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The Beatles

Published by Parlophone, UK (1967)

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From: rareandsigned (LEEDS, United Kingdom)

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About this Item: Parlophone, UK, 1967. Signed. The Beatles, Sgt Peppers Lonely Hearts Club Band AUTOGRAPHED vinyl LP. This is an incredibly rare FULLY SIGNED presentation. This is the iconic LP by The Beatles. Presented here AUTOGRAPHED by all four band members in pen to the inner gatefold sleeve as shown. Each musician has signed the sleeve in biro pen. This is not a preprint or reproduction. This is a very rare set of original signatures by hand from perhaps the most famous music band of all time. The album has usual wear and marks over the years but overall in good condition, given the age. The inner sleeve and card cut outs are also included as shown. Signatures are clean and recognisable. Highly collectable and a surefired investment. Signed by Author. Seller Inventory # 006060

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LEVAILLANT, Francois (1753-1824).

Published by Paris: Levrault frères (later Levrault, Schoell & Co.), 1801-1805. (1805)

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About this Item: Paris: Levrault frères (later Levrault, Schoell & Co.), 1801-1805., 1805. 2 volumes. Folio (20 x 12 6/8 inches). Half-titles, 145 EXCEPTIONALLY fine engraved plates after Jacques Barraband, printed in colors and finished by hand by Langlois under the direction of Bouquet. Contemporary cherry morocco, each cover decorated with a broad gilt border, the spine in seven compartments with five raised bands, gilt-lettered in two, the others decorated with fine gilt tools by C. Smith (spines evenly faded). Provenance: from the library of Beriah Botfield (1807-1863), antiquary and industrialist, his sale, Christie's, Mar 30th 1994, lot 77. "The received wisdom is that the work was published in two formats, quarto and folio, both published in 24 parts. In addition 12 copies were issued in large folio with the plates in colored and uncolored states" (Christie's). Levaillant, one of the greatest French ornithologists, was the son of the French consul in Dutch Guiana. He was born in Paramarimbo and seems to have inherited his father's love of travel. He became one of the first of a new breed of naturalists who attained prominence towards the end of the 18th century, studying and recording their subjects in their natural habitat. Jacques Barraband (1767 or 1768-1809) worked for the Gobelin factory and was considered the best ornithological artist of his time. Langlois's engravings capture the precision and beauty of his gouache and watercolour originals. "After he had made himself Emperor, it was part of Napoleon's deliberate policy to initiate a series of magnificent publications that would vie with those undertaken to the orders of Louis XIV. These were sent as presents to crowned heads, men of science, and learned bodies, in evidence of the splendours of the Empire. The works of Levaillant owe their sumptous character to. [this]. impetus. His "Histoire naturelle des perroquets" is, unwittingly, a part of the glories of Napoleonic France" (Fine Bird Books). Apart from their undoubted beauty, Barraband's engravings display a scientific accuracy that few ornithological artists have matched since. The meticulous hand-colored engravings in Levaillant's publications were unmatched for the delicate modulations of tone and color, fine lines and perfect draftsmanship, making them exceptional in their richness and tonal variation. Each feather is described by dozens of parallel lines, providing remarkable detail and naturalistically textured color. Some of the prints are embellished with touches of gold leaf on the feathers of the cheeks and shoulders of the birds, emphasizing the preciousness of the plates and reproducing the iridescence of the birds' feathers. From the distinguished library of Beriah Botfield who published a number of books that reflected his interests in early printed books and manuscripts. He set up a private printing press at Norton Hall and printed some of his own writings there in limited editions. Botfield was also a renowned book collector, and a member of the Roxburghe Club. His library of early printed and colour plate books, many in fine and sumptuous bindings, he bqueathed to the Thynne family of Bath, with whom he claimed a tenuous kinship. Most of Botfield's books, which included a number of Caxtons and other incunabula, remained at Longleat, the Thynne family home, although some were sold at sales at Sothebys (11 June 1979) and Christies (30 March 1994). See W. P. Courtney, and A. S. G. Edwards for DNB. Anker 303; "Fine Bird Books" p.90; Nissen IVB 558; Ripley 170; Ronsil p.297; Wood p.434; Zimmer p.392. Catalogued by Kate Hunter. Seller Inventory # 72nhr121

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Marx, Karl, philosopher and economist (1818-1883).

Published by 41 Maitland Park Road, London, 1. X. 1879. (1879)

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About this Item: 41 Maitland Park Road, London, 1. X. 1879., 1879. 8vo. ½ page on laid paper, torn from a notebook, watermark "Joyn[son] Super[fine]". Unpublished letter to the Chartist and radical freethinker Collet Dobson Collet (1812-98), in English: "My dear Sir, On my return from the seaside I found your letter d.d. 23 September. You will much oblige me by being so kind as to forward me some of the copies of the 'Revelations', as I have none left. Yours very truly [.]". - In very good condition, with intersecting folds, moderate wrinkling and a few creases; the sheet is bright, the writing dark, precise, and easily legible in spite of Marx's distinctively minute hand. - Marx was a close friend of the Collet family, which included the pioneering feminist activist Sophia Dobson Collet, social reformer Clara Collet, and the recipient of this letter, the editor of "The Free Press: A Diplomatic Review", to which Marx contributed a number of articles. The men became good friends and soon held weekly meetings at each other's houses to recite Shakespeare. The assembled group, which was formally coined as the Dogberry Club, included Marx's daughter Eleanor and Collet's daughter Clara, as well as Edward Rose, Dollie Radford, Sir Henry Juta, and Friedrich Engels. The publication to which Marx alludes, "Revelations of the Diplomatic History of the 18th Century", was originally serialized in the "Free Press" from August 1856 to April 1857. Not in MEW 34 (1966). Seller Inventory # 48768

