| 7395 books matched your search criteria (3000 books will be available). 50 have been returned starting at 1901. | Click here for this bookseller's contact information and sales conditions. |
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Imprint: 1874 DRAKE, Samuel Adams. HISTORIC FIELDS AND MANSIONS OF MIDDLESEX. Boston: James R. Osgood and Company, 1874. xiv + 442 pp. 8vo., maroon cloth stamped in gilt and blind. Spine sunned to light brown, chipped 1/8 inch at heel and crown, not affecting text. Beveled boards rubbed, corners worn. Gilt faded on spine but bright in cover vignette. Coated brown endpapers. Overopened at page preceding frontispiece. Occasional soil in page margins. B/w plates, including folding map at beginning of text, all in excellent condition. Middlesex County, Massachusetts., Good Stock number: 84751.
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Imprint: 1947 DRANS, Jean. ASPECT ET TENDANCES ACTUELS DU PHONETISME JAPONAIS. Tokyo: Presses Salesiennes, 1947. 4to., wrappers; 71pp. + index. Wrappers lightly worn, else near fine., Fine Stock number: 37614.
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Imprint: 1901 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU SHU^GAJO 7-kan Jo^ To^kyo^, Yoshikawa Ko^bunkan, Meiji 34 [1901]. 4th printing. Oblong 8vo., wrappers. 18.2 x 26.3 cm. PRACTICE ALBUM FOR MIDDLE SCHOOL, Volume Seven, Part One. Containing 5 sheets of color woodcut reproducing watercolor sketches from part one of volume seven and one odd sheet from part two is laid in. By Asai Chu^ and meant to serve as a guide for middle school students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western- style artists. The fact that the Asai Chu^ strove to familiarize students with the use of Western watercolor rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects. Complete in aof itself as a peret of the series and including an extra plate., Very Good Stock number: 87237.
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Imprint: 1899 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Ichi. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This first volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate seven is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing., Good Stock number: 87238.
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Imprint: 1899 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Ni. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This second volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate eight is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose and the one plate is missing., Good Stock number: 87239.
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Imprint: 1899 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai San. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This third volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate four is missing. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the one plate is missing., Good Stock number: 87240.
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Imprint: 1899 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Go. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This fifth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western- style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose., Good Stock number: 87241.
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Imprint: 1899 [DRAWING TEXTBOOK] ASAI CHU^, artist. CHU^GAKU EDEHON Dai Roku. To^kyo^, Kinko^do^ Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This sixth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contain 8 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western- style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose., Good Stock number: 87242.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Isshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the first volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in near fine condition. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Fine Stock number: 87227.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Nishu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the second volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87228.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Sanshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the third volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87229.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Yonshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fourth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87230.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Goshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fifth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87231.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Rokushu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the sixth volume. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87232.
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Imprint: 1906 [DRAWING TEXTBOOK] ASAI CHU^, artist. Chu^to^ ENPITSUGA TEHON Dai Hasshu^. To^kyo^, Yoshikawa Ko^bunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. A bit of departure from earlier volumes in the series, this eighth volume contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Ko^bunkan was a famous house, capable of great skill in woodblock printing projects., Very Good Stock number: 87233.
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Imprint: 1903 [DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Yonpen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fourth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose., Very Good Stock number: 87234.
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Imprint: 1903 [DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Gohen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fifth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose., Very Good Stock number: 87235.
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Imprint: 1903 [DRAWING TEXTBOOK] ASAI CHU^, artist. JIZAIGA KYO^KASHO Dai Roppen. To^kyo^, Kinko^do^ Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This sixth volume of the series A TEXTBOOK OF FREE SKETCHING contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbusho^, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the images have a degree of foxing throughout., Good Stock number: 87236.
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Imprint: 1926 DRAYTON, Michael. THE BALLAD OF AGINCOURT AND THE ODE TO THE VIRGINIAN VOYAGE. Stratford-Upon-Avon: The Shakespeare Head Press for Edwin Valentine Mitchell of Hartford, CT, 1926. Wrappers. About very good., Good Stock number: 69915.
