2 213 résultats
First edition, 12mo (160 x 115 mm), [4], 180, 2, [2]pp., 3pp. of adverts. at end, lithograph frontispiece of the school, ownership name and date on title and front endpaper "S. G. Tatlor C. G. S. Rugby, came 1892 - 1894", orig. embossed cloth, gilt, a nice copy.
Fine/Near fine (clean unclipped dj a little wavy a top edge else undamaged, clean green cloth with bright silver titles spine and front board, all in fine condition) octavo 133pp. First edition. Diverse collection of essays mainly concerned with the author's years at Shrewsbury School, 1929 to 1971. With b/w photographs. Inscribed on front free endpaper by the author's wife "John Roughley, with best wishes from Hilary Bevan, 3rd August 1988".
1st edition. VG pbk. 13809. eng
Paris, Payot, 1970. In-8 broché de 376 pages. Collection Etudes et documents. Très bon état
Payot, 1967. In-8 broché de 348 pages. Bon état
82 pages. Features: Frontier Hellion; Death of Bob Ford; When Rain-In-The-Face Saved Buffalo Bill; The Truth About the Dodge City War; Jose Chavez, the Man Who Refused to Die; Nevada School Days; Wild Bill Longley; Bill Barker of Barkerville; Nate Champion Tells About the Range; Fiddlin' Ben of Clio; Evolution of the Horse. Magazine
The spine of the dj is slightly darkened. Text is clear and clean. Used
Little Golden Book #A24. 6 1/2"w x 8"h. This book has been used by a child - all picture stamps neatly placed and the spelling words written down in neat cursive pencil. Wonderful color illustations.
106 pages with index. Former owners' names written on front paste down, front endpaper (both sides) and rear paste down. No school markings. Still holding together but lots of defects. Book
This is a very good softcover copy with almost no wear. Just a few blue marks to the right page edges. Otherwise completely clean inside and out. The spine is not creased. This catalog was prepared to accompany the exhibition at the Yeshiva University Museum from December 1982 through June 1983. Essays by six scholars. Zeev Raban (1890-1981) was a member of the Bezalel School and famously illustrated Solomon's Song of Songs, among many other publications. 164 works in the exhibition. All illustrated, some in color. Chronology. 10" high X 8" wide, 120 pages.
Full tan cloth boards with black and orange illustration on cover. Cover a bit soiled. 8"w x 9 1/4"h. 32 pages. Taped tears on several pages. School stamp inside. No copyright information. Circa 1910. Contains these stories: Three Jovial Huntsmen; Sing a Song of Sixpence; The Queen of Hearts; and The Farmer's Boy.
Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid, circa 1870. Aquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos, è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce ne 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Etching with burnished aquatint and engraving, 1799. From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia [circa 1870].A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 56, Delteil 78.
No marks or inscriptions. No creasing to covers or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 186pp. Britain's biggest music magazine with main feature on Chris Martin and Coldplay plus Robert Plant, Glastonbury 2002, The Flaming Lips, School Disco, Liverpool, Paul Okenfield, Papa Roach, No Doubt, CD piracy, Madonna and reviews, chats and much more.
Le centurion, 1986. In-8 broché de 131 pages. Bon état
ESF, Science de l'éducation, 1978, 148 pp., broché, très légères traces d'usage, bon état.
