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166842902Bruxeelis Brussels: Balthazaris Vivien 1668. First edition. Hardcover. g to g. Folio 14 1/4 x 9". 1 leaf Frontispiece 12pp 586 30pp. Vol. 1; 4 174 8pp. Vol. 2. Modern half dark brown calf over marbled paper covered boards with gold lettering to spine. Raised bands. Allegorical frontispiece engraved by Pieter Danoot after Er. Quellinius Erasmus Quellin. Engraved vignette on title. Title page in red and black lettering. Decorative head- tailpieces and initials. <br /> <br /> First edition of this remarkable work on the Belgian nobility its history and legislation splendidly illustrated throughout with 126 in-text engravings of armorial shields including 14 double-leaved plates of coats of arms and 5 full-page engravings depicting dignitaries fully dressed in the costume of their order. <br /> <br /> Binding partly rubbed along spine. Contemporary previous owner's inscription in ink on half-title and at upper margin of frontispiece not affecting the image. Sporadic age-toning and foxing throughout. Some closed tears at verso of six double-leaved plates were repaired with tape. Minor and sporadic previous owner's underlining in blue ink throughout. Fore-edge of a few pages in second part are partly water-stained never affecting lettering. Text in Latin with some French. Binding in overall good interior in good to good condition. About the author: Jean-Baptiste Christyn 1622-1690 baron of Meerbeek was a jurist and diplomat in the Spanish Netherlands and Chancellor of Brabant from 1687 to 1690. Balthazaris Vivien hardcover
21804S.l., s.n., XIXe siècle. In-folio, 67 planches, demi-chagrin vert, plats de percaline chagrinée verte estampée à froid, dos à nerfs orné de filets dorés (reliure frottée, petites rousseurs et taches).
19489Paris, Curmer, 840-1842. 9 vol. in-4, demi-veau vert de l'époque, dos long romantique orné d'arabesques dorées (petite restauration de la reliure du 1er, vol. dos insolés, pâles mouillures marginales, rousseurs, gravure du flâneur du tome III manquante).
112186n.p. n.d. eighteenth century circa 1750. . A suite of four original hand coloured engravings titled in Spanish and French La Manna Le Matin; El Mediodia Le Midi; Eldespues de Comer L'Apres Diner and Le Soir La Tarde each approx. 50 x 68 cm modern gilt frames.<br /> An exquisite suite of four eighteenth century conversation piece engravings in the rococo style showing the nobility at leisure dining and dancing outdoors in a bucolic setting. Each image is beautifully set within delicately coloured scrolled borders featuring flowers foliage leafy tendrils and fruit. These prints capture the privilege and lifestyle of the aristocracy and are typical of French decorative art in the early to mid eighteenth century.<br /> n.p., n.d. [eighteenth century, circa 1750]. unknown
178023Mid 19th Century. 12 hand-coloured engravings laid onto card rounded corners each approx 11.3 x 7.8cm title text in English Italian French and German slight toning and edgewear one with a chipped corner but overall in good condition. Single figure costume engravings likely prepared for an educational work for children these a larger format than those by Bauer the German family of globe makers. Ten of the cards are paired male and female examples: Spanish Russians "Black Peter" Gipsies a pair from Syria and two of female figures from the Tyrol and Greenland. <br> <br>This item is held off-site. Please note there may be a few days delay while it is brought into our shop for viewing or mailing to you. Thank you for your understanding. . unknown
191962005Paris: Chez l’imprimeur Leon Pichon 5 Rue Christine 1919. 12mo. 6.5 x 6.5 3 leaves unnumbered. title w/ woodcut borders & printer’s device 20 numbered woodcut engraved plates. Softcovers minor shelfwear w/ woodcut-decorated jacket folded over the covers minor spotting foxing on back cover very minor bumping to corners still VG copy numbered on colophon & ownership markings on ffep. First edition No. 353 of 400 copies printed of the noted engraver’s first major post-World War I work as a Dance of Death depicting Death’s passage in the blighted and stricken era and a firm protest against modern mechanized warfare. Hermann-Paul 1864-1940 rose to fame during the Belle Epoque with his cutting satiric depiction of the foibles of French Society was a noted defender of Alfred Dreyfus whom after the war departed from his previously leftist ideals of the Parisian art scene and spent much of the between-the-wars period as an outsider. Chez l’imprimeur Leon Pichon, 5, Rue Christine, paperback