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About this Item: John Cary,, London, 1815. The Map that Changed the World Large engraved wall map, dissected and mounted on linen, in three sections, fine original full-wash colour, signed and numbered "a65" by the author to the lower right corner of the north section, third issue (the "a" series), housed in original brown mottled paper slipcase, rubbed. The first large scale, detailed scientific geological map of any country: "A major cartographic and scientific achievement" (Eyles, DSB). Smith's triumph in executing this, his subsequent fall and then final recognition is the stuff of scientific legend: "he was imprisoned for debt, turned out of his home, his work was plagiarised, his wife went insane and the scientific establishment shunned him" (Winchester). However, Smith's overwhelming contribution to the science of geology was his recognition, as outlined in the Memoir, "that each stratum is also possessed of properties peculiar to itself, has the same exterior characters and chemical properties, and the same extraneous or organised fossils throughout its course". It was this theory, developed as early as 1796, that enabled Smith to "accurately predict, and therefore map, the geological composition of Britain" (Challinor). The connection between strata and their fossils was noted by the Danish scientist Nicolas Steno in his 1669 work 'De Solido', but it was Smith who first understood that the principles of stratigraphy could be applied on a national scale. His development of the mechanisms of superposition (the theory that geological strata are formed in order), placed palaeontology as a fundamental part of geology and lent credence to the theory of deep time, leading to a better understanding of the age of the earth. His great map is astoundingly accurate, and modern versions have made only relatively minor modifications to his work. Five states of Smith's work have been identified: an early unnumbered state (known in only a few copies); a series numbered 1-100, which Smith signed between 2 November and 17 December 1815; a series numbered a1-100 (the present example is of this series), signed between 17 December 1815 and 23 January 1816; a series numbered b1-100, signed after 23 January 1816; and an unnumbered series probably issued in 1823 or later (watermarks are dated 1823). "The map was supplied either in sheets [usually bound as an atlas], or mounted on canvas and rollers, or fitted in a case for travelling [as in the present example]" (Eyles, Bibliography). Most probably no more than 320-350 copies of the map were published, of which perhaps 130 survive today. The present example corresponds to Eyles' second issue, series III map: "a65", was examined and signed by Smith on 13 January 1816. It was one of a batch of 15, which had been coloured by Morse, signed that day and numbered. Scale: 5 miles to one inch. J. Challinor, "The Beginnings of Scientific Palaeontology in Britain" Annals of Science 6 (1948): 46-53; Joan M. Eyles, "William Smith", in Dictionary of Scientific Biography (vol.12), ed. Charles Coulston Gillispie (New York: Scribner, 1970-80) 486-492; Eyles, "William Smith: A Bibliography of his Published Writings, Maps and Geological Sections" Journal of the Society for the Bibliography of Natural History V (1969); H.D. Horblit, One hundred books famous in science: based on an exhibition held at the Grolier Club (New York: Grolier Club, 1964), 94; Ruth A. Sparrow, Milestones of Science: Epochal books in the history of science as represented in the Buffalo Society of Natural Sciences, (Buffalo: Buffalo Society of Natural Sciences, 1972), 180; Simon Winchester, The Map that Changed the World (London: Harper Collins, 2001). Seller Inventory # 14309

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Thomas Hill (1829-1908)

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About this Item: No Binding. Condition: Good. Thomas Hill (1829-1908) Big trees, 1903 Signed and dated lower right: “T. Hill/1903” Oil on canvas Canvas size: 46 ¼” x 30” Framed size: 55” x 38 ¾” Provenance: Mrs. Joseph O. Tobin to Fine Arts Museums of San Francisco. Mrs. Joseph O. Tobin was the granddaughter of Michael Henry de Young, founder of the San Francisco Chronicle and benefactor of the M.H. de Young Memorial Museum. Thomas Hill was born in Birmingham, England on September 11, 1829. After immigrating to the United States in 1844, Hill settled with his family in Taunton, Massachusetts. He studied at the Pennsylvania Academy of the Fine Arts under the tutelage of Peter F. Rothermel. Hill painted in Massachusetts throughout the 1850’s, often in the White Mountains of New Hampshire with a group of artists that included Asher B. Durand, George Inness, Benjamin Champney, Albert Bierstadt, Virgil Williams and his brother Edward Hill. For health reasons he was forced to seek a milder climate and, with wife and children, made the overland trek to California in 1861. After settling in San Francisco, Hill advertised himself as a portrait painter. In 1862 Hill made his first trip to Yosemite accompanied by the artists William Keith and Virgil Williams. In 1866 Hill exhibited his Yosemite scenes at the National Academy, and later that year, traveled to Paris where he was a pupil of Paul Meyerheim and exhibited at the Universal Expo. Returning to the United States, Hill stayed in Boston from 1868 to 1970, but returned to San Francisco in 1871. He hit his artistic stride in California during the 1870s, beginning with his first grandiose painting, The Yosemite Valley, which was published as a chromolithograph by Prang. With Frederic Whymper, Hill was a founding member of the San Francisco Art Association, and in 1873, he became a member of the Bohemian Club, a men’s organization dedicated to cultural enhancement. Hill built a studio in Yosemite in 1883, which would become his main residence for rest of his life (his wife maintained the family home in Oakland). During the winter months Hill resided in San Francisco where he maintained a studio in the Flood Building. When Virgil Williams died in 1886, Hill became interim director of the School of Design until a new director could be found. During the 1870s and 1880s, Hill’s work was in demand and brought very high prices; however, during the later part of his life his work did not command the interest that it once had due to changing art styles. Like Bierstadt, his panoramic landscapes were considered old-fashioned and for half a century or more his work was in eclipse. Today his work has regained its proper stature and he is considered a giant in American art. His work can currently be viewed in the collections of the de Young museum, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Oakland Museum of California and the White House, among many other collections. The trees illustrated in Thomas Hill’s “Big Tress, 1903” are giant Sequioas in the Mariposa Grove near Wawaona, in the southernmost part of Yosemite National Park . Mariposa Grove was first visited by non-natives in 1857, when found by Galen Clark and Milton Mann. The grove contains about 500 mature giant Sequoias, some dating to over 2000 years old. The “Wawona Tunnel Tree,” as illustrated in Hill’s painting, had a tunnel cut through it in 1881 to allow horse-drawn carriages and eventually automobiles to pass through it. Since falling in 1969, this tree has since been called the “Fallen Tunnel Tree”. The tree in the foreground of the painting is called the Vermont Tree. These trees, along with the others in the Mariposa Grove, have been tourist attractions since the late 19th century and continue to be so today. Seller Inventory # L00302c

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WORKS OF GEOFFREY CHAUCER. From the Ellesmere: Kelmscott Press] Chaucer

Kelmscott Press] Chaucer Geoffrey

Published by Hammersmith Kelmscott Press 1896 (1896)

