches or slightly smaller with small white borders at the foot and 2 photos are 5 x 7 inches. Light curling and most with tape ghosts and discoloration else Near Fine. Envelope and notebooks Very Good overall. Cinedis unknown books
1917217987Toronto: Printed by T. & A. Constable at the Edinburgh University Press for the Publisher's Association of Canada Limited 1917. Author' Edition. First edition Number 848 of 875 Impressions on All-Rag Watermarked Paper signed by the Publisher. Illustrated. 23 vols. 4to 27.2 x 20.5 cm. Bound in fulll green morocco upper board with large gilt seal t.e.g. Fine. Author' Edition. First edition Number 848 of 875 Impressions on All-Rag Watermarked Paper signed by the Publisher. Illustrated. 23 vols. 4to 27.2 x 20.5 cm. Printed by T. & A. Constable at the Edinburgh University Press for the Publisher's Association of Canada Limited unknown books
1791140941390London: Printed for A. Strahan; and T. Caddell 1791. Sixth Edition. Very Good. The Sixth Edition. Complete in three volumes In contemporary full tree calf rebacked with new spines. Bindings worn former owner bookplate to pastedowns. Old tidemarks to preliminary pages and faintly to textblock edge light foxing and browning to pages light and sporadic pencil marks in text. Printed for A. Strahan; and T. Caddell unknown books
1808109787Edinburgh: Printed for Bell and Bradfute W. Laing and Mundell Doig & Stevenson 1808. Rare example Adam Smith's first book bound in the original boards. Octavo 2 volumes bound in original boards edges uncut. In near fine condition contemporary name to the title pages. Scarce in the original boards. Adam Smith's Theory of Moral Sentiments his first book is "one of the truly outstanding books in the intellectual history of the world" Amartya Sen. First published in 1759 it laid the foundation for Wealth of Nations and proposed the theory repeated in the later work: that self-seeking men are often "led by an invisible hand. without knowing it without intending it to advance the interest of the society." "The fruit of his Glasgow years. Moral Sentiments would be enough to assure the author a respected place among Scottish moral philosophers and Smith himself ranked it above the Wealth of Nations. Its central idea is the concept closely related to conscience of the impartial spectator who helps man to distinguish right from wrong. For the same purpose Immanuel Kant invented the categorical imperative and Sigmund Freud the superego" Niehans 62. Basing moral sentiment on "the power one man has of putting himself in the place of another" in contrast to Hume's idea of self-interest "Smith was henceforth recognized as one of the first authors of the day" DNB. With Moral Sentiments and Wealth of Nations Smith created "not merely a treatise on moral philosophy and a treatise on economics but a complete moral and political philosophy in which the two elements of history and theory were to be closely conjoined" Palgrave III:412-13. To Smith when man pursues "his own private interests the original and selfish sentiments of Moral Sentiments he will in the economic realm choose those endeavors which will best serve society. Herein lies the connection between the two great works which make them the work of a single and largely consistent theorist" Paul "Adam Smith" 293. In his Theory of Moral Sentiments Smith develops an ethics based on a "unifying principle--in this case of sympathy--which would shed light on the harmonious and beneficial order of the moral world. As such it was of considerable interest to Smith's contemporaries who were groping for an ethics that would flow from man's impulses or sentiments rather than from his reason from 'innate ideas' or from theological precepts. If Smith had written only The Theory of Moral Sentiments he would enjoy in the philosophers hall of fame a niche not unlike that reserved for Shaftesbury or Hutcheson." Both Moral Sentiments and Wealth of Nations reflect Smith's "attempt to anchor the new science of political economy in a Newtonian universe mechanical albeit harmonious and beneficial in which society is shown to benefit from the unintended consequences of the pursuit of individual self-interest. There is thus a considerable affinity between the structure of The Theory of Moral Sentiments and that of The Wealth of Nations. Each work is integrated by a great unifying principle. What sympathy accomplishes in the moral world self-interest does in the economic one. Either principle in its respective realm is shown to produce a harmony such as the one that characterizes Newton's order of nature. Smith's ethics is one of self-command or self-reliance just as is his laissez faire economics. Smith's ethics and his economics are integrated by the same principle of self-command or self-reliance which manifests itself in economics in laissez faire" Spiegel Growth of Economic Thought 229-231. Printed for Bell and Bradfute, W. Laing, and Mundell, Doig & Stevenson hardcover books