10427Berkeley CA: Editions Koch 2003. Full Leather. Fine binding. Folio. 44 pp. frontis plates. Limited edition one of 120 copies this copy out of series; there are also 26 lettered deluxe copies with a suite of 10 engravings. All are signed by Bringhurst Wagener and Peter Koch at the colophon. Bound by Camille Botelho in black box calf with inlays and onlays of dyed calf vinyl snakeskin painted paper mylar laminates and a porcupine quill; hand embroidered endbands; vinyl snakeskin doublures. A fine copy in clamshell box. <br /> <br /> True to form Peter Koch has produced a marvelous edition of what remains of Parmenides's poem "On Nature." The fragments of the poem are rendered in this opposite page bilingual edition with the Greek on the left and Bringhurst's English translation on the right. The poetry is brilliantly accompanied by Wagner's striking engravings a frontispiece and 4 additional wood engravings in red and orange. <br /> <br /> Given it survives only in fragments there is some debate as to the "meaning" of the symbolism of Parmenides's poem making it a work ripe for interpretation. But at base his view of reality is one of stasis unchangeable. And while that enduring Greek logic marks the work Wagener introduces remarkably abstract and kinetic illustrations printed in an urgent deep red and orange—projecting anything but stasis. It is the discord between the logical understanding or reality and the emotional understanding of it that spoke to Botelho and informed her design of this incredible binding. She writes: "In the design I thought of Parmenides looking out past shadowy arches from within a dark room to find total chaos beyond. The curve of the Mylar inlay and the curve of the porcupine quill mimic a column marking a threshold beyond which is uncontrolled noise and movement and mess. I wanted the disparity between the smoothness of the box calf and the chaos of the inlays and yellow foiling to be a comment on how frightening examining one's reality can be." Magnificently achieved Botelho has created an exceptional binding that bridges Parmenides and Wagener giving voice to the paradox she sees in this metaphysical conversation on the nature of reality. Editions Koch unknown
18108165Philadelphia: Johnson & Warner printed by J. Bouvier 1810. Hard Cover. near Very Good binding. 16mo 32 pp. frontis plates. Early reprint. As issued stitched into stiff paper covers with frontispiece and 5 additional inserted plates. Cover is light rubbed; some separation where the cover hinges at the stitching but the cover remains fairly stable; light foxing throughout. <br /> <br /> This is one of two 1810 imprints of this title the other Shaw & Shoemaker 19993 is self styled the "First American from the Second London Edition" and is sold by Wm. Charles and printed by W. McCullouch in 1810. While both Welch and Shaw & Shoemaker list this present edition by Johnson & Warner first it would stand to reason that the Charles edition is in fact first as this present edition has a title page dating publication at 1810 but the cover title is dated 1811. Nevertheless an early edition of this scarce title by Dorset who was "the younger daughter of Nicholas Turner and the sister of Charlotte Smith also a famous author. She wrote several books for children which were all published anonymously" Rosenbach 438. Shaw & Shoemaker 19992 & 22717. Welch 297.1; Cotsen 1813. Johnson & Warner | printed by J. Bouvier unknown
