62 résultats
1890450151890. WASHINGTON DC VIEW BOOK. WASHINGTON VICTORIAN SOUVENIR VIEW ALBUM. Portland Maine: Chisholm Brothers 1890. A Charles Frey Souvenir Album. Oblong 16mo. pictorial green cloth stamped in gilt & white. First Edition. Contains dozens of Washington DC images. Very Good bright. $75.00. <br/><br/> hardcover books
177015059Paris: Chez Daumont rue St. Martin 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century.<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Chez Daumont rue St. Martin unknown books
178010559Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques unknown books
1920224278Meadville PA New York Chicago & London Underwood and Underwood ca. 1910-1920. 1920. 3 3/8" x 6 7/8." Very good. Nice panoramic photo views of Universal City when most of the Valley land was agricultural. To be used in a view-master. F. Hardcover. Meadville, PA, New York, Chicago, & London, Underwood and Underwood [ca. 1910-1920]. hardcover books
4934San Francisco; ca. 1885: C. P. Heininger. Hard Cover. 5" x 3 ½";. 24 panels folded accordion style each with black and white photolithographs the first 3 panels showing a panorama birds-eye view of Los Angeles; another shows a view of Los Angeles in 1857; verso of last panel is a map depicting carriage drive and railroad of Los Angeles County and San Bernardino County at rear bound in embossed red cloth title gilt within frame.Very nice. pastedown is an ad of publisher C. P. Heininger. small booksellers' ticket on rear pastedown; scarce; near fine. <br/><br/> C. P. Heininger hardcover books
1946WRCLIT81268New York 1946. Series six double number 2/3. Quarto. Pictorial wrappers by Fernand Leger. Heavily illustrated. Lower fore- corner bumped with crease rear wrapper slightly dusty and smudged pencil erasure on contents page otherwise very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this special double number devoted to Paris and France include Sartre Genet Valery Michaux Gracq Abel on Bataille and Nietzsche Blanchard Char Camus Calas Fowlie et al. unknown books
1946WRCLIT81270New York 1946. Series five number 6. Quarto. Pictorial wrappers by John Tunnard. Heavily illustrated. Wrapper neatly separated at spine otherwise very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Edith Sitwell Borges "The Circular Ruins" translated by Paul Bowles Chagall Calas Tyler et al. unknown books
1945WRCLIT81230New York 1945. Series five number five. Quarto. Pictorial wrappers by Masson. Heavily illustrated. Lower fore-corner bumped with crease rear wrapper slightly dusty with small surface scrape at corner very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Bowles Seligmann Sender Goodman Tyler et al. This issue also includes an editorial on Pound's legal situation. unknown books
1945WRCLIT81261New York 1945. Series five number four. Quarto. Pictorial wrappers by Leon Kelly. Heavily illustrated. Lower fore-corner bumped with crease rear wrapper slightly dusty and smudged very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Tyler Ponge translated by Paul Bowles Fowlie Roditi et al. unknown books
1945WRCLIT81267New York 1945. Series four number three. Quarto. Pictorial wrappers by Fernand Leger. Heavily illustrated. Lower fore- corner bumped with crease rear wrapper slightly dusty and smudged very good. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Tyler de Chirico Sweeney Ford Tchelitchew Barry Ulanov et al. unknown books
1944WRCLIT81248New York 1944. Series Four Number Two. Quarto. Pictorial wrappers. Heavily illustrated. Ink name and date in top margin of contents page slight dusting to lower wrapper very faint creasing but a very good copy. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include O'Keeffe the upper wrapper Windham Zadkine Eberhart Lamantia Childs Ulanov Roussel W.C. Williams Roditi et al. unknown books
1943WRCLIT81275New York 1943. Series Three Number Four. Quarto. Pictorial wrapper by Tchelitchew. Heavily illustrated. Library stamp and a small sticker scar mar the upper wrapper the former nearly invisible in the illustration otherwise a very good copy. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Leon Kelly Calas Roussel translated by Edouard Roditi Ford et al. unknown books
1943WRCLIT81294New York 1943. Series Three Number Four. Quarto. Pictorial wrapper by Masson. Heavily illustrated. Library stamp and a small sticker scar mar the upper wrapper otherwise a very good copy. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Fowlie Tyler Calas Man Ray Paul Bowles "Bluey" Durrell N. Moore Zukofsky et al. MILLER c234. unknown books
1942WRCLIT81255New York 1942. Second series number three. Small quarto. Pictorial wrapper. Illustrations. Some sunning to wrapper edges and spine shallow faint tidemark and ripple to fore-edge toward upper forecorner otherwise very good. Edited by Charles Henri Ford and eventually a large and impressive board of associate and advisory editors VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs in its often profusely illustrated pages. This is the special thematic "Vertigo" issue with contributions by Seligmann Tyler Calas Reeve W. C. Williams Ford Bayliss W. Stevens Jarrell Loy M. Moore MacLeish et al. unknown books
1942WRCLIT81252New York 1942. Second series number two. Small quarto. Pictorial wrapper. Illustrations. Trace of light soiling to pale pink pictorial wrapper otherwise near fine. Edited by Charles Henri Ford and eventually a large and impressive board of associate and advisory editors VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs in its often profusely illustrated pages. This is the special dual issue devoted to Tanguy and Tchelitchew with the sections bound dos-a- dos. Contributors include Tyler Soby Kirstein W.C. Williams Henry Miller Masson "O'Reilly" Calas Seligmann Breton et al. unknown books