1898List414Oraibi 1898. Platinum print 6 ¼ x 8 14 inches on 9 ¼ x 11 ½ inch sheet titled and dated in the margin in ink. The Illinois-born photographer Adam Clark Vroman moved to California in 1892 hoping that the dry climate would provide relief for his tuberculosis. He set up a studio in Pasadena and began a series of trips through California Arizona and New Mexico photographing the landscapes and residents notably the Hopi Zuni and Pueblo people. He would often travel with his friend Charles Fletcher Lummis editor of the Los Angeles Times and an amateur photographer himself. He worked for the Bureau of American Ethnology on two projects one in New Mexico at Enchanted Mesa and the other photographing cave dwellings in Arizona. Vroman's photographs of American Indians are notable for their lack of romantic embellishment as unlike many other Euro-American photographers of Indian subjects he did not try to imbue the photographs with sentimentality. <br /> <br /> This photograph from one of his trips in 1898 shows a Hopi Snake Dance in Oraibi Arizona. The Snake Dance held annually in late August is part of a larger ceremony mostly held in private. Many artists and photographers photographed the Snake Dance during the late nineteenth and early twentieth century and publications such as Harpers Weekly and The Saturday Review wrote of the ceremonies. Vroman's photograph is notable for the maturity and lack of exotification with the dancers shown within the village landscape surrounded by onlookers. <br /> <br /> Overall a fine example with minimal wear matted and framed. unknown books
1811AS006London: Printed for J. Maynard and F. Zinke 1811 Early edition. Three volumes. Finely bound in full contemporary brown tree calf boards and spines decoratively ruled in gilt black morocco spine labels lettered in gilt blue marbled text block edges. A near fine set with some light wear to extremities superficial cracking to the backstrips bookplates to front pastedowns Vol. II with a three-inch scratch to the rear board Vol. III with front hinge lightly starting but still sturdy. Overall a beautiful set. First published in 1776 The Wealth of Nations has been hailed as "The first and greatest classic of modern economic thought." The book is Smith's meditation on the influence of labor on economic development the relationship of a nation's economy to its national development and the intellectual underpinnings of a self-regulating free-market economic system. A groundbreaking text The Wealth of Nations had immediate widespread impact and continues to be a pillar of economic theory today. Indeed the authors of Printing and the Mind of Man aver that "Where the political aspects of human rights had taken two centuries to explore Smith's achievement was to bring the study of economic aspects to the same point in a single work." PMM 221. Hard Cover. Very Good. London: Printed for J. Maynard and F. Zinke hardcover books
18931517061893. hardcover. Illustrated title page. Many beautiful full-page color lithographs mostly depicting various mechanical components of the piano-forte. Printed primarily in yellow red brown & metalic silver and gold. Oblong 4to original blue-grey cloth stamped in gilt with decorative endpapers cloth is well-rubbed and edgeworn; interior is flawless. N.Y.: Wessell Nickel & Gross 1893.<br/><br/> Very scarce and interesting book with gorgeous printing by Lindner Eddy & Clauss lithographers.<br/><br/> unknown books
1791140940981Leipzig: In der Graffschen Buchhandlung 1791. First Edition Thus. Very Good. 463 pp. First edition of this second German translation overall of The Theory of Moral Sentiments made from the fifth English edition; no other German translation was published until 1926. Contemporary calf over speckled boards. Very Good. Binding lightly rubbed and marked spine with two small paper shelf tickets. Upper joint started but binding remains firm. Pages a little toned and with occasional foxing. In der Graffschen Buchhandlung unknown books