Acquatinta e acquaforte, stampata in seppia, 1786. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1786. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
Acquatinta e acquaforte, stampata in seppia, 1789. Dalla serie: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani pubblicata a Londra da John & Josiah Boydell nel 1789. La serie consiste di cinquanta stampe da disegni di Cipriani 'incisi da Mr. Richard Earlom' inclusee sette incise da Maria Catharina Prestel, Bartolozzi, Kirk e Legat. Richard Earlom (1743-1822) fu uno dei più grandi incisori a mezzatinta e a puntini del suo tempo. Fu apprendista dell'incisore londinese G.B. Cipriani e studiò alla St Martin's Lane Academy. Vinse molti premi per i suoi disegni e incisioni. Nel 1774, iniziò a lavorare per John Boydell per il quale creò trecento tavole dopo Claude, pubblicate come il Liber Veritas (1777-1819). Creò anche per Boydell cinquantuno tavole di Cipriani. Earlom incise opere eccezionali sia dopo i disegni dei suoi contemporanei che dopo i vecchi maestri. Boydell commissionò il suo talento per alcune delle più famose tavole della Houghton Gallery e della Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) fu un pittore decorativo e designer fiorentino, attivo principalmente in Inghilterra. Nel 1755 fu portato a Londra dall'architetto Sir William Chambers e dallo scultore Joseph Wilton, che lo avevano conosciuto a Roma. Fu impiegato nella decorazione di molti edifici pubblici e case private e in alcuni casi progettò dettagli architettonici come intonaco, legno e scultura in pietra. Buoni esempi dei suoi dipinti sono alla Somerset House (dove lavorò per Chambers) e nel Philadelphia Museum of Art (una serie originariamente eseguita per Lansdowne House, Londra). Fu anche attivo come insegnante alla Royal Academy (fu membro fondatore nel 1768 e disegnò il suo diploma), e i suoi numerosi disegni decorativi (molti incisi da Bartolozzi, suo amico dai tempi degli studenti) ebbero una grande influenza. Il lavoro di Cipriani è compiuto piuttosto che ispirato, ma fu, nelle parole di Sir Ellis Waterhouse, 'una delle grandi figure di retrovia dello stile neoclassico in Inghilterra'. Aquatint and etching, printed in sepia ink, 1789. From the series: A collection of prints, after the sketches and drawings of the late celebrated Giovanni Battista Cipriani published in London by John & Josiah Boydell in 1789. The series consists of fifty-plate series of facsimile prints of Cipriani's drawings 'engraved by Mr. Richard Earlom' includes seven engraved by Maria Catharina Prestel, Bartolozzi, Kirk and Legat.. A letterpress contents page of the same sheet size, kept under Earlom's name with the majority of the series, gives titles and the series publication date of September 1st, 1789. Richard Earlom (1743-1822) was one of the greatest mezzotint and stipple engravers of his day. He was apprenticed to the London based engraver, G.B. Cipriani and studied at the St Martin's Lane Academy. He won many prizes for his drawings and engravings. In 1774, he began work for John Boydell for whom he created three hundred plates after Claude, published as the Liber Veritas (1777-1819). He also created for Boydell fifty-one plates after Cipriani. Earlom engraved outstanding works both after the designs of his contemporaries and after the old masters. Boydell commissioned his talents for some of the most famous plates in The Houghton Gallery and The Shakespeare Gallery. Giovanni Battista Cipriani, (1727-1785) was a Florentine decorative painter and designer, active mainly in England. In 1755 he was brought to London by the architect Sir William Chambers and the sculptor Joseph Wilton, who had met him in Rome. He was employed in the decoration of many public buildings and private houses and in some cases designed such architectural details as plasterwork, woodwork, and stonecarving. Good examples of his paintings are at Somerset House (where he worked for Chambers) and in the Philadelphia Museum of Art (a series originally executed for Lansdowne House, London). He was also active as a teacher at the Royal Academy (he was a foundation member in 1768 and designed its diploma), and his numerous decorative designs (many engraved by Bartolozzi, his friend since student days) had wide influence. Cipriani's work is accomplished rather than inspired, but he was, in the words of Sir Ellis Waterhouse, 'one of the great backroom figures of the Neoclassic style in England'.