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Imprint: 1855 DRAYTON, Daniel. PERSONAL MEMOIR OF DANIEL DRAYTON, FOR FOUR YEARS AND FOUR MONTHS A PRISONER (FOR CHARITY'S SAKE) IN WASHINGTON JAIL; INCLUDING A NARRATIVE OF THE VOYAGE AND CAPTURE OF THE SCHOONER PEARL. Boston: Published by Bela Marsh; New York: American and Foreign Anti-Slavery Society, 1855. First edition. Frontispiece portrait. 122 pp. Slim 12mo., brown cloth, gilt-stamped title to top board. Ex-library; only a bookplate to front pastedown and no other marks. Binding is sound but sunned at spine, with shallow loss at crown, and soiled on lower board. Light foxing to frontisp. and t.p. The final text leaf has a short, closed tear at the fore-edge. Overall, a very good copy. Dayton was convicted of helping slaves escape to Washington, D.C. (Sabin 20912)., Good Stock number: 75419.
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Imprint: 1932 (DREISER, Theodore). THE AMERICAN SPECTATOR. Vol. I, No. 2, December 1932. With Dreiser's article, "The Great American Novel," also work by O'Neill, Cabell, O'Casey, et al. Rag paper edition, with original wraparound band listing contributors. Slight browning and wear at the fold. Near fine and quite fresh overall., Fine Stock number: 83049.
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Imprint: 1925 AN AMERICAN CLASSIC DREISER, Theodore. AN AMERICAN TRAGEDY. Complete in Two Volumes. New York: Boni & Liveright, 1925. First edition, first printing. Two volumes. 8vo., Black cloth, gilt lettering to spine. Dreiser's most famous work and the basis for the successful move "A Place in the Sun. The books are just about fine and fresh in spine sunned dust jackets (with some fading to the lettering beneath). There is shallow chipping along the edges and spine with a small chip at the bottom right hand corner of volume. The orginal box is present, though repaired retaining the orginal front panel, and some of the plain grey paper covering. A very scarce first edition in dust jackets and rare with any form of the box., Fine Stock number: 86527.
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Imprint: 1929 DREISER, Theodore. GALLERY OF WOMEN. In Two Volumes. New York: Horace Liveright, 1929. First edition, second printing, same month (Novemeber) as first edition, so stated on copyright page. 2 volumes. This is a fine set of books in dust jackets that are somewhat darkened and faded with publisherd notation "third printing" on spine. Housed in published box with split bottom seam. An unusual edition in jackets and slipcase., Fine. Illustr: FE Stock number: 85386.
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Imprint: 1946 DREPPERD, Carl W. FIRST READER FOR ANTIQUE COLLECTORS. Garden City: Doubleday, 1946. First edition. Illustrated. xi, 274 pp. 8vo., brown cloth printed in gilt to spine. Boards somewhat soiled with bumped bottom corners. Good plus., Good Stock number: 58097.
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Imprint: 1883 DREW, ALLIS & CO. MAP OF THE CITY OF NEWTON. Worcester: Drew, Allis & Co., 1883. Full-color lithographed folding map. 16 3/4"x 16 3/4". Folds to 6 1/8"x 4 1/8". Brown cloth stamped in gilt to front. Prior ownership in pencil to front pastedown. Two-inch tear where map attaches to boards and to one seam. Slightly toned with a few small discolorations. Boards show minimal wear. Quite scarce. Only two in OCLC. Stock number: 88394. ISBN: HISTORY
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Imprint: 1955 DREXLER, Arthur. THE ARCHITECTURE OF JAPAN. New York: Museum of Modern Art, (1955). Large 8vo., black cloth; 286 pp. Ink ownership. Bottom corner bumped, hint of creasing to rear board; text and black & white illustrations fine., Fine Stock number: 60126.
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Imprint: 1923 DRINKWATER, John. COLLECTED POEMS, 3 VOLUMES. Volume I: 1908-1917; Volume II: 1917-1922; Volume III: 1923-1937. Volumes I and II each have a frontispiece by Albert Rutherston, Volume III is with a portrait in photogravure, and a preface by Professor Lascelles Abercrombie. London: Sidgwick and Jackson Limited, 1923. 8vo., red cloth with gilt stamp, very minor edgewear to spines and corners. Each volume has a dust jacket with tearing along the crown and less pronounced tearing at the corners, and sparse tears along perimeters. Volume III has a larger rip across top of spine. Small price label on spine of each volume. Overall very nice, slightly worn copies, scarce thus; very good., Very Good Stock number: 77518.