2722One engraved plate. xxiii 527 pp.; vi 494 pp. Two vols. 8vo cont. calf a few unimportant binding defects spines gilt red morocco lettering pieces on spines. Edinburgh: J. Dickson & W. Creech 1788. First edition of the author's most important book; it was published posthumously by one of the author's daughters who has provided here a biography of her father. Dickson 1721-76 wrote a number of practical works on agriculture which described techniques adapted to the soil and climate of Scotland. In the present work Dickson "collects the agricultural processes of the ancients under their proper heads and compares them with modern practice in which his experience renders him a safe guide. The first volume contains accounts of the roman villa crops manures and ploughs; the second treats of the different ancient crops and the times of sowing."-D.N.B. V pp. 943-44. Attractive set. ❧ Fussell II p. 57-Dickson "was able to dispose of some obscurities in Rei Rusticae Scriptores that had puzzled earlier non-agricultural scholars.". unknown books
1692019576Amstelodami Amsterdam: Peter Le Clert 1692. Book. Very good condition. Hardcover. Early edition. Octavo 8vo. Book I: xxxiv 372 pages of text viii pages of index. Book II: xxiv 274 pages. Book III; 275-638 pages followed by vi pages of index. In book III pages 451-537 are mis-numbered 551-637. Original full vellum binding with minor shelfwear moderate soiling hand-lettered spine and a small paper label. Gilt heraldic device stamped on the front cover. Measures 196mm x 157mm. Illustrated with a frontisportrait of the author and complete with two 2-page tables and a large fold-out table. Title printed in red and black. Previous owner's bookplate affixed to the inside of the front cover over a remnant of another bookplate: Bruno Kisch Pragensis. Previous owner's markings on the front endpaper and stamped on the back of the title page. There is a small amount of minor damp-staining and rippling to the bottom corner of the final half of the text. The final two endpapers have a small crease. Numismatics. Early printing. Peter Le Clert Hardcover books
168515007Paris: distribuë par l'Auteur en l'Hostel des Manufactures des Gobelins et en la rue St.Jacques 1685. Copper engraving on two joined sheets by Van Huctenburg and A.F. Baudouinst after Van der Meulen. Titled in French and Latin. Painted from life by the artist who accompanied Louis XIV on his campaigns Adam Frans Van der Meulen depicted in this wonderful panorama a post-battle view of Dôle the capital of Franche-Comté and the handsome surrounding region. In it Louis XIV and his brother survey the city they've won from a hilltop. There is actually no unpleasant evidence of military activity except for some smoke billowing from the far side of Dôle. Adam Frans Van der Meulen was a landscape and genre painter who specialized in battle scenes and his early works i.e. those from the years before he left for Paris the earliest dated work is from 1653 are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against inter alia the Spanish Netherlands and as Peintre de conquêtes du roi officially to portray the memorable sieges battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St Luke in Brussels but by 1663 he had moved to Paris where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun 1619-90 who not only was Premier peintre du roi but also from 1663 director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690. distribuë par l'Auteur, en l'Hostel des Manufactures des Gobelins, et en la rue St.Jacques unknown books
168516903Paris: distribuë par l'Auteur en l'Hostel des Manufactures des Gobelins et en la rue St.Jacques 1685. Copper engraving on two joined sheets after Van der Meulen. Titled in French and Latin. In excellent condition. Some infill work along the bottom margin. Image size: 18 1/2 x 38 5/8 inches. A striking contemporary view of Gray in Franche-Comte by the celebrated court painter Van der Meulen.<br/> <br/>This fine view shows the town of Gray in Franche-Comte built on the banks of the Saône River. One of the most important trading towns in Franche-Comte the region became a possession of the Spanish Hapsburgs in 1556. Although some of the region's fortified towns were occupied by France during the Wars of Religion peace and prosperity continued until the advent of the Thirty Years War when the region was ravaged by both Catholics and Protestants. Louis XIV conquered Franche-Comté in 1668 and again in 1674 and finally obtained its cession from Spain. Van der Meulen's striking image depicts the king and his armies entering the town after they successfully re-conquered the region. Adam Frans Van der Meulen was a landscape and genre painter who specialized in battle scenes and his early works i.e. those from the years before he left for Paris the earliest dated work is from 1653 are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against inter alia the Spanish Netherlands and as Peintre de conquêtes du roi officially to portray the memorable sieges battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels where he was baptized in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St. Luke in Brussels but by 1663 he had moved to Paris where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun 1619-90 who not only was Premier peintre du roi but also from 1663 director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690. distribuë par l'Auteur, en l'Hostel des Manufactures des Gobelins, et en la rue St.Jacques unknown books
