161 books matched your search criteria. 11 books have been returned starting at 151.
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Imprint: N.p., Privately Printed, 1856
Binding: Hardback
Two vols., sm. 4to., full black grained cloth over beveled boards; spine and covers heavily ornamented with gilt and blind relief decoration, far too elaborate to describe. At the top and bottom (on the edge of the outer border), are two gilt lines: To•the•Memory•of•Elizabeth Strachey• and *Coelum * Non * Animum*. Elizabeth Strachey was born 14 February 1810, the eldest daughter of R. W. Wilkinson of Woodbury Hall, Bedfordshire. She married Edward Strachey of Sutton Court, Pensford, Somerset on 27 August 1844 and died without issue on 11 April 1855. Émile Souvestre (1806-1854) was a French novelist-playwright who did much better with his novels than for the stage, although he deliberately aimed at making the novel an engine of moral instruction. He is said to have felt in harmony with Mrs. Strachey's translations of his works, which include The Bargeman of the Loire, The Lazaretto-Keeper, Confessions of a Working Man, The Sea-Shore Gleaner, An Attic Philosopher in Paris, Family Memoirs and The Widower's Old Age (three chapters of which Edward Strachey added to volume two from M. Souvestre's unfinished work). These volumes were published: "To the memory of her to whom these translations are chiefly due, while her hand, in them, as in all things else, was ever joined with that of her husband."The bindings by Leighton could not be more elaborate and were probably done expressly for these privately printed volumes. In our Catalogue 32 (item 45) we offered one of two known copies bound in dark blue crushed morocco. Both are now in private collections. The brass stamping plataes (which were shared by the morocco and cloth bound copies), were used again by Leighton for an 1868 edition of Oliver Goldsmith's The Traveler in a somewhat altered fashion (i.e. he removed the memorial lines at the top and bottom, replacing them with two lines of gilt decoration to try and achieve balance; he also removed Elizabeth Strachey's initials from the central panel on the covers, replacing it with an uninspired design element). In fine condition.
Stock number:763.
$US 375.00
Imprint: Leyden, Samuel Luchtman & Sons, 1751
Binding: Hardback
Two vols. Tall 8vo., full burgundy turkey morocco with triple gilt fillet borders that cross at the corners; flat spine divided by horizontal gilt bands (a thick fillet surrounded by two thinner lines), with assorted gilt fleurons in each compartment--stars, flowers, etc. A large gray-green title label, hand lettered, and a smaller one at the bottom with the name of the publisher and the date of publication. Marbled endleaves, board edges gilt, inner gilt dentelles, a.e.g., with the oval leather Huth bookplate in each volume. In very fine condition and identical to a set of bindings (on a book by the same publisher) described as having ponce been in the Lamoignon library.A most scholarly edition of the works of Suetonius (De vita Cæsarum, published ca. 121 and De viris illustribus, composed 106-13, of which we have De grammaticis et rhetoribus and a few Lives of Roman writers), with extensive contemporary commentary and annotation, plus engraved portraits of the XII Roman emperors along with reproductions of coins struck in their honor. Much of the significance of Suetonius is due to his surviving works, because of their intrinsic interest, their place in the history of biography, and their influence on historiography; his influence extended to the Christian writers and his place in the history of biography is important. Having a well printed Latin edition, embellished with fine engravings and wood-engraved head and tail-pieces, in such an elegant, contemporary binding and from an excellent collection, makes this copy particularly desirable.
Stock number:764.
$US 1250.00
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Imprint: London, Smith, Elder & Co., 1861
Edition: First Edition
Binding: Hardback
8vo., publisher's bright green cloth with an all-over blind-embossed design on both covers; spine titled in gilt. Preserved in a quarter morocco clamshell case.FIRST EDITION. The book was based on a series of lectures on Kings George I-IV and their times, delivered by Thackeray in the United States and London, which were printed in Cornhill Magazine. This copy belonged to Albert M. Cohn, the bibliographer and noted collector of the work of George Cruikshank. It is difficult to imagine a nicer copy. Van Duzer 70.
Stock number:771.