AQ20609London and Stuttgart Und Tubingen: J. H. Bohte and in der J.G. Cotta'schen Buchhandlung 1824 and 1823. Three volumes within publisher's folder with paper title label. 10; 4 11pp 1; 8 full-page engravings. Two text volumes sewn with small cloth strip glued to spine the plates stitched as issued. Occasional spotting. The beautifully illustrated first illustrated edition of Schiller's 'Fridolin or the Road to the Iron Forge' - a ballad which the German poet Schiller 1759-1805 composed for a poetry competition against Goethe in 1797 with the text volume of the parallel German-English edition published in London by Bohte ‘foreign bookseller to his majesty’. The engravings by Moritz Retzsch 1779-1857 German painter and draughtsman were much praised: accompanied by the illustrations the ballad 'assumes a new and more exalted character' provided by Retzsch's ability to give them 'an airy dimness that softens what is beautiful and deepens all that is terrific' Monthly Review 1825 p.522. OCLC locates a single copy in the British Isles BL and three in North America. . Oblong quarto. J. H. Bohte [and] in der J.G. Cotta'schen Buchhandlung, 1824 [and] 1823. hardcover
188356228Paris: P. Roquette Librairie 55 Passage Choiseul 55 1883. 4to. 9.25 x 12.5 in. 4 vii 1 34 pp unpaginated. Engraved frontisp. w/ tissue guard including 16 engravings. Original printed softcovers preserved in contemporary three-quarter morocco over marbled boards binding by Enry - Jose Pierson t.e.g. minor scuffing edgewear light wear to corners still VG copy w/ interior in NF condition. First edition thus of this beautiful series of engravings wonderfully executing Scarron’s picaresque novel relating the occasionally ribald adventures of a company of strolling players. Tiburce de Mare was a noted French portrait painter and engraver and son of Johannes de Mare who frequently contributed to the Gazette des Beaux Arts. P. Roquette Librairie, 55, Passage Choiseul, 55, paperback
19869138Wakefield West Yorkshire: Fleece Press 1986. Hard Cover. Very Good binding. Octavo. 8 16 8 pp. illus. Limited edition one of 200 copies. As issued in publisher's boards with printed paper labels on the front cover and spine. Spine a trifle sunned and the tail of the spine is slightly bumped else a near fine copy. A beautifully printed book with five engravings in-text by Lydbury. Fleece Press unknown
163011321Antverpiae, Joan Galle, (circa 1630) ; F. Ioannes Nys invenit, Peter de Jode figuravit, Theodor Galle sculpsit et excudit ; titre gravé, portrait et 32 planches légendées. SUIVI de 4 planches gravées par JOAN GALLE : I- Prudentia, II- Justitia, III- Fortitudo, IV- Temperantia (les 4 vertus cardinales). SUIVI de 14 planches de sujets religieux, gravées par CORNELIUS GALLE le Vieux : Silva sacra, Fugit familia sacra, S. Barbara, S. Ianvarius Neapolis patronis, S. Lucia, S. Leontius martyr miraculis gloriossus in Muris Helvetiorum, S. Iacobus Maior, Benedicite omnes bestiae et pecora domino, S. Hieromymus, Vierge à l'Enfant, etc. Soit en tout 52 planches, reliées en 1 volume petit in-4 ; plein vélin ivoire, titre au dos, tranches rouges (reliure du XIXe).
1920000012714Leipzig / Wien = Vienna: Bibliographisches Institut 1920. Paperback. Near Fine. Oblong 8vo. 14 cm x 16.5 cm. Unpaginated. Brown paper wrappers printed in red and black. Illustrated with 22 black and white images of towns and landmarks from the state of Saxony. Minor wear to the extremities. Bibliographisches Institut paperback
193737606London: Golden Cockerell Press 1937. Hardcover. Very Good. Hardcover. Number 82 of 150 signed copies. There was also an unlimited edition. This is an interesting and pretty book from the Golden Cockerell Press published early in this noted press's history. It is stunningly illustrated with six black and white engravings by Clifford Webb 1895 - 1972 the English artist and engraver. Quarter bound in brown Niger leather with gilt titling to spine and cream cloth covers. Some foxing to front cover and light sunning to top of spine. Printed in Caslon's Old Face type on Arnold's handmade paper. A nice copy in very good condition. Measures 6 x 9 inches. 109 pages plus colophon. PRI/111324. Golden Cockerell Press hardcover
19547400London: Golden Cockerel Press 1954. Hard Cover. Very Good binding. Quarto. 2 158 pp. frontis plates. Limited edition number 205 of 260. As issued in paper over boards backed in buckram; 8 full page wood engravings and two in-text vignettes. Generally an attractive copy; spine a trifle sunned; tail of the spine bumped; bookseller's pencil notes to front free endpaper; bottom edges of many pages are just a bit toned quite subtle; a beautiful copy. <br /> <br /> "First published in 1603 in Latin this very early picaresque novel immediately became a European best-seller. Written by a Scotsman who was born and bred in France it was reprinted in Latin twenty times with the first seventy years and was also translated into French Dutch and German. It was never translated into English although the original was widely read in England at the time. Our translation was thus the first to introduce Euphormio's bizarre and unpredictable adventures to the ordinary reader" Cock-A-Hoop 196. Golden Cockerel Press unknown