16853659Paris: distribuë par l'Auteur en l'Hostel des Manufactures des Gobelins et en la rue St.Jacques 1685. Copper engraving on two joined sheets by A.F. Baudouin with the figures by R. Bonnart after Van der Meulen. Titled in French and Latin. A fine view of the fortified town of Calais and its environs recalling king Louis XIV's gradual acquisition of territory on the Channel coast from 1667 onwards.<br/> <br/>This excellent panorama shows Calais as seen from the landward side looking across to the ramparts of the fortifications surrounding the town to the roofs of the town itself and then beyond to the sea. In the fore and mid-ground the French army of King Louis XIV moves forward towards the town this scene enlivened by Van der Meulen's portrayal of the stormy conditions: hats blow off cloaks are wrapped around peoples' heads foot soldiers lean into the wind. This sort of detail supports the statement in the imprint that the present scene was painted from life by Van der Meulen. Adam Frans Van der Meulen was a landscape and genre painter who specialized in battle scenes and his early works i.e. those from the years before he left for Paris the earliest dated work is from 1653 are mainly cavalry skirmishes in the manner of his teacher Pieter Snayer. After he moved to Paris the character of his work changed and became more ceremonial. He now specialized in large topographical views and military scenes and in royal journeys processions and receptions. His most important task was to accompany the king on his many campaigns during the wars of conquest waged in the 1660s and 1670s against inter alia the Spanish Netherlands and as Peintre de conquêtes du roi officially to portray the memorable sieges battles and conquests of le Roi Soleil in large-scale canvases or cartoons which were later transformed into tapestries. Van der Meulen was born in Brussels where he was baptised in 1632. In 1646 he was apprenticed to the battle painter Pieter Snayers. In 1651 he became a master in the Guild of St Luke in Brussels but by 1663 he had moved to Paris where he joined a group of Netherlandish artists associated with the French painter Charles Le Brun 1619-90 who not only was Premier peintre du roi but also from 1663 director of the Parisian tapestry manufactory Manufacture royale des Gobelins. Van der Meulen quickly became a protégé of Le Brun and on his recommendation Van der Meulen was appointed court painter to Louis XIV on 1 April 1664 and at the same time became Le Brun's collaborator in the tapestry manufactory. In 1673 he was accepted as a member of the Académie royale de Peinture et de Sculpture without any obligation to submit a morceau de réception; in 1681 he became conseiller and in 1686 premier conseiller. He died as a highly esteemed artist in the Hôtel des Gobelins 15 October 1690. distribuë par l'Auteur, en l'Hostel des Manufactures des Gobelins, et en la rue St.Jacques unknown books
17641334674Paris: Briasson 1764. First French Edition. Hardcover. Octavos 2 volumes; VG; bound in contemporary acid-washed calf spines with two burgundy morocco labels each gilt titling and tooling; marbled endpapers; text block red; 1 leaf ad in volume 2 rear; JL consignment; shelved case 3. The first French edition was unauthorized the first authorized French translation would not appear until 1774. The 1774 translation was done by Blavet who published a letter from Smith in which Smith called Eidous's translation 'mortifying' a reaction which prompted Blavet to pursue his own attempt.;<br /> <br><br /> <br><br /> First appearing in 1759 The Theory of Moral Sentiments lays the ethical and philosophical groundwork for Smith's later economic work.;. 1334674. Shelved Dupont Bookstore. Briasson hardcover books