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Imprint: 1898 DRUMMOND, Henry. THE MONKEY THAT WOULD NOT KILL. Illustrated by Louis WAIN. London: Hodder & Stoughton, 1898. First edition. xvi + 115 pp. 12mo., blue beveled cloth boards stamped in gilt, black and yellow. Very good plus, minor shelfwear, ckloth and pictorial cover clean and bright. Light offset tanning to endpapers. Sweet gift inscription on front flyleaf, parents to child. Occasional light finger soil. Two stories, The Monkey That Would Not Kill and Gum. Halftone plates., Very Good. Illustr: WAIN, Louis Stock number: 84405.
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Imprint: 1692 DRYDEN, John. CLEOMENES, THE SPARTAN HEROE. A Tragedy, as it is acted in the Theatre Royal. To which is prefixt The Life of Cleomenes. London: Printed for Jacob Tonson ..., 1692. First edition. Quarto. A4,a2,*B- *C4,d-e4,B-K4. 21.5 x 16.5 cm. [12],28,[4],72 pp. In a shelfworn Roxburghe-style binding: black quarter leather with marbled paper sides, gilt-stamped spine title. One leaf (*C4, pp. 15-16 in `The Life') has a 9 cm horizontal closed tear near the bottom edge. The top of the running title on p. 43 (G2r) is shaved. Otherwise some mild age-staining and spotting throughout, and in very good condition overall. This was the next to the last of Dryden's plays to be produced. Owing to Dryden's illness, the fifth act of the play was completed by Thomas Southerne. The life of Cleomenes was translated from Plutarch by Thomas Creech. It is believed that the revival of some of Shakespeare's Roman plays about this time turned the attention of both playwrights and public to classical themes. (Macdonald 92; Pforzheimer 321; ESTC R19821)., Very Good Stock number: 86559.
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Imprint: 1694 DRYDEN, John. LOVE TRIUMPHANT; or, Nature will Prevail. A Tragi-Comedy. As it is acted at the Theatre Royal, by Their Majesties Servants. Written by Mr. Dryden. London: Jacob Tonson, 1694. First edition. 4to. Collation: A4; a2; B-L4; M2; this copy lacks A1, the half-title page; 47 leaves. Modern paper boards, title printed in black to spine. Ex library; a small, very discreet, embossed stamp to t.p. and two ink stamps on the verso. The first and second leaves are moderately soiled; the title-page has a paper repair along the inner margin with some type loss; in the phrase "By Their Majesties Servants," the word "by" is missing; there is another small repair at the upper, fore-corner. Occasional, very light foxing to text leaves. The binding is heavily soiled. This is a good copy., Good Stock number: 60623.
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Imprint: 1711 Lucian. THE WORKS OF LUCIAN, TRANSLATED FROM GREEK BY SEVERAL EMINENT HANDS. with The Life of Lucian, A Discourse on his Writings, and A Character of fome of the present Translators. Written by John Dryden, Esq. London, Printed for Sam. Briscoe, 1711. 4 vols. Nineteen century reback with new labels. Brown calf with red spine lables. Some light wear, mostly to edges and at hinges. Binding is tight and pages are nearly all free from foxing. Volume 1 bears a previous owner's extensive notes to second and third leaves. A solid set. Stock number: 86680.
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Imprint: 1827 DRYSDALE, Isabel. SCENES IN GEORGIA. Philadelphia: American Sunday School Union, (1827). 12mo. Worn contemporary binding: leather-backed, marbled paper-covered boards. It is rubbed, with fraying edgewear to boards; hinges tender. Foxed and browned, with occasional chipping, tears to the edges, and a few pencil scribblings internally, but no text is lost. A few leaves are starting. Includes "The Negro Nurse". Stock number: 75777.
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Imprint: 1908 DU CANE, Florence. THE FLOWERS AND GARDENS OF JAPAN. Painted by Ella Du Cane. London: Adam & Charles Black, 1908. 8vo., white cloth illustrated in green and lettered in gilt; t.e.g. x + 249pp + ads. Light soil to boards with some sun to spine. Previous owner's signature on ffep with front hinge cracked. Overall, a very good copy., Very Good Stock number: 53343.