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About this Item: Hammersmith Kelmscott Press 1896, 1896. One of 425 copies of a total edition of 438. With FINE PROVENANCE, having been owned by George Abrams, "Master of Typefaces", an artist and type designer whose distinctive logotypes spelled out household names like B. Altman and Godiva Chocolates. With 87 wood-engravings designed by Sir Edward Burne-Jones, cut by W.H. Hooper after drawings by Robert Catterson-Smith, superb wood-engraved title page, fourteen very fine large borders, eighteen different woodcut frames around the illustrations, twenty-six nineteen line woodcut initial letters, and numerous initials, decorative woodcut printer’s device all designed by William Morris and cut by C.E. Keates, Hooper and W. Spelmeyer, with shoulder and side titles. Printed in red and black in Chaucer type, double column, headings to the longer poems in Troy type. Folio (424 x 289 mm), original Holand linen-backed blue paper boards, paper label on the spine, housed in a cloth case. iv, 556pp. A very handsome copy, the text is especially clean, crisp, fresh and bright, the binding with some professional and expert refurbishment. A VERY SPECIAL COPY, WITH PROVENANCE, OF THE FIRST EDITION AND A HANDSOME COPY OF WHAT IS CONSIDERED TO BE THE MOST BEAUTIFUL PRINTED BOOK IN THE ENGLISH LANGUAGE. The Kelmscott Chaucer is "the most famous book of the modern private press movement, and the culmination of William Morris's endeavor" (The Artist and the Book). "[F]rom first appearance, the Chaucer gained a name as the finest book since Gutenberg. It has held its place near the head of the polls ever since. The terms which critics used in the eighteen-nineties to welcome it simply show us what an impression Morris's printing made upon late Victorian bookmen" (Colin Franklin, The Private Presses, p. 43). Evidence of the esteem in which the book has been held lies in the fact that after the Second World War, during the rebuilding of Japan and its libraries, a copy of the Kelmscott Chaucer was the first book presented to the Japanese people by the British Government on behalf of the English nation. The Kelmscott Press produced forty-eight books in its brief life. Morris had toyed with the idea of a Shakespeare in three folio volumes; a suggestion for a King James version of the Bible was in his pending file; and preliminary work had begun on editions of Froissart and Malory, both of which would have formed a triumvirate with the Chaucer. But on October 3, 1896, Morris died, and for all intents and purposes the Kelmscott Press died with him, the Froissart and Malory unfinished. The Chaucer, regretfully, remained the only "titan" among Kelmscott books. Morris dedicated his life to poetry and the decorative arts, but he did not exhibit an active interest in the design and production of books until he was fifty-five years old. He died eight years later, but in that brief fragment of time he established a standard and prestige that still make him one of the most powerful and pervasive influences in book design in the English-speaking, English-reading world. This is George Abrams' copy, with his bookplate on the front pastedown. Mr. Abrams and his company, Alphabets Inc., worked with many of the largest advertising and printing agencies. Among his type designs are three known as Abrams Venetian, Abrams Augereau and Abrams Caslon. He created the cover logos for a number of popular magazines, notably the original one for Sports Illustrated in 1954. Others he designed included those for Newsweek (1968), The Saturday Evening Post (1965) and House Beautiful (1949). He was a bibliophile with a large collection of rare books and manuscripts, ranging from incunabula to the Russian avant-garde. He was active in the Grolier Club and the New York Typophiles, and was a fellow of the Pierpont Morgan Library and an honorary fellow of the London Society of Typographic Design. His brother was Harry N. Abrams, founder of the art books publisher by that name. There is earlier provenance of Robert Heysham Sayre, who was vice pr. Seller Inventory # 27259

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The Posthumous Papers of the Pickwick Club.: DICKENS, Charles.

DICKENS, Charles.

Published by Philadelphia: Lea and Blanchard, 1842 (1842)

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About this Item: Philadelphia: Lea and Blanchard, 1842, 1842. Large octavo. Original brown vertical grain cloth, covers blind-stamped, spine with figure and title in gilt (stained, worn), inscribed to Bryant "from his friend and admirer, Charles Dickens". Housed in a brown quarter morocco solander box by the Chelsea Bindery. Substantial dampstaining to top edges of boards, also affecting contents but to a lesser extent, head and tail of spine chipped, wormholes to joints, boards rubbed and scuffed, ring stain to front board, some spotting and oxidisation of plates, sporadic foxing and tanning to text. Provenance: by descent from the recipient. Presentation copy, inscribed by Dickens to William Cullen Bryant (1794–1878), editor of the New York Evening Post and a leading poet of his generation: "William Cullen Bryant From his friend and admirer Charles Dickens", signed with his characteristic lavish underscores. Dickens met Bryant for their first private audience on his American tour on Tuesday 22 February 1842 and presented him with a gift of six books, all American editions of his own works. Bryant reciprocated by presenting Dickens a copy of this own The Fountain and other Poems, his inscription using the same form of words (that copy later in the Stephen H. Wakeman collection, sold American Art Association, April 1924, lot 26, $400). Bryant was well-disposed to Dickens, at that time the most famous living author in the world, but he, like many other Americans, was dismayed by the criticisms Dickens expressed in his American Notes (1842) and in the American chapters of Martin Chuzzlewit (1844). However, he recovered sufficiently to visit Dickens as an old friend on his return to America in 1867. The fact that this is an American edition of Dickens's first publishing success is evocative: Dickens had strong feelings on the contentious issue of international copyright, and the subject hung over the whole trip. He mentioned it himself several times during his public engagements, eventually drawing on himself the wrath of the American press. Lea and Blanchard (successors to Cary and Lea) were Dickens's "official" American publishers and had prepared for his visit by reprinting his works to date, but the American economy was in the middle of a depression, general fiction could only be sold in the cheapest possible formats, and the cash-strapped publishers were not eager to further erode their profits by paying royalties to foreign authors. Seller Inventory # 90110

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WRIGHT, Frank Lloyd.