17971329312Paris: H. Agasse 1797. First French Edition. Hardcover. Octavo 316 283 pages; VG; bound in period quarter calf green marbled boards gilt titling and tooling to spine; mild wear and rubbing marbled paper slightly damaged in four places; speckled text block; interior clean with no names or markings; two parts bound together lacking frontispiece portrait as usual only bound into some copies; both half-titles and title pages present; JL consignment; shelved case 3. Essays on Philosophical Subjects is a posthumously published history of astronomy until Smith's own era plus some thoughts on ancient physics and metaphysics; This French translation published two years after the first English was translated by Pierre Prévost a Swiss philosopher and physicist who he demonstrated in 1791 that all bodies cold or hot emit heat by radiation. 1329312. Shelved Dupont Bookstore. H. Agasse hardcover books
177431062London 1774. Engraving by B. Pastorini. A fine engraving of a painted plaster and stucco ceiling from the interior at Kenwood House in Hampstead London re-modelled in 1761-1773 and now home to the Iveagh Bequest picture collection.<br/> <br/>Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57 Robert lived in Italy where he had a long productive friendship with Piranesi which was inspirational for both men. Adam's first book on Diocletian's palace in Dalmatia is clearly very like the archaeological investigations Piranesi was making at the same time of similar ruins. Piranesi's friendship and passion for Roman Classicism were seminal influences on Adam and the greatest single factor other than his own talent in the work Adam produced on his return to England. Upon his return the brothers launched their career by building the Adelphi from the Thames to the Strand in London which although not a commercial success at the time included one of London's most cherished buildings the Adlephi Theatre. Together the Adam brothers designed and built some of the most famous buildings in England including such bastions of English architecture as Kenwood House Keddlestone Manor and Syon House. To the interiors of their English country houses the Adams brought wonderful ornamental elements in niches lunettes festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time beginning in 1773 with the final volume being published posthumously in 1822.<br/> <br/>Cf. Brunet I.47; cf. Lowndes I p.8; DNB; Wilton-Ely The Mind and Art of Giovanni Battista Piranesi. unknown books
177434076London 1774. Engraving coloured by hand by B. Pastorini old dampstain to upper left margin. A fine engraving with contemporary hand colouring of a painted plaster and stucco ceiling from the interior at Kenwood House in Hampstead London re-modelled in 1761-1773 and now home to the Iveagh Bequest picture collection.<br/> <br/>Robert and his brother James Adam forever changed the face of British architecture by introducing innovative Classical design ideas. From 1754-57 Robert lived in Italy where he had a long productive friendship with Piranesi which was inspirational for both men. Adam's first book on Diocletian's palace in Dalmatia is clearly very like the archaeological investigations Piranesi was making at the same time of similar ruins. Piranesi's friendship and passion for Roman Classicism were seminal influences on Adam and the greatest single factor other than his own talent in the work Adam produced on his return to England. Upon his return the brothers launched their career by building the Adelphi from the Thames to the Strand in London which although not a commercial success at the time included one of London's most cherished buildings the Adlephi Theatre. Together the Adam brothers designed and built some of the most famous buildings in England including such bastions of English architecture as Kenwood House Keddlestone Manor and Syon House. To the interiors of their English country houses the Adams brought wonderful ornamental elements in niches lunettes festoons and reliefs. Their classically designed buildings were so numerous in London that they changed the prevailing feel of the city and established their brand of neo-Classicism as the model of elegance and importance. It is asserted that the brothers originated the concept of the uniform facade attached to the typical English row house an architectural device that distinguishes London buildings. This monumental contribution is evidenced in the Adams' designs for Portland Place and Fitzroy Square and these were used as architectural models for the whole city. The brothers brought their talents into other areas by designing furniture to complement their beautiful interiors and by creating and publishing a treatise of design entitled 'Works in Architecture'. The work was published in three volumes over an extended span of time beginning in 1773 with the final volume being published posthumously in 1822.<br/> <br/>Cf. Brunet I.47; cf. Lowndes I p.8; DNB; Wilton-Ely The Mind and Art of Giovanni Battista Piranesi. unknown books
05085Brussels & Leipzig: C. Muquardt 1841. The 'Artistic Fantasies' of Victor Adam<br/>Eighteen Fine and Humorous Lithographs all Heightened with Gum Arabic<br/><br/>ADAM Victor illustrator. NOREW Madame la Baronne de pseud of EYMERY Alexis. Fantaisies Artistiques. Album Récréatif. Illustré par Victor Adam. - Texte de Madame La Baronne de Norew. Brussels & Leipzig: C. Muquardt 1841. <br/><br/>First edition. Small quarto 5 13/16 x 5 7/8 inches; 148 x 149 mm. iv 1-114 pp. Hand colored lithograph title and seventeen hand colored lithograph plates all heightened with gum arabic. Tiny piece missing 1/4 x 1/4 inch from blank top corner of pp. 29/30; some slight loss of text to p. 100 due to to adhesion to varnish on facing color plate plate unaffected lower marginal tear on last leaf of text. Some slight offsetting from the text to the plates and some very light foxing. <br/><br/>Publisher's color pictorial lithograph boardssmooth spine lettered in black slight rubbing to extremities and corners small one-inch split to upper board. Still a near fine example of this very rare little book in the publisher's binding. With the small bookseller's label of H. Rohr Zurich on rear pastedown. An excellent example of this rare little color-plate book.<br/><br/>Rare this is the only colored copy that we have ever seen. OCLC locates just one 'uncolored' copy in libraries and institutions worldwide at Zeeuse Bibliotheek Middelburg Netherlands. <br/><br/>In this charming little album of artistic fantasies Victor Adam depicts many different and amusing scenes including 'an old couple' military men horses camels and a wonderful scene 'Le Gentil' the laughing stock of the village ladies who amusingly protects himself from being bitten by the local dogs by holding two chairs. <br/><br/>Jean Victor Adam 1801-1866 was a French painter and lithographer. Born in Paris he was the son of Jean Adam an esteemed engraver. During the years 1814 to 1818 he studied at the Ecole des Beaux-Arts and also in the ateliers of Meynier and Régnault. In 1819 he exhibited 'Herminia succouring Tancred.' He was almost immediately afterwards employed to paint various subjects for the Museum at Versailles amongst which are 'The Entry of the French into Mainz' 'The Battle of Varroux' 'The Taking of Menin 'The Battle of Castiglione' 'The Passage of the Cluse' 'The Battle of Montebello' 'The Capitulation of Meiningen;' the last three in association with Alaux. He also exhibited down to the year 1838: 'Henry IV. after the Battle of Coutras' 'Trait of Kindness in the Duke de Berri' 'The Postillion' 'The Vivandiere' 'The Road to Poissy' 'The Return from the Chase' 'Horse-fair at Caen' and numerous other subjects. He then retired from publicity till 1846 when he appeared as the exhibitor of some works in lithography to which branch of art he afterwards restricted himself. In this line he produced a lithographic album 'Views in the Environs of Paris' 'Studies of Animals for an edition of Buffon' &c. He obtained a gold medal in 1824 a second class medal in 1836 besides several others from Lille Douai and other cities. He died at Viroflay in 1866.<br/><br/>Alexis Eymery 1774-1854 aka. Amélie d 'Avignon de Norew was a French bookseller printer publisher and writer. He was a leading publisher of educational books in the 19th c. Eymery went to Paris at the beginning of the 19th c. where he worked first at the Ministry of War and began writing for the theater since 1801. On May 2nd 1809 he joined forces with the bookseller Pierre Blanchard 1772-1856 to form the company P. Blanchard et compagnie which became on November 30th 1811 Blanchard and A. Eymery. The association was officially dissolved on May 4th 1812 and the two partners split the business with Eymery keeping the address of 30 rue Mazarine. Eymery was the author of plays as well as numerous religious or moralizing books for young people published under different pseudonyms. His works were published between 1801 and 1854 and then posthumously between 1857 and 1867. He directed the collection of the Education Library founded by his daughter Désirée Eymery in 1834. His Bookshop was at 15 quai Voltaire from 1834 to 1844 he died at Neuilly-sur-Seine on May 1st 1854. Brussels & Leipzig: C. Muquardt, 1841 unknown books
2775Two folding engraved plates. xvi 427 pp. 8vo cont. calf upper joint with tiny split at foot spine gilt red morocco lettering piece on spine. Edinburgh: printed by A. Donaldson & J. Reid; for the Author and A. Donaldson; sold by A. Millar et al. London 1762. First edition. The author's first book and one of the most important Scottish agricultural treatises of the 18th century. Dickson 1721-76 was a clergyman in Dunse with a strong interest in the techniques of farming. The text here is divided into four parts: on vegetation tillage manures and soil. The underlying principle which runs throughout the book is that English works on agriculture were ill-suited to the soil and climate of Scotland. An expanded version of this work was published in Edinburgh in 1770 in two volumes. A nice copy. ❧ Fussell II pp. 55-56. unknown books
1640D17896Paris: Toussainct Quinet 1640. First Edition thus. Hardcover. Good. Folio a5 -a1 blank A-Y4 Z2; 8 179 1 pp. Illustrated with thirty-five double-paged engraved plates and eight double-paged typographical tables engraved title contemporary ownership inscription to title three parts bound as one; occasional staining but not a bad copy. Full contemporary speckled calfskin spine gilt. First edition published in France translated from the original German edition of 1631. <br/><br/> Toussainct Quinet hardcover books
201629564London: Studio Leigh 2016. First edition. 16-7/8 x 12 inches 44 leaves all but two with the fore edges uncut. Card covers hand-painted by the artist in a flourescent tinted Perspex box as issued. One of an edition of 30 numbered copies plus two artist proofs signed by the artist. Printed on the Indigo Digital Press by F.E. Burman on 100 gsm Zerkall mouldmade paper. RadioPaper is a collection of abstract color lithographs by Mary Ramsden; the textured colors and her use of show-through give a sense of three-dimensionality. The title comes from one of the names used for electronic paper. There are five tiny stories by the two-time Granta award-winning novelist Adam Thirlwell also partially hidden by the uncut pages. Mary Ramsden's first artist book. A set of unbound signed lithographs edition of ten is also available: please inquire. <br/><br/> Studio Leigh unknown books
19253347London: Jarrolds Publishers 1925. First edition. First edition. Thick quarto. Original white cloth with bold gilt-blocked and stamped Art Deco design by T. Sturge Moorevon front cover and spine. Limited to 500 Signed H.P.R. Finberg publisher No. 123. Preface by William Butler Yeats. Cover design exquisite illustrations and decorations throughout by T. Sturge Moore. One of the more impressive gilt stamped bindings of the period and seldom seen in fine condition. This without a doubt the finest copy we have seen of this book with no fading or browning to spine almost always seen. J. Taylor in "The Art Nouveau Book in Britain" 1980 has the following quote by T. Sturge Moore concerning the cover design: "The minor decorations are symbols: for the 'uncreated light' an unfigured circle; for the great renunciation a crucifix; for heaven-reflecting life a rose." Very fine. <br/><br/> Jarrolds Publishers hardcover books
179854493Paris: F. Buisson 1798. 2 volumes 8vo pp. viii 466; 4 51 1; sporadic foxing; pencil notes in the top margins of C6v and C7r in volume I and K5r in volume II; paper flaw in C4 of the second volume affecting 4 or 5 letters; F1 in volume II with blank corner torn no loss and the second A gathering in volume II substantially toned; all else quite nice in contemporary brown calf-backed marbled boards with vellum tips; smooth gilt-decorated spine laid out in three compartments gilt-lettered direct in 1; very pretty marbled edges green silk bookmarkers; near fine. There's a wonderful abstract of an article on line compliments of Laurie Breban and Jean Dellemotte at the Sorbonne which "aims at providing a critical analysis of Sophie de Grouchy's translation and commentary of Adam Smith's Theory of Moral Sentiments . This paper focuses on Sophie de Grouchy's translation of the Theory of Moral Sentiments 1759 published in 1798." At that time her translation was not the first attempt to spread Adam Smith's moral philosophy in France. However the two previous translations did not succeed there. The first one from Marc-Antoine Eidous and entitled Metaphysique des moeurs 1764 was unanimously criticized because of its bad quality. Smith himself looked at it as responsible for the bad reception of his work across the Channel. As for the second translation 1774-75 from Jean-Louis Blavet it seems to have been poorly disseminated. This contrasts with the reputation of Grouchy's translation which was praised from the very moment of its publication for its accurateness with respect to the original text. The success was such that it has been viewed for two centuries as the definite French translation of the Theory of Moral Sentiments. And Grouchy is even sometimes considered as "Smith's best-known contemporary translator." <br/><br/> F. Buisson hardcover books