$US 695.00
Imprint: Verona, Officina Bodoni, 1971
Binding: Hardback
Sm. 4to., quarter blue morocco with the author's name blocked in gold over vellum-color, paper-covered boards with black Roman lettering spelling out the name of the author. T.e.g., other edges untrimmed; in a matching board slipcase. As new!One of 160 copies in English (translated by Betty Radice), printed in Dante type on Amalfi handmade paper, with an Introduction by Giovanni Mardersteig giving an account of those who collaborated in the work: Torniello who designed the alphabet and described its construction; Guillaume le Signerre who engraved the author's portrait, the decorative opening initial and probably the xylographs of the letters, and finally Gotardo da Ponte, the printer and publisher. The reprinting of Torniello's alphabet (the first construction based on the logical system of measurement which corresponds to a ninth part of the height of the letters or the thickness of the principal stroke), with its commentary is followed by a second section reproducing the famous alphabet of Luca Pacioli, the letters of which are individually compared to those of Torniello. Schmoller 170.
Stock number:770.
$US 3500.00
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Imprint: London, R. Brimley Johnson, 1901
Edition: First Edition
Binding: Hardback
4to., three-quarter crushed green morocco over cloth sides; spine with five raised bands and gilt decoration [by Riviere]. The joints and hinges have been renewed using morocco that closely matches the sunned spine and corners.First edition of Trevelyan's second book, it consists of sixteen poems, sonnets and translations, classical in origin, each of which is illustrated by a classical chiaroscuro woodcut printed in black and olive green, much in the manner of the work of the 16th century artist, Goltzius, and his contemporaries. The brilliantly conceived title-page, also printed in black and olive green, makes use of a highly decorative border and a large chiaroscuro print by Fry, the noted English painter and art critic. Trevelyan was the brother of the English historian, George Macaulay Trevelyan, and published much of his own poetry and translations from the Greek during his long and distinguished career at Cambridge. Uncommon and VERY HANDSOME!See: Colebeck Collection. Vol. II, p. 880.
Stock number:773.
$US 575.00
Imprint: Venice, Tolomeo Janicolo, 1529
Edition: First Edition
Binding: Hardback
Sm. folio, polished black 19th century calf with blind cover decoration; applied labels on the spine. The bottom margin of two leaves are shaved, affecting the last line of text; the final leaf lightly spotted. An attractive copy of a TYPOGRAPHICALLY SIGNIFICANT book.The second edition of Trissino's letter to the Pope offering suggestions for orthographic reform of the Italian language, along with the First Edition of his more important Dubbii Grammaticali in which these proposed changes are spelled out. With Janicolo's Golden Fleece device on the title-page with the initials PT and IA on either side of the tree [there are two states of the printer's device]. The works are printed in Lodovico degli Arrighi's first italic type, the font used for the first edition printed by Arrighi in Rome in 1524. According to Mortimer, "For the purpose of printing Trissino's text, Arrighi added to his italic the new characters proposed by Trissino for the Italian alphabet."[i.e. differentiating between the open and closed "o" and "e" and by using Greek omega and epsilon; the replacement of consonantal "i" and "u" by "j" and "v," and a distinction between hard and soft."] Nothing is known of Arrighi after the sack of Rome. Subsequently, Trissino presented the font matrices to Janicolo in Vicenza, to be used in the printing of this edition, which was written in response to attacks on his proposed reforms. A handsome book!See: Mortimer/Italian 507 [with two illustrations]. Adams T-951. Johnson. Type Designs. 103.
Stock number:774.
$US 4500.00
Imprint: Edinburgh & London, Wm. Blackwood, 1852
Binding: Hardback
Thick 8vo. (8 1/2 x 5 1/2 inches), two vols bound in one. Brownish red oasis niger with a double gilt fillet border on the covers; spine with five raised bands and detailed gilt tooling in the compartments. Slight rubbing at the top of the spine; all edges marbled; bookplate: R. Kenneth Cock.The Sforza family ruled in the second half of the fifteenth century at Milan. From their obscure origins as soldiers of fortune they established themselves as a princely house and one of the leading powers of Italy. Among those noted for their cultivation of the arts were Francesco Sforza (1401-1466) and his son Lodovico Sforza (1451-1508), both Dukes of Milan. It was Lodovico who gained further prominence through the employment of Leonardo da Vinci. A comprehensive history derived from early sources.
Stock number:743.