Published by Ernst Wasmuth A. G., Berlin. (1910)

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From: Sims Reed Ltd ABA ILAB (London, United Kingdom)

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About this Item: Ernst Wasmuth A. G., Berlin., 1910. 2 vols. Oblong folio. (415 x 650 mm). The complete set of 72 lithographed plates, 1 folding, 28 with tissue overlays and 20 printed on grey paper. Plate 62 is printed in gold and 64 in full colour. Plates are numbered I to LXIV, plus XIIIa, XIVa, XXXIa, XXXIb, XXXIIIa, XLIVa, XLVIIa and LVIa. The text (pp. 30, (i), including foreword by Frank Lloyd Wright - dated 15th May, 1910 - and list of plates), loosely inserted in smaller format (410 x 320 mm), as issued, in unbound sheets. Loose as issued in original publisher's cloth-backed printed board portfolios, titles to upper boards, additional cloth-backed protective portfolio for both vols. First edition of Frank Lloyd Wright's rare pre-war German publication. This rare work contains 100 lithographed plans of Wright's completed projects. The rarity of the publication is due to the unfortunate destruction of many of the American copies in a fire. As such, the work is better known & more influential in Europe & its architectural circles. The work has been described as 'undoubtedly the most beautifully produced publication on architecture in the twentieth century. Using several colours of paper, plus tissue overlays, and several colours of ink, the publisher created a magnificent vehicle for the presentation of the art of Frank Lloyd Wright.' Many of the drawings were executed by Wright's collaborator Marion Mahony Griffin. Those works illustrated include: Winslow Residence, Lexington Terrace, Metzker Residence, River Forest Golf Club, Prairie House, Hardy House, Wolf Lake Development, Bank in Mason City, as well as Wright's famous Unity Temple & the Cheney House. Seller Inventory # 37993

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Archive of Meadow Run Press Sporting Book: Meadow Run Press)
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About this Item: Stone Harbor; Far Hills, New Jersey, 2010. Condition: Fine. Approx 60 linear feet (31 file boxes and 1 box of oversize material). The Archive of Meadow Run Press, sporting book publisher 1989-2010. For two decades William D. Trego's Meadow Run Press set the standards for American sporting book publishing and issued a series of finely produced original works by new and established authors as well as sporting club histories, privately printed angling volumes, and a select group of reprints of neglected classics. The books, among them Sea Level and Marquesa by Jeffrey Cardenas, The Henryville Fly Fishers by Ernest Schwiebert, Live Water by Tom McGuane, and the cult classic, The Starlight Creek Angling Society by Harry Middleton, are notable for their content and for a consistent attention to design, illustration, and the form of the finished book. Many of the titles were also issued in limited deluxe editions with special bindings and additional material by the artists and authors; several were printed letterpress by Bradley Hutchinson of Austin, Texas. The books were uniformly well received by reviewers and readers alike, and several were reprinted on multiple occasions. The publisher, Mr. William D. Trego, variously of Stone Harbor and Far Hills, New Jersey, was educated at the Philadelphia College of Art (now the University of the Arts), Temple University, and Villanova University. He established the press as his interests in collecting evolved from American literature to American sporting books and to the outdoors. From modest beginnings in 1989 with a reprint of a classic American angling work, he undertook to publish original works and commissioned suitable illustration art from living American artists including Peter Corbin, John Swan, John Rice, and others. The Meadow Run Press books reflected the publisher's style and something of his character as well: Tom McGuane, now a legendary figure in American outdoor writing, wrote to Mr. Trego, "The books are beautiful and you've done such a fantastic job on this project - in every way! I've been writing for a living for almost three decades and this is, by far, my most pleasant publishing experience" (autograph letter, signed, dated 27 December 1996, in the archive). The Archive includes editorial, business, and production correspondence relating to the books and to their sale to mail-order and trade customers, with significant exchanges with authors Tom McGuane, Ernest Schwiebert, Tosh Brown, David Swanson, John Cole, and others, as well as with the artists commissioned by the press. Mr. Trego views The Starlight Creek Angling Society as one of the most significant accomplishments of the press, and this is documented in the original typescript of the book, as well as in the extensively edited drafts and abundant correspondence with the author, who died, untimely, soon after the book was published. The other important discovery of the press was Jeffrey Cardenas, whose first book, Marquesa, has become a modern salt water angling classic. M.L. Biscotti's A Bibliography of American Sporting Books 1926-1985 (1997) is a significant addition to the tradition of sporting reference works. Mr. Trego is himself a well-regarded writer and one large archive box relating to his earlier articles is present. The archive also includes a variety of submission manuscripts for works that the press declined to publish. As a bookman, Mr. Trego is known for his his meticulous insistence on condition; all of the publisher's copies of books are in superb condition, most with warm inscriptions from the authors and often with original drawings by the artists. Much of the smaller format artwork has been put into boxes to accompany notable typescripts, such as the raw, unedited typescript of Schwiebert's Henryville Fly Fishers, or the substantial archive of Harry Middleton material. Generally the condition of materials in the archive files is fine; some of the correspondence is on thermal fax paper and thus may present conservation issues in the longer term. Mr. T. Seller Inventory # 257301