1646D6064Paris: de l'imprimerie de Louys Sevestre et chez Pierre Daret graveur ordinaire du Roy 1646. First Edition. Hardcover. Good. Modern morocco gilt-stamped lettering in black and green leather spine labels; folio; two parts in one volume. Lacking the main title-p. and engraved plates introducing part 1 but otherwise complete with full-page engraved frontis. pp. 24 illustrated text poem author portrait then 103 large plates engraved on coppy by Pierre Daret accompanied by text comprising the substance of the work. Light stains and marginal browning to first 20 or so pages otherwise text is in excellent condition with nice bright plates and ornate chapter headings and illuminated initials. Incomplete and sold as is. <br/><br/> de l'imprimerie de Louys Sevestre (et) chez Pierre Daret graveur ordinaire du Roy hardcover
19679403Lexington KY: Gravesend Press printed by Robert Middleton 1967. Original Wrappers. Near Fine binding. 12mo. 4 5 3 pp. frontis illus. Limited edition. As issued sewn into pastepaper wrappers with printed paper label on the front wrapper. <br /> <br /> A beautiful copy with three engravings by DePol including the final tail-piece "Finis / Gravesend / Press." The book was nearly complete already set in type at the time of Graves's unexpected death in 1960. After many years Joe's wife and partner Lucy Graves decided to complete this edition as the final Gravesend imprint complete with the prophetic tailpiece. An absolutely charming piece of Lexington history and most certainly a part of the private press movement that was burgeoning. No indication of the size of the edition. Gravesend Press | printed by Robert Middleton unknown
19549407Lexington KY: Gravesend Press 1954. Vellum Binding. Near Fine binding. 18mo. 10 48 4 pp. illus. Limited edition number 9 of 200 copies. As issued in vellum-backed patterned-paper over boards. Lacking the slipcase. A handsome copy with only light toning to the perimeters of the boards; contents clean. This copy with 4-page prospectus. <br /> <br /> This work was the first book issued by the Gravesend Press that was actually printed using the Graves' press in their stable by Graves and Jacob Hammer. Kredel's charming engraved pressmark of a sleeping pressman graces the final page. Graves writes about this in his Bibliographical Confession the donkey in the window was their family pet Patience. Graves operated the press as a sideline from about 1949 through to the end of his life in 1960 issuing scarcely more than half a dozen books. While less known that some of his contemporaries he took his place amidst a vibrant mid-century printing and illustrating scene—friends with Victor Hammer Carolyn Reading Fritz Kredel John DePol John Fass and others. H. Richard Archer in a history of the Graves and his press published in The Kentucky Review Spring 1987 summarizes Graves's work thus: "All of the books whether pamphlets or bound books reflect the taste and high standards of a true amateur craftsman and as such they certainly qualify as choice examples from one of this generation's most distinguished private presses." Press historian Roderick Cave notes that this was "probably the most successful Gravesend book" p. 263. Cave The Private Press 2nd edition; Graves The Gravesend Press: A Bibliographical Confession p. 11-13. Gravesend Press unknown