375 pages. Index. Glossary. Footnotes. Black and white photographic plates. "Reveals how the strategy of indiscriminate bombings against the public was the result of secret NATO accords and was sanctioned at the highest levels of the Atlantic Alliance... Shows the crucial role played by the Hyperion Language School in Paris in the manipulation of the Red Brigades, and the role of the CIA in arming the revolutionary group. Casts a spotlight on Licio Gelli, the head of the now outlawed P2 Masonic lodge, who has been convicted of financing fascist terrorists." - dust jacket. Remainder mark to bottom edge. Some red markings to contents in first 70 pages. Bit of clear tape inside back board. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A sound copy. Book
24 pages. Features: The Problem of Raising Sanctions Against Italy; The Kind of Insurance Which is Untertaken at Lloyd's (of London); The Prejudice Against Finger-Printing; How Governor Landon Got His Nomination; Why the Nations of the World Should Form a Trading Club; "An International Policeman Somewhare in the Background"; Access to Raw Materials; "My 60 Years In the Law" - by a Judge's Clerk Mr. F.W. Ashley; The Small Boy At Any School Sports On Any Saturday Afternoon; "Behind the Real Smile in Japan" - Mr. E.K. Venables; Miss V. Sackville-West Discusses Joan of Arc's Visions; Dr. Rufus Jones on Psychology and Religion; Mrs. Elinor Glyn and Her Allegory of Gold & Silver; The Spirit of Sussex Downs; and more. Somewhat above-average wear. Center page holding by one staple. A worthy vintage copy. Magazine
Original daily hand-written attendance register for this small rural Ontario public school which was located near Merrickville, Ontario. Three of the pages are loose but present. Includes detailed guidelines re: Religious Instruction as well as Forms of Prayer. Inside front cover is printed a detailed provincial act entitled Act for the Protection of Insectivorous and Other Birds, presumably so teachers could instruct their young charges to not kill certain birds. Also included is a blank "Form of Engagement of a Public School Teacher". Surnames of students attending this school include Richardson, McKibbon, Jones, Martin, McTavish and McRitchie. The teacher was Miss Ruth Bates. This register was examined and signed (twice) by inspector R. Rose. A wonderful piece of history from Montague Township and a rare memento of the way Ontario's public education system used to operate. Book
Mm 105x140 Brossura editoriale di pp. XII-254, timbro commerciale al frontespizio, in buono stato. A cura di Elliott Anthony, Frosh Stephen. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
298 pages including index and bibliography. A psychology that cannot explain how human beings develop psychological systems, theories, research methods, techniques, and treatments falls short of its goal. Author expains how close to the goal various systems come. Demonstrates how each school of psychology is bound by a number of frameworks in which the psychologist is caught. Discusses the role played by different language backgrounds, interests and value systems, concpetualizations of the natural sciences, tastes, and religious systems, in determining the kind of psychology any given psychologists follow and try to promote. Very light wear. Unmarked. Book
in-12, XVI-618 pages, tables, broche, couv. Bel exemplaire. [SC-2]
74 pages. Sections include: Geology for Prospectors; Geology; Mining and Prospecting Notes. Line drawings. Average wear. Price blacked out else unmarked. Sound working copy. Book
LACKS FIRST TWO LEAVES, INCLUDING TITLE PAGE pp. 12 [of 16], 19, 458, [10]. Small 8vo. 190 mm. **EARLY GERMANIC PLAQUE STAMPED ALUM TAWED VELLUM BINDING. The front board has a portrait of Martin Luther and on the rear board is a similar portrait of Philip Melanchthon. The boards are almost detached. No clasps. These plaque stamped bindings are rarely found in the current antiquarian book market. quite scarce. Several early ownerships including one (unidentified) from 1652. Later stamped ownership of William Harris. Henrich Smet (also Henricus Smetius Alostanus, Henricus Smetius a Leda, or Hendrik de Smet) (1535-1614) of Heidelberg was a physician and humanist scholar. The first edition of Prosodia came out in 1599 at Frankfurt. In 1603 Antoine de Harsy (fl. 1572-1607) published this second edition. It was a very popular anthology of Latin quotations and their authors that functioned as a kind of students' dictionary of phrases that could be quickly traced to the correct classical author. SAFE ADD 1