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About this Item: 1790. No binding. Condition: Fine. Manuscript Map. "Draft of the Sound." Parts of Long Island, Connecticut, and Rhode Island. Circa 1798-1802. 1 p., 13 1/2 x 13 in. With George Washington signed document described below. Based on Osgood Carleton's 1798 Chart from New York to Timber Island including Nantucket shoals, our map adds local nautical knowledge that would have been critical to the safety of lives and cargoes at the time. Noting uncharted shipwrecks off Fisher's Island, three unmarked reefs, and two small islands on the course from Newport, Rhode Island, to New London, Connecticut, our map is a purposeful and unique document rather than a simple contemporary copy, which would still be rare. Modern Americans consider the water to be a divider. Indeed, bumper stickers on Long Island refer to Montauk as "The End," and the operators of the ferry service from Orient Point to New London, Connecticut, remind rude motorists that they always have the option to "drive around" the sound. Prior to the twentieth century, however, New England's waters were considered a highway rather than a divider. This is especially true in the area shown by this manuscript map, one of the most critical and difficult parts of the southern New England coast: the passage between Block and Long Island Sounds.As one departs Newport and Narragansett Bay, Point Judith sticks out like a thumb. As dangerous as this area has been, there is a fair amount of sea room to avoid its perils. The real trick is entering Long Island Sound from the Atlantic Ocean and Block Island Sound - a crucial route for coastwise traders to bring goods to New London, New Haven, other Connecticut shoreline cities, and eventually New York City via the East River. The waters of Long Island Sound meet the Atlantic in an area today known as "The Race" at the western end of Fisher's Island. At certain times, the confluence of tides creates waves so intense and close together that they are said to look like a pack of galloping horses, providing its historic name, the "Horse Race." Compounding navigational difficulties, it passes over the submerged, eponymous Race Rock. Even today, mariners under sail avoid this entrance to Long Island Sound. (A lighthouse warning of it took seven years to build and was considered an engineering marvel when completed in 1878.)In Watch Hill Passage, between the eastern end of Fisher's Island and Watch Hill Point, the currents, though still perilous, are less violent. Though narrower, even today this is the preferred route for small sailing craft travelling from Cape Cod, Nantucket, Martha's Vineyard, Block Island, Newport, and Narragansett Bay. Then and now, vessels use this passage to head for the Connecticut coast-today to marinas and yacht clubs, but historically, to the "Whaling City" of New London, the fishing villages of Stonington, Noank, and Niantic, the shipbuilders of Mystic and Old Saybrook, or the economic centers of New Haven and New York.This manuscript sea chart represents the area, clockwise from the west, starting at Orient Point and "Plumb" Island, New London, Fisher's Island, "Watch Pt." [Watch Hill], Westerly, Point "Judeth," [Judith], "Conanicut" [Connanicut] Island, "Neport" [Newport], Block Island, "Montuk" [Montauk] Point, and "Gardners" [Gardiner's] Island. Parts of East Hampton are shown but not named. A scale of nautical miles is present in the lower right corner. There is no latitude scale, but longitude centering on 72° west is noted along the bottom edge. Additionally, soundings in fathoms (6 foot measures) are marked for coastal areas, arrows indicate prevailing currents, and "x" marks the location of shipwrecks in particularly treacherous spots. The map is a near-exact match to Osgood Carleton's 1798 Chart from New York to Timber Island including Nantucket shoals published by William Norman. Carleton improves on Matthew Clark's 1789 Chart of the Coast of America from New York to Rhode Island, especially along the Connec. (See website for full description). Manuscript Map/Document Signed. Seller Inventory # 23759.01-.02

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EHRET, Georg (1708-1770).

Published by [London: by the author], 1748 [first plate]-1759 [plate 15]. (1759)

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About this Item: [London: by the author], 1748 [first plate]-1759 [plate 15]., 1759. 16 leaves, large folio (20 6/8 x 12 6/8 inches). 15 hand-colored engraved plates by and after Ehret, plate 15 with a facing page of text, "The history and analysis of the parts of the Jessamne, which flowered in the curious garden of R. Warner, Esq; at Woodford, July 1758", an uncolored engraved vignette of the Rondeletia by Ehret at the foot of this page, all plates but two on laid paper bearing the watermark of STRASBOURG LILY with "G" and maker's countermark I. TAYLOR, plate 4 on unwatermarked heavy wove paper, the letterpress on laid paper marked IV (plates 1, 10 and 11 with small repaired tears in lower margins, a few minor nicks at edges and plate 12 with a creased margin, some showthrough and a little paper discoloration throughout). Disbound and loose in modern red quarter morocco clamshell box. Provenance: The bookplate of Harry Wearne (1852-1929); memorial gift bookplate The Art-in-Trades Club. First edition. The "Plantae et papiliones rariores" has no title-page or text other than a caption title at the top of the first plate, and engraved Latin descriptions of the plants. (English text appears in trompe l'oeil on plate 8). The letterpress leaf accompanying the Jasminum plate 15 appears to have been published independently of the engravings. The work was published in parts by subscription, subscribers including Sir Hans Sloane and the Duchess of Portland; Ehret dedicated plate 14 to the latter, who had the Ginger plant cultivated in her greenhouse in September 1754 (Calman). During his years in Regensburg Ehret's drawings came to the attention of the physician and botanist Christoph Jakob Trew (1695-1769), who asked him "to paint for him as many plants as he could on large fine paper" (Henrey, p. 63). Trew had planned to publish a book of engravings based on his own collection of Ehret's drawings the project was delayed and Ehret, growing impatient, decided to publish his own book of engravings, containing "newly introduced species which had rarely if ever been previously represented" (Calman). Ehret's "approach was a fine compromise between that of the artist and that of the scientist: he did not slavishly imitate what he saw nor did he allow his feeling for color and design to distract him unduly from the fundamentals of plant structure. Artists and botanists alike, therefore, join in praising his work. he has. his own particular qualities-- a sureness of touch, vigor of handling, and an unerring instinct for design" (Blunt & Stearn, p. 163). Trew remained a patron and friend of Ehret for the rest of his life, and they eventually collaborated on Trew's magnum opus "Plantae selectee" (1750-1773), which confirmed Ehret's reputation as a master of botanical illustration. EXTREMELY RARE: not in the Plesch or de Belder collections. The Massachusetts Horticultural Society copy (sold, Sotheby's New York, 1 October 1980, lot 116) and the present copy are the only two copies recorded by ABPC since 1965. Only two copies are recorded in American institutions: Arnold Arboretum, Harvard University, and the Library of the United States Department of Agriculture, Washington D.C. Blunt & Stearn, pp. 164-166; Calman, Georg Ehret, "Flower Painter Extraordinary", 93-94; Dunthorne 109; "Great Flower Books", p. 93; Henrey 150; Nissen BBI 583; Pritzel 2641; Stafleu & Cowan (recording the publication in 1761-1762 of three supplementary plates, citing one known copy, at the Arnold Arboretum); TL2 1644. Catalogued by Kate Hunter. Seller Inventory # 001929

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Shiohi no tsuto [trans.: Gifts of the: UTAMARO, artist

UTAMARO, artist

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From: Jonathan A. Hill, Bookseller Inc. (New York, NY, U.S.A.)