19518728Lexington KY: Gravesend Press printed by Philip Reed 1951. Hard Cover. Very Good binding. Small octavo. 8 vii 1 16 2 pp. illus. Limited edition one of 500 copies. As issued in paste-paper over boards bound by Elizabeth Kner with printed paper title label on the front cover; partially unopened. 16 in-text engravings from Bewick's blocks printed in brown grace the pages of the charming volume. Light rubbing to the extremities of the binding including a scuffed spot on the front board; interior is fine. <br /> <br /> Designed by Joseph C. Graves this is the second issue with his imprint though Graves's friend Philip Reed executed the presswork at his Chicago print shop. Graves ran the Gravesend Press as a sideline from about 1949 through to the end of his life in 1960 issuing scarcely more than half a dozen books. While less known that some of his contemporaries he took his place amidst a vibrant mid-century printing and illustrating scene—friends with Victor Hammer Carolyn Reading Philip Reed Fritz Kredel John DePol John Fass and others. H. Richard Archer in a history of Graves and his press published in The Kentucky Review Spring 1987 summarizes Graves's work thus: "All of the books whether pamphlets or bound books reflect the taste and high standards of a true amateur craftsman and as such they certainly qualify as choice examples from one of this generation's most distinguished private presses. Gravesend Press | printed by Philip Reed unknown
19529699New York: Hammer Creek Press 1952. Original Wrappers. Very Good binding. 16mo. 8 pp. illus. Limited edition number of copies unknown. As issued sewn in printed wrappers. Very light toning to the extremities and covers; nevertheless a very nice copy. Bookplate of noted collector Norman Sondheim on the verso of the front wrappers. <br /> <br /> Comprises title page/announcement; two engravings one of the Hell-Box Press and the second the Hammer Creek Press; and a colophon. The Hell-Box Press was one of Fass's earlier printing endeavors. Hammer Creek Press began when in 1950 when Fass purchased from Valenti Angelo a small iron press previously owned by Bruce Rogers who had sold it to Angelo the year before. It was on this press of significant provenance that the bulk of the Hammer Creek Press editions were printed few of which have stated limitations. With only 4 institutions reporting ownership according to OCLC it is difficult to imagine this title was produced in an edition of more than a few dozen copies if that. Cohen 15; DePol Catalogue Raisonne p. 40. Hammer Creek Press unknown
19569700New York: Hammer Creek Press 1956. Original Wrappers. Near Fine binding. 12mo. 24 4 blank1 pp. illus. Limited edition to approximately 100 copies. As issued in marbled paper wrappers of stiff covers with printed paper title label on the front cover. Quite a nice copy with little in the way of shelf-rubbing to the cover; Reynolds Stone-designed bookplate of noted collector Norman Sondheim inside the front cover. <br /> <br /> Short introduction by Fass about the history and aim of the press. Includes 43 described books announcements and ephemera from the press. As this present work is the 43rd item in Fass's list and only 35th in Cohen's checklist there are apparently inclusions here not noted in Cohen. Several examples of pressmarks by DePol Angelo and Carnes. Two by Valenti Angelo are done in multiple colors with gilding. <br /> <br /> The Hammer Creek Press began when in 1950 when Fass purchased from Valenti Angelo a small Hughes & Kimber cast iron press previously owned by Bruce Rogers who had sold it to Angelo the year before. It was on this press of significant provenance that the bulk of the Hammer Creek Press editions were printed including this present book. Opening this work is an engraving by John DePol of the storied press with a page of "Data" by Fass. One of the mores substantial works issued by the Press as well as one of the more uncommon titles despite the larger-than-usual limitation. As more than 30 institutions are reporting ownership according to OCLC it means this is increasingly rare in commerce. A lovely example of Fass's work. Cohen 35. Hammer Creek Press unknown
19539695New York: Hammer Creek Press 1953. Unbound. Near Fine binding. Portfolio. 6.5" x 4.25." 4 folded leaves. Limited edition number of copies unknown. As issued 4 bifolium leaves laid into portfolio. Only light rubbing to the portfolio; leaves are fine. <br /> <br /> Comprises as title page with printing on the recto of the first page only; and three engraving on three bifolium with title of engravings in red on the recto of the first leaf and the engraving occupying the recto of the second leaf. Engravings are of "The Hell-Box Press" "The Hammer Creek Press" and "Along the Hammer Creek." An additional pressmark by DePol on the title page. Cohen 24; DePol Catalogue Raisonne p. 41. Hammer Creek Press unknown