$US 295.00
Imprint: Basel, Gebrüdern von Mechel, 1796 [1843]
Binding: Hardback
Inscription: Signed, Inscribed Or Annotated
Tall 8vo., later quarter cloth over 19th century boards with morocco corners. Quite a nice copy. The work contains 41 large woodcuts of the Dance of Death (many signed with the initials GS), partly after the renowned Basel paintings and partly after Holbein's designs, with descriptive text above and below the images. There is an inserted frontispiece on thin yellow paper which depicts a view of Basel, entitled: "Der Todten-Tanz zu Basel. Anno MDLXXVI." As Aldred Warthin (The Physician of the Dance of Death) explains, "This mixture of subjects led to the belief that Holbein painted the Basel [Dance of Death] wall paintings; and in the Frölich edition of 1608, and in the editions following, issued by Conrad de Mechel, and the de Mechel Brothers, there is perpetuated the same confusion between Holbein's work and the Basel frescos." Most of these editions have 41 woodcuts, 27 from Holbein, 7 from the Basel Todtentanz, and 7 probably from the Todtentanz in Berne, according to Warthin.See: Minns Collection. Nos. 23 (for the 1608 edition) and 32 (for the 1796 Gebrüdern von Mechel edition). Warthin. pp. 83-89.
Stock number:604.
$US 875.00
Imprint: London, G. Bowyer & A. Millar, 1765
Binding: Hardback
8vo., red morocco, lettered vertically, with the staff of Hermes in the center of the spine, the figure of Britannia on the upper cover and the Cap of Liberty on the Lower cover, marbled end-papers and edges. Occasional foxing and some darkening of the spine; there is A SMOKE IMPRESSION OF THE EMBLEM OF LIBERTY on the blank recto facing the publisher's ads. Bound by John Matthewman for Thomas Hollis, notwithstanding the manuscript note tipped onto the front pastedown, cribbed from the DNB and some late edition of Boswell's Life of Johnson. In a fine quarter morocco clamshell case.According to Rothschild (quoting a note by Thomas Hollis from the sale catalogue of his Library), "This edition was printed at my request, and under my general direction. The Preface which stands first in it was canceled, and both Prefaces were Latinised by the ingenious Mr. Bowyer." The tools are the second version re-cut by Pingo. Hollis is said to have purchased one hundred copies of this book for presentation. An altogether unsophisticated example of a Hollis binding, with an added smoke proof of an important tool.See: Rothschild Nos. 2731 and 2732. Maggs Bros Cat. 1075 (an almost identical binding, on the same book, but with the figure of the seated owl on the lower cover). See also: Edward Bayntun-Coward. Catalogue III. No. 51.
Hollis Binding
Stock number:535.
$US 2150.00
Imprint: Edinburgh & London, Gall & Inglius, N.d. [ca. 1880]
Binding: Hardback
8vo., publisher's red ribbed cloth over beveled boards, blocked in gold, green and black, with a varnished paper cut-out centerpiece blocked in gold and green ink, depicting a flowering plant in an attractive ewer, recessed within a more-or-less oval panel. The front cover and spine are elaborately decorated; the rear cover is stamped in blind. A.e.g., part of the publisher's series: THE LANDSCAPE SERIES OF POETRY. For a nearly identical binding see: Ruari McLean's Victorian Publishers' Book-Bindings, p. 146 [on Montgomery's Poetical Works].The text is set within narrow, alternating pictorial borders, printed in a succession of different colors [green, purple, brown, black, etc.], adding to the over all effect. Henry Kirke White (1785-1806), although praised by Byron, and under the protectorship of Southey (who wrote a memoir of him), little survives of his work except one or two hymns ("Oft in danger, oft in woe.").A superb example (in WONDERFUL CONDITION) of an elaborate style of Victorian book-binding utilizing recessed panels. See also: Daniels, Morna. Victorian Book Illustration. Figs. 5 & 6 (full color illustrations).
Stock number:779.
$US 295.00
Imprint: Newtown, Bird & Bull Press, 1983
Edition: First Edition
Binding: Hardback
Oblong 8vo (4 1/4 x 6 1/4 inches), bound in quarter powder blue morocco gilt lettered spine over marbled paper covered boards with leather tips. The text is 64 pages followed BY FOURTEEN ORIGINAL MARBLED SAMPLES. First edition, limited to 350 numbered copies. This attractive book reprints the first American Treatise on Marbling, an account which appears in the April, 1829 issue of the Journal of the Franklin Institute, with additional text by Wolfe. Beautifully printed in letterpress on handmade paper and finely bound by Gray Parrot. Fine, as Issued.
Stock number:513.
$US 270.00
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