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About this Item: Eight double-page color-printed woodcut illus., luxuriously heightened with gold, metallic dusts, & embossing. One leaf of preface (blank verso pasted onto upper cover, nine folding leaves, one leaf of postface (blank recto pasted to lower cover). 8vo (orihon), orig. blue patterned wrappers with waves (rubbed), orig. block-printed title slip on upper cover (slip a little frayed). Edo: Juzaburo Tsutaya, 1789. First edition of perhaps the greatest of all Japanese illustrated books. "Even among Japanese books, the 'Shell Book' must be considered remarkable, hardly another has quite the same concinnity of subject, text and illustration?Its title is a poetic one that strikes the chord for the whole work - Shiohi no tsuto - 'Gifts of the Ebb-tide.' The poems were contributed by the members of a poetry club? "After the foreword, comes the first print which is introductory to the main theme, the shells themselves. It is a picture of people gathering shells along Shinagawa bay at ebb-tide, and what more charming beach scene exists in art? The retreating sea, indicated by the most fragile washes of ultramarine, is ribbed with a perfectly apt blind-printing that casts minute shadows like shallow wavelets? "Then follow six [double-]pages that are designed to bring our eyes closer to the shells, as though on some propitious day the tide had been unusually prodigal and strewn the sand with a hoard of different treasures. The sea, receding to the top of each page in wine-coloured lines of conventional wave form [a characteristic of the third edition and not present in our copy] lays glinting as if the water had indeed just washed over it. Stranded as if by the cast of the last wave, are the 'Gifts of the Ebb-Tide,' shells of a wide variety of creatures, of fluted shellfish and whorled snail, 'awabi,' mussels, scallops, 'cherry-blossoms' and other shells of quaint shape and translucent colour? "Every device of the printer's art and artifice is used to embellish the shells. Gold and mica dusts overlay faint tinges of rose that shine through with a suffused glow, the nacre of the awabi has an iridescent lustre, tiny garlands of button-like shells glimmer and sparkle with a wet sheen, others have the fragility of a dragonfly's wing, with fretted shining surface; furrowed or encrusted, silvered or gold-dusted, the shells almost trespass into the realm of the lacquerers's art, with its subtleties of variegated texture and inlay work? "As the first plate was the induction to the pages of treasure-trove, so the last is a sort of epilogue. The party has returned from the beach and the girls sit in a circle around shells arranged in concentric rings upon the floor, representing a certain stage in the popular shell-game called kai-awase? "J.J. O'Brien Sexton, whose word on such matters is to be respected, wrote of this book [in the Burlington Magazine, March 1919]: 'From a technical point of view, it is in my opinion, the finest example of wood-engraving and colour-printing that the world has ever seen'."-Hillier, Utamaro. Colour Prints and Paintings, pp. 59-63-(& with two illustrations from what is now known as the third edition). "One of the most beautiful books ever published?How does an artist make his most beautiful book more beautiful? By paying close attention, thinking like a printer, preserving successes, drawing new effects out of the matrix of blocks, and adding subtle details. The first edition of Gifts of the Ebb Tide was a triumph. No one had ever drawn shells with more authority, more sensitivity, more painstaking detail. No printers had used such a variety of textures, and none since the days of Harunobu had employed such a range of colorants or produced such an array of special effects?The third edition is less carefully printed?Its distinctive feature is a wavy band of color printed over the verse on the shell prints."-Roger S. Keyes, Ehon. The Artist and the Book in Japan (New York Public Library, 2006), p. 114-(describing & using fo. Seller Inventory # 6228

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Otsuka How Art Club collotype fine copies of the Tang and Song. Yuan. Ming and paintings Grand View wire-bound two thick volumes. Wang Rong Bao that sign Showa four years (1929)Four Satisfaction guaranteed,or money back. Seller Inventory # RQ039224

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1935-01-01 Pages: 1 Publisher: the modern prints magazines auction photo shoot in a plastic bag. Modern Printmaking magazine published in 1935. Episode vi works part loose auction based on Mr. Ye Lingfeng collection the after removed to the hands of Lu Xun studies expert Wang Guanquan (see the third letter photo). but unfortunately missing the cover 6. Modern Printmaking magazine founded on April 1. 1935. each issue by the author directly on printmaking original rubbings and use the Yukou paper for the book page points (paste) up. say. journals works. all woodcuts original. in addition to periodicals. and hand Billiton system 50-60 to donate copies of their friends (see Chinese art journals over the eye recorded). This set should include printmaking original and cover 15 of the 12 emerging woodcut movement pioneers. but unfortunately is in the tradition of five prints and cover the loss of the surviving Li Hua Lai Shaoqi. Liu Da Nang eight woodcuts 9 works in the home for nearly 80 years to save the goods with good. near-total goods. (Modern Printmaking magazine. see Lu Xun Memorial Hall in Shanghai. Jiangsu Ancient Books Publishing House published printmaking discipline process - Lu Xun possession of modern Chinese woodcut Works) Friends of the Book Club. credibility-oriented. A good book is the school good book benefit Friends! Carefully identified and requirements of each product differences. having read the auction title shot paste descriptions and photographs of control approved. declined to games. questions asked ahead of time. the set is recognized. not supplier after set price. transaction settlement takes no returned. please be careful to buy! Book lovers to talk on morality! Related matters Executive everything goes according to the requirements of the site. International according to the weight of the book. product. version. packaging. mailing and other factors fuzzy may be. registered mail!Four Satisfaction guaranteed,or money back. Seller Inventory # EK067463

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1935-01-01 Pages: 1 Publisher: the modern prints magazines auction photo shoot in a plastic bag. Modern Printmaking magazine published in 1935. Episode vi works part loose auction based on Mr. Ye Lingfeng collection the after removed to the hands of Lu Xun studies expert Wang Guanquan (see the third letter photo). but unfortunately missing the cover 6. Modern Printmaking magazine founded on April 1. 1935. each issue by the author directly on printmaking original rubbings and use the Yukou paper for the book page points (paste) up. say. journals works. all woodcuts original. in addition to periodicals. and hand Billiton system 50-60 to donate copies of their friends (see Chinese art journals over the eye recorded). This set should include printmaking original and cover 15 of the 12 emerging woodcut movement pioneers. but unfortunately is in the tradition of five prints and cover the loss of the surviving Li Hua Lai Shaoqi. Liu Da Nang eight woodcuts 9 works in the home for nearly 80 years to save the goods with good. near-total goods. (Modern Printmaking magazine. see Lu Xun Memorial Hall in Shanghai. Jiangsu Ancient Books Publishing House published printmaking discipline process - Lu Xun possession of modern Chinese woodcut Works) Friends of the Book Club. credibility-oriented. A good book is the school good book benefit Friends! Carefully identified and requirements of each product differences. having read the auction title shot paste descriptions and photographs of control approved. declined to games. questions asked ahead of time. the set is recognized. not supplier after set price. transaction settlement takes no returned. please be careful to buy! Book lovers to talk on morality! Related matters Executive everything goes according to the requirements of the site. International according to the weight of the book. product. version. packaging. mailing and other factors fuzzy may be. registered mail!Four Satisfaction guaranteed,or money back. Seller Inventory # EK068063