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Imprint: 1908 DU CANE, Florence. THE FLOWERS AND GARDENS OF JAPAN. Painted by Ella Du Cane. London: Adam & Charles Black, 1908. 8vo., green cloth illustrated in green and lettered in gilt. x, 249 pp., + [2] pp. ads. Sound ex- library with markings within and without. Stock number: 61568.
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Imprint: 1955 DU GARD, Roger Martin. THE POSTMAN. Translated by John Russell. New York: The Viking Press, 1955. 8vo., orange cloth patterned paper-covered boards. Very good, slightly torn and tape-repaired dust jacket. Nobel Prize winning author., Very Good Stock number: 40474.
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Imprint: 1889 (DU MAURIER, George). HARPER'S NEW MONTHLY MAGAZINE. Numbers: 452, January 1888; 458, July 1888; 464, January 1889; 468, May 1889. Each issue with a full-page drawing by Du Maurier, as well as occasional contributions by W.D. Howells, H. Rider Haggard, Lafcadio Hearn, et al. Each copy has an ink name on the front cover, with nicked wrappers and sunning.. Illustr: FE Stock number: 78027.
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Imprint: 1894 DU MAURIER, George. TRILBY. New York: Harper's Magazine, 1894. The original parts excised from Harper's New Monthly Magazine, which appeared from January to August 1894, and bound together in one volume, with a printed title page. Illustrated by Du Maurier. 8vo., maroon half- morocco, marbled sides, t.e.g. Internally, this is a very clean and fresh copy; the leather shows wear to extremities, and the upper board is starting. Bookplate to front pastedown. Stock number: 52501.
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Imprint: 1928 DUBOIS, Abbe J.A. HINDU MANNERS, CUSTOMS AND CEREMONIES. Translated from the author's later French MS. and edited with notes, corrections, and biography by Henry K. Beauchamp. With a prefatory note by the Right Hon. F. Max Muller, and a portrait. Oxford: The Clarendon Press, 1928. Third edition. Crown 8vo. blue cloth, spine in gilt. 741pp. A very good copy that shows only some light wear at the spine ends and extremities, small dimple at rear board. Ink ownership at ffep., Very Good Stock number: 49417.
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Imprint: 1947 DUBOIS, W. E. Burghardt. THE WORLD AND AFRICA. New York: The Viking Press, 1947. First edition. xii + 276 pp. 8vo., green cloth stamped in darker green. Near fine, some slight mottling to cloth. Map endpapers, Pencil ownership to half-title. B/w maps. In a very good dust jacket withminor nicks to spine and rear panel. Africa's role in world history., Very Good Stock number: 83746.
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Imprint: 1968 DUBUFFET, Jean. EDIFICES. New York: Published by the Author for the New York Museum of Modern Art, (1968). First edition. 8vo., paperback wrappers; illustrated. Fine., Fine Stock number: 58617.
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Imprint: 1962 DUBY, Georges. L'ECONOMIE RURALE ET LA VIE DES CAMPAGNES DANS L'OCCIDENT MEDIEVAL. (France, Angleterre, Empire, IXe - XVe siecles.) Essai de synthese et perspectives de recherches. Paris: Aubier, Editions Montaigne, 1962. Collection Historique; Sous la direction de Paul Lemerle. 2 volumes. 8vo., full buckram, leather spine label; original wrappers bound-in. Very small spot of soiling to front board of volume 1. Very light, sporadic markings (mostly in pencil) to volume 1, else clean and fresh. A just about fine copy., Fine Stock number: 74321.