1942WRCLIT81253New York 1942. Second series number one. Small quarto. Pictorial wrapper. Illustrations. Trace of light soiling to pale blue pictorial wrapper faint shallow tidemark at extreme fore-edge toward upper corner otherwise very good. Edited by Charles Henri Ford and eventually a large and impressive board of associate and advisory editors VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs in its often profusely illustrated pages. This is the special issue devoted to Max Ernst with contributions by Breton Janis Carrington Tyler Henry Miller Calas Levy et al. unknown books
1941WRCLIT81256New York 1941. Series one number six. Folio. Tabloid format printed self-wrappers. Folded across middle spine of outer bifolia partially split otherwise very good. Edited by Charles Henri Ford and eventually a large and impressive board of associate and advisory editors VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs in its often profusely illustrated pages. This early number includes contributions by Calas Tanguy Merton Tyler Seligmann et al. unknown books
1942WRCLIT81259New York 1942. Series one double number 11/12. Folio. Tabloid format printed self-wrappers. Folded across middle spine partially and neatly split otherwise very good. Edited by Charles Henri Ford and eventually a large and impressive board of associate and advisory editors VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs in its often profusely illustrated pages. This early double number includes contributions by Abel Seligmann H. Miller Duncan Durrell Jarrell Tyler Carrington et al. unknown books
1947WRCLIT81274New York 1947. Series Seven Number Three the final number published. Quarto. Pictorial wrappers. Heavily illustrated. Library stamp and ink serial designation mar the upper wrapper wrapper otherwise a bit dust-dimmed otherwise a very good copy. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Tyler Goodman McLuhan Russell Atkins identified as his first publication et al. unknown books
1946WRCLIT81263New York 1946. Series seven number one. Quarto. Pictorial wrappers by Isamu Noguchi. Heavily illustrated. Faint dust tanning to white wrapper but very good or better. Edited by Charles Henri Ford and a large and impressive board of associate and advisory editors. VIEW carried on in the tradition of the continental surrealists displaced by the war and featured many of the expatriated artists and writers as well as their American heirs and other young writers. Contributors to this number include Schapiro Janis Seligmann Ford Tyler Sitwell Bowles "By the Water" Goodman W.C. Williams et al. MILLER C564. unknown books
190768720New York: American Stereoscopic Co 1907. Paperback. Very Good. 18 x 9cm. Card slightly concave as usual. Stamped on the back: Universal Photo Art Co. Philadelphia Pa. A white-haired African American man wearing patched-up winter clothes and feet coverings is holding an old rifle and is seated on a log. Beside him hangs what appear to be four of five rabbit carcasses. <br/><br/> American Stereoscopic Co paperback books
1885017965Portland ME: Leighton & Frey Souvenir View Co. 1885. Book. Very good- condition. Hardcover. First Edition. 12mo - over 6¾" - 7¾" tall. Photographic view book with 33 views on 12 gate-fold sheets. Housed in the original gilt and black decorative stamped boards. One inside cover has a printed map titled "Map of the Thousand Islands Park on Wellesley Island River St. Lawrence Property of the Thousand Island Park Association." Minor rubbing to the binding extremities minor browning to the paper backing the photographs and the folds are getting a bit worn. No date of publication listed; circa 1885. Adirondack Region. First edition. Leighton & Frey Souvenir View Co. Hardcover books
39300Meadville PA: Keystone View Company n. d. Ca. early 1900s. Stiff-stock paper warped light wear. A VG example. Stereo image of Temple of Zion Utah with man sitting in foreground. Image mounted to grey stiff-stock paper lettered in black ink. Oblong format: 3-7/16" x 7" <br/><br/>Further detailed explanation of the view and park is printed to verso. Keystone View Company unknown books
180010694London: Printed for Bowles & Carver No. 69 St. Pauls Church Yard 1800. Engraving with beautiful hand-colour. In excellent condition with the exception of tape on the verso of sheet. Image size: 9 3/8 x 15 3/4 inches. Vue d'Optique of the Royal Palace in St. James' Park in London<br/> <br/>During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring so as to show the tints when viewed through the lens. In their heyday optical prints were a technical revolution; they could be seen in almost every fashionable drawing room and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking.<br/> <br/>Clayton The English Print 1688-1802 140-141. Printed for Bowles & Carver, No. 69 St. Pauls Church Yard unknown books
35988London n. d. Black cloth spine over tortoise-shell boards with gilt stamping. Slipcase. Light wear with a bit of warping to boards. A VG item. 6 b/w views all captioned affixed to a fold-out sheet. Oblong format: 3-1/8" x 5-1/8" <br/><br/>The 6 views: "General View" "View from the Second Terrace" "Water Temples and Large Fountain" "The Rosary" "Interior with Crystal Fountain" & "The Orchestra." No copies located on OCLC. hardcover books