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ZHANG ZAI MIN

New
Softcover

Quantity Available: 1

From: liu xing (JiangSu, JS, China)

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1935-01-01 Pages: 1 Publisher: the modern prints magazines auction photo shoot in a plastic bag. Modern Printmaking magazine published in 1935. Episode vi works part loose auction based on Mr. Ye Lingfeng collection the after removed to the hands of Lu Xun studies expert Wang Guanquan (see the third letter photo). but unfortunately missing the cover 6. Modern Printmaking magazine founded on April 1. 1935. each issue by the author directly on printmaking original rubbings and use the Yukou paper for the book page points (paste) up. say. journals works. all woodcuts original. in addition to periodicals. and hand Billiton system 50-60 to donate copies of their friends (see Chinese art journals over the eye recorded). This set should include printmaking original and cover 15 of the 12 emerging woodcut movement pioneers. but unfortunately is in the tradition of five prints and cover the loss of the surviving Li Hua Lai Shaoqi. Liu Da Nang eight woodcuts 9 works in the home for nearly 80 years to save the goods with good. near-total goods. (Modern Printmaking magazine. see Lu Xun Memorial Hall in Shanghai. Jiangsu Ancient Books Publishing House published printmaking discipline process - Lu Xun possession of modern Chinese woodcut Works) Friends of the Book Club. credibility-oriented. A good book is the school good book benefit Friends! Carefully identified and requirements of each product differences. having read the auction title shot paste descriptions and photographs of control approved. declined to games. questions asked ahead of time. the set is recognized. not supplier after set price. transaction settlement takes no returned. please be careful to buy! Book lovers to talk on morality! Related matters Executive everything goes according to the requirements of the site. International according to the weight of the book. product. version. packaging. mailing and other factors fuzzy may be. registered mail!Four Satisfaction guaranteed,or money back. Seller Inventory # EK068064

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A Curious Herbal, containing five hundred cuts: BLACKWELL, Elizabeth (d.1758).

BLACKWELL, Elizabeth (d.1758).

Published by London: C. Nourse, 1782. (1782)

Used
Hardcover
First Edition

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From: Arader Galleries - Aradernyc (New York, NY, U.S.A.)

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About this Item: London: C. Nourse, 1782., 1782. 2 volumes, folio (18 2/8 x 11 2/8 inches). Engraved throughout: two engraved title-pages (that to volume two with discreetly repaired tears), two dedicatory leaves, one leaf commendation from the Royal College of Physicians, one leaf of 'Publick Recommendation', two leaves of 'English index', 2 leaves 'Catalogus Plantarum.', 125 leaves of explanatory text and 500 EXCEPTIONALLY FINE hand-coloured plates (one or two margins of a few plates very lightly browned). Contemporary diced russia gilt, covers with outer border of 'greek-key' roll, Botfield arms in the centre, early-19th century spine in seven compartments delineated by fillets and a double-helix roll tool, lettered in the second compartment, numbered in the fourth (expertly rebacked and cornered in the early 19th century, upper inner hinges reinforced, lower inner hinge cracked, spines slightly faded). Provenance: Supra libros of Beriah Botfield (1807-1863) bibliographer, book-collector and industrialist, on each front cover; engraved armorial bookplate of Arthur Cuthbert on the front paste-down of each volume. First edition, Henrey's sixth issue and AN EXCEPTIONALLY ATTRACTIVE TALL COPY. Both titles are dated 1782, but according to Lisney 'the remaining leaves, including the plates, have been printed from the blocks used' for the first issue of 1737. Henrey says: "There is no uniformity with regard to the number of dedications contained in the various issues, or in the order in which the preliminary leaves are arranged". From the distinguished library of Beriah Botlfield who wrote a number of books about early printed books and manuscripts, including "Notes on Cathedral Libraries of England" (1849), "Catalogues of the Library of Durham Cathedral" (1840, for the Surtees Society), and edited a number of books for the Roxburghe Club and other celebrated bibliographic societies. He set up a private printing press at Norton Hall and printed some of his own works in limited editions. He was also a notable book collector, and his collection, mostly of early printed and colour plate books, were bequeathed on his death to the Thynne family of Bath, where they remained at Longleat, the Thynne family home, until they were sold in a series of sales in 1979 and 1994. Elizabeth Blackwell rented a house opposite the Chelsea Physic Garden, at 4, Swan Walk, at the suggestion of Isaac Reed, in order to draw and engrave the plants there. Her husband helped by supplying the common names of the plants in various languages. "After finishing the drawings Elizabeth engraved them on copper herself, and coloured the 500 prints individually by hand. Initially published in weekly parts, the first volume, which contained commendations from the Royal College of Physicians, was completed in 1737, the second in 1738 or early 1739. The work was an enormous success, her husband went to Sweden where he was employed as an agricultural expert (Linnaeus visited him in 1746), but he unfortunately became involved with a political intrigue and was execute in 1747. Henrey 455; Lisney 175 & 180. Seller Inventory # 72nhr36

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Theatrum das ist, Schawplatz, darein die eitelheit: NOOT, Jan van