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Edition: First Edition
DUESBERRY, Joellyn. A COLLECTION OF NINE EXHIBITION CATALOGUES, AN ILLUSTRATED BOOK, AND AN AUTOGRAPH NOTE, BY THE CONTEMPORARY AMERICAN ARTIST JOELLYN DUESBERRY. Duesberry (b. 1945) is an award winning landscape artist who has exhibited widely and whose paintings of the northeastern and southwestern United States appear in many public collections, including the Denver Art Museum, the Hudson River Museum, the Smith College Art Museum, and the Smithsonian Institution, to name but a few. The exhibition catalogues offered here were issued from 1985 through 2000 by the Tatischeff Gallery (NY, NY), the Gerald Peters Gallery (Santa Fe, NM), the Graham Modern Gallery (NY, NY), the Denver Art Museum (Denver, CO), and James Graham & Sons (NY, NY). All are illustrated with reproductions of her paintings that often feature locales in Maine, New York State, Martha's Vineyard, Nantucket, New Mexico, and Colorado. All but one has color illustrations; all are bound in paper wrappers; and the condition of each is very good or better. The book is A COVENANT OF SEASONS: Monotypes by Joellyn Duesberry. Poems by Pattiann Rogers. With an essay by David Park Curry, and contributions by Robert Adams, Roger Mandle, and John Walsh. New York: Hudson Hills Press, (1998). First edition. 48 color reproductions of Duesberry's monotypes. Quarto (10 x 9 3/4 in.), 155 pp., in color illustrated paper wrappers. A very good copy that shows only slight edgewear. The small autograph note from Duesberry, written on her letterhead (5 1/2 x 4 1/4 in.), dated 11/20/91 and signed Joly D., comments upon her (then) recent and upcoming exhibitions and contains an inquiry about renting a house on Martha's Vineyard. This collection provides a good overview of a large portion of Duesberry's prolific career., Good Stock number: 85845.
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Imprint: 1990 DUFRESNE, John. THE WAY THAT WATER ENTERS STONE. Stories. New York: W.W. Norton & Co., (1990). Advance uncorrected proof. 8vo., blue printed wrappers. Touch of soil and sun to wraps. Small photo of cover proof tipped into front wrap at verso. Near fine. The author's first book, in a scarce format., Fine Stock number: 59722. ISBN: 0393029247
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Imprint: 1924 DULAC, Edmund. EDMUND DULAC'S FAIRY-BOOK. Fairy Tales of the Allied Nations. New York: George H. Doran Company, [1924]. Illustrated with 16 tipped-in color plates. Quarto. [14],174 [i.e. 202] pp. Publisher's black cloth binding, gilt-stamped title and decoration to spine, a large and very ornate label, printed in gold and black, on upper board. Ink ownership on ffep. A bright and fresh copy in very good condition, with front hinge cracked and a touch of wear at heel and crown. Tan dust- jacket, with decoration printed in brown and type printed in black on spine and front panel, is in about very good condition, showing slight wear along top edge, a couple of chips at bottom edge, and light sunning on spine. Quite scarce in dust-jacket. (Hughey 47e)., Very Good Stock number: 78777.
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Imprint: 1915 DULAC, Edmund, illus. EDMUND DULAC'S PICTURE-BOOK FOR THE FRENCH RED CROSS. London: Published by the Daily Telegraph for Hodder & Stoughton [1915]. (6) + 135 pp. + 1 pp. advertisement. 4to., mustard colored cloth with spine and pictorial cover stamped in dark blue. Very good, front cover slightly bowed, cloth clean and bright. Faint vertical crease and small closed tear to edge of front flyleaf. In good dust jacket with same plate as frontispiece (Asenath) tipped in on cover. Light soil, a 2 inch closed tear at front joint, two cut-out circles of about an inch on front cover, not affecting text, light soil. Frontispiece and color plates are tipped-in on taupe paper with pale green borders, slightly age toned at edges. Frontispiece is slightly creased at left edge of plate. There are 20 plates, the last being a b/w portrait of the artist. Fairy tales, poems and songs from around the world, including Sinbad the Sailor, the Three Kings, The Story of the Bird Feng, The Real Princess (The Princess and the Pea), The Nightingale, Cinderella, Aucassin and Nicolette, Blue Beard, Jusef and Asenath and more., Good Stock number: 80145.
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Imprint: 1929 (DULAC, Edmund). THE LOVE OF THE FOOLISH ANGEL. By Helen Beauclerk. With Decorations by Edmund Dulac. New York: Cosmopolitan Book Corporation, 1929. First American edition. First selection of the Book Society of England. The edges of the boards are slightly sunned, making this a near fine copy in a spine sunned dust jacket with a spot of soil on the rear and light edge wear., Fine. Illustr: FAE Stock number: 44626.