19539703New York: Hammer Creek Press 1953. Unbound. Very Good binding. Portfolio. 6.5" x 4.25." 4 folded leaves. Limited edition number of copies unknown. As issued 4 bifolium leaves laid into portfolio with printed paper label on the cover. Light rubbing to the portfolio including some separation starting at the spine; leaves are fine. <br /> <br /> Comprises as title page with printing on the recto of the first page only; and three engraving on three bifolium with title of engravings in red on the recto of the first leaf and the engraving occupying the recto of the second leaf. Engravings are of "The Hell-Box Press" "The Hammer Creek Press" and "Along the Hammer Creek." An additional pressmark by DePol on the title page. As is frequently the case with Fass's small print runs frequently there are difference with an edition; in this instance the portfolio differs from others we've seen and what Cohen describes this with a printed label using DePol's pressmark we have seen others that are stamped in gold using a turtle pressmark designed for the Press by Burton Carnes. Additionally the title leaf is set in upper and lower case italics and is within a border and without a date we have see it set in all capitals without border and is dated 1952—though Cohen suggest the date is actually 1953. This is a very good example of the experimental nature of Fass's work at the Hammer Creek Press. A wonderful issue from the Press. Cohen 24; DePol Catalogue Raisonne p. 41. Hammer Creek Press unknown
188834259Stuttgart: J Engelhorn Circa 1888. Presumed from the unlettered series of plates celebrating German engravers. Very fine large engravings reproducing Italian paintings by the engravers Ludwig Kuhn Peter Halm Karl von Siegl Jakob Groh Wilhelm Krauskopf and Doris Raab. 43.3 x 30.4 cm plates heavy wove paper with wide margins each plate with a tissue guard captioned in red. Six folio plates. In very good condition some of the plates and tissues have a little edgewear or minor light soiling in no case effecting the printed images. A VERY HANDSOME COLLECTION OF GERMAN ENGRAVINGS BASED ON ITALIAN RELIGIOUS ART OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. The six plates included are:<br><br>1. Doris Raab 1851-1899—a fascinating female German engraver. The Christ with the Four Evangelists†aka “The Resurrection of Our Lord†after the painting in the collection of the Galleria Palatina Palazzo Pitti Florence executed in 1516 by Fra Bartolommeo.<br><br>2. Peter Halm 1854-1923. Madonna Enthroned aka Madonna and Child after a circa 1505 painting by Giovanni Bellini.<br><br>3. Ludwig Kuhn 1859-1936 Madonna of the Pesaro Family after the painting in the church of Santa Maria Gloriosa dei Frari in Venice executed by Titian circa 1519.<br><br>4. Jakob Groh 1855-1917 Madonna and Child aka "Pitti Tondo" by Michael Angelo Buonarroti reproduced from the marble bas-relief at the Museo Nazionale del Bargello in Florence executed sometime around 1504.<br><br>5. Wilhelm Krauskopf 1847-1921 Descent From the Cross "Espagnolet" reproduced from the original in the Museo Nazionale di San Martino in Naples by Jusepe de Ribera in circa 1588<br><br>6. Karl von Siegl 1842-1900 Adoration of the Three Kings Magi after the bas-relief by Venetian Baroque sculptor Giovanni Bonazza 1654–1736 located in the Chiesa dei Santi Giovanni e Paolo Venice. [J Engelhorn] unknown
17767597Sans lieu (Paris), sans nom, 1776 ; deux tomes ; suivi de "Les A propos de la Folie ou chansons grotesques, grivoises et annonces de parades". Sans lieu (Paris), sans nom, 1776. Ensemble de trois tomes in-8 ; demi-basane havane, dos à faux-nerfs dorés, pièces de titre et de tomaison vert-sapin, plats de papier imitation cuir havane raciné, tranches marbrées (reliure début XIXe) ; (2) ff. blancs, X (dont titre gravé), 302 pp., (1) f. blanc ; 316 ; VI, 319, (1) pp. et en tout pour les tomes 1 et 2 : 1 titre gravé dessiné et gravé par Moreau, identique aux tomes 1 et 2, 2 figures hors-texte par Moreau, gravées par De Launay et Simonet, 2 vignettes et 2 culs-de-lampe par Moreau, gravés par Duclos, Martini et De Launay ; et au tome 3 : titre-frontispice, 1 figure, 1 vignette et 1 cul-de-lampe par Moreau, gravés par Martini.