About this Item: BMC STC German, p. 655; Cat. foreign books lib. Robert Hoe, 2 (1907), p. 195 (this copy); KVK/WorldCat (2 copies); Vermeylen, Leven en werken van Jonker Jan van der Noot (1899), pp. 45-63, 146 (D). Very rare first edition of the German translation of Jan van der Noot's Het theatre oft toon-eel, originally published in Dutch in London in 1568. It is a literal translation from the Dutch by Balthasar Froe and one of the main poetical works of the southern Low Countries nobleman Jan van der Noot (ca. 1539-post 1595), introducing the standards of Renaissance poetry to the Netherlands in an unprecedented way. At the same time the book played an important role in the rising genre of emblematical literature, especially in the Low Countries. The twenty emblems are built around twenty sonnets: 6 loosely translated from Petrarch's Morte di Madonna Laura, Canzone III; 11 from Joachim du Bellay's Songe and 4 newly written but based on the Apocalypse. Van der Noot's commentaries on the Apocalypse are strongly anti-Catholic. The laudatory verses and the verses on Van der Noot's arms were contributed by the Amsterdam professor Lambertus Barlaeus, the poet Joannes Gigas Secundus and the Cologne painter Gotschalck Sollingen. With the red leather bookplate of Robert Hoe (1839-1909), New York printing press manufacturer, bibliophile and first president of the Grolier Club. Although the book itself bears no record of later owners, we suspect it is the copy owned by the Brussels bibliophile General Jacques Willems (1870-1857), son of the Elzevier bibliographer Alphonse Willems. With a tear in the title-page and one other leaf expertly and unobtrusively repaired, and some minor browning and soiling on the first leaves, but still in good condition. The front hinge is cracked, but the binding is otherwise fine. A very rare emblematic work with beautiful woodcuts, beautifully bound by Loric frères. Seller Inventory # 875G7D2U2AXD

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Complet set of the best editions]. An: COOK (Captain James).

About this Item: London, Printed by W. and A. Strahan, for G. Nicol, Bookseller to his Majesty, in the Strand and T. Cadell, in the Strand, 1784., 1784. Couverture rigide. Condition: Comme neuf. Edition originale. Beddie, Bibliography of Captain James Cook, 649-1226-1543-1962 (Kippis) et 3596 (portrait)-4510 (pour les portraits en suppl. dans l’atlas). Forbes, Hawaiian National Bibliography, 85. Hill, 783-358 (pour la première édition) et 361. Holmes, 5-24 (pour la première édition)-47-69. O’Reilly, Tahiti, 433. Rosove, Antarctica, 77. A3. Édition originale officielle à l’exception du deuxième voyage en 3e édition (souvent préférée à la première édition. Elle contient la table générale des planches pour les trois voyages). Collection complète des trois voyages de Cook, à laquelle on a ajouté la vie du célèbre navigateur par Andrew Kippis. Complet de ses 202 planches gravées hors texte et du portrait du capitaine Cook en frontispice du deuxième voyage (52, 63 et 87 pl.). *Exceptionnelle reliure en cuir de renne russe, dont le prestige tient beaucoup à l’histoire insolite de sa découverte et de son sauvetage d’une épave oubliée au fond des eaux pendant près de deux siècles ! Le brigantin danois « Die Frau Metta Catharina von Flensburg », en provenance de Saint-Pétersbourg pour Gênes avec une cargaison de chanvre et de peaux, s’était échoué dans le détroit de Plymouth en 1786 ; et ce n’est qu’en 1973 que des plongeurs archéologues (the British Sub-Aqua Club), en quête d’un autre navire, l’ont découvert par hasard. Cet événement a donné lieu à une spectaculaire vente aux enchères, où relieurs et libraires se sont portés acquéreurs d’un ensemble de peaux de première qualité, dont celle qui a servi à relier, avec une grande maîtrise, notre exemplaire signé du relieur canadien Courtland Benson. Le remarquable et surprenant état de conservation des ballots de peaux que le brigantin contenait (certaines de la taille de l’animal lui-même, avec la queue et la tête, et marquées des initiales du tanneur) est dû à la méthode russe traditionnelle de tannage qui, en trempant le cuir dans un bain d’écorces de bouleau, le rendait résistant à la moisissure et lui vaut une réputation sans égale auprès des bibliophiles, surtout anglais. La peau du renne très résistante, souple et agréable au toucher se prête très bien aux ornements tels que les dorures ou les incrustations, et son séjour biséculaire dans la boue noire où il a été découvert n’a fait que renforcer sa solidité. Sa couleur varie du rouge bordeaux épais à une couleur terre de Sienne plus légère, comme pour notre exemplaire (Cf. The Wreck of the Metta Catharina, Garbett G. & Skelton I. 1987 et The International Journal of Nautical Archaeology, Blackwell, Oxford 2010, vol. 39, no2, pp. 235-257 [23 pages (article)]). Very nice set. Complet set of the “best” editions. "Now, this book has quite an amazing story : In 1786, the Die Frau Metta Catherina brigantine left St. Petersbourg with a cargo of hemp and leather. The latter was no ordinary leather, but Russia leather its typical crosshatched grain, tanned with willow bark and curried with birch oil – what the New York Times magazine calls “a top-of-the-line luxury.” This leather was renown for its unique perfume, its resistance to water and, as it seems, for being insect-repellent. Captain Twedt who was the skipper of the Die Frau Metta Catherina back in 1786, was aiming to Genoa. But he never went beyond Plymouth Sound. Torn from her anchorage by a sudden storm, the Metta Catherina eventually sank to a depth of about 100 feet. “The vessel and cargo entirely lost, read a contemporary article; crew saved.” The cargo, including rolls of Russia leather, quietly remained underwater for the following 187 years, until some members of a local diving club discovered the ship. Brought to the surface, the rolls of leather proved to be somehow well preserved. Mr. Brown, who happened to commercialize them, stated : ''The hides on the outer edges of the rolls, as well as others that were disturbed as the vessel sank, had all deteriorated badly. The inner hides in most of the rolls were in a remarkable state of preservation, protecte. Seller Inventory # ABE-4240789275

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Pub Date: Unknown in Publisher: Unknown Author: Jiao Bingzhen drawing Chu Kyu. the Meiyu Feng engraved era: clear in early sperm Block printed letter volumes: 1 letter a paper: White Binding: wire-bound size: 29 x 28.5 Summary: farming Figure . Weaving 23 each. a total of 46. fine lines and smooth. clear layout. delicate screen. the characters looked vivid prints are from the hands of the worker Zhu Kyu painting by the palace painter Jiaobing Zhen completed. can be described as carving club fine reflects Qinggong painting was the top level. China since ancient times. farming-oriented. the emperors out the need to maintain the rule of the people. food and clothing this Nongsang attaches great importance. Farming knowledge map that is generated in the historical back. The the Kangxi spring of thirty-five years. Bing Zhen Feng Chi Kung painted imperial farming knowledge map forty-six. Imperial Farming and Weaving. also known as Pei Wen Zhai Farming and Weaving map. Farming and Weaving Jiangnan rural production as a theme. depicting food production system from soaking into the warehousing. sericulture production to shear from the bath silkworm silk specific operation per Figure