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Imprint: 1855 DUMAS, Alexandre, fils, 1824-95. LE DEMI-MONDE. COMEDIE EN CINQ ACTES. (RUBAN binding). Paris:( Michel Levy Freres, Editeurs, 1855. Octavo. 162pp. First edition. Illustrated with an original watercolor by Frederic Bourdin on half title page. Original wrappers bound-in. (Carteret 1924: I, p. 248.) In full blue morocco with gilt rules, signed Petras Ruban (1851- 1929) on inner dentelle. Spine in raised bands with gilt floral decorations. All edges gilt. Marbled endpapers and inner dentelles, intricately gilt. A.e.g. Fine. One of Dumas fils's most influential plays, in which he characteristically explores sexual morality., Fine Stock number: 88852.
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Imprint: 1887 DUMAS, Alexandre, fils, 1824-95. FRANCILLON. PIECE EN TROIS ACTES. (RUBAN binding). Paris: Calmann Levy, Editeur, 1887. Large octavo. 153pp. With six original watercolors, and three pen and ink drawings, all signed by the artist, P. Bertault. Number 65 of 65 copies on holland paper, of an edition of 131. (Carteret 1924: I, p. 249.) In an elaborate signed binding by Petrus Ruban (1851-1929) of full olive green crushed morocco. A.e.g. With a central design of theater masks and musical instruments, surrounded by vines, flowers, birds, butterflies and insects tooled and gilded, as well as intricate borders and corners. Richly decorated gilt dentelles and marbled endpapers. Original printed wrappers bound-in. Discoloration to original wrappers. The spine is evenly faded to brownish green. Matching marbled paper slipcase, edged in morocco. A unique copy with original watercolors, in a lovely binding. Stock number: 88853.
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Edition: First Edition
DUMAS, Alexandre. HENRI III ET SA COUR; drame historique en cinq actes et en prose. Represente sur le Theatre francais, par les comediens ordinaires du Roi, le 11 fevrier 1829. Paris: Vezard et Cie., Passage Choiseul, Nos 44-46, 1829. First edition of the first serious work by Dumas to be staged (Munro, p. 9). 171 pp. Moderate foxing throughout. A few marginal ink notations, including one on the t.p., which have been crossed through. Bound with: ANTONY, drame en cinq actes, en prose. Represente pour la premiere fois sur le Theatre de la Porte Saint-Martin, le mardi 3 mai 1831. Deuxieme edition. Paris: Auguste Auffray, Editeur, Passage du Caire, No. 54, 1832. Second edition (Munro, p. 19), the one which was performed, of the play whose basic subject were Dumas' infatuation with Melanie Waldor, his liason with her and his subsequent jealosy; for a number of years it remained one of the most popular plays on the Paris stage. Engraved frontispiece (the same as in the first edition). [8],100,[4] pp. Light foxing throughout. Bound with: CATHERINE HOWARD, drame en cinq actes et en huit tableaux. Paris: Charpentier, Libraire-Editeur, 34, Rue de Seine-Saint-Germain, 1834. Possibly a first edition (Munro, p. 43-44); it agrees with Munro in almost all points except 1.) it lacks the statement on the t.p. regarding the first performance (Represente pour la premiere fois a la Porte-Saint- Martin, le 2 avril 1834), and 2.) it contains an introduction (authored by Alexandre Dumas 15 juin 1834) on p. i-iv. Engraved frontispiece. [4],iv,208 pp. Mostly light foxing throughout; although pp. 1-48 are heavily foxed. 8vo. The three plays had been bound together in one volume but are now disbound: contemporary calf boards are present, but lacks the backstrip; the bookblock in several pieces. Library bookplate to front pastedown, but no other marks within. Offered as is. Stock number: 66857.
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Imprint: 1961 DUMOND, Dwight Lowell. A BIBLIOGRAPHY OF ANTISLAVERY IN AMERICA. Ann Arbor: University of Michigan Press (1961). 119 pp. 4to., brown pictorial paper covred boards, spine lettered in gilt. Fine in near fine matching dust jacket with minor wear to spine at heel and crown. A life's work: Dumond spent nearly 30 years accumulating the bibliographical details., Fine Stock number: 83136. ISBN: REFERENCE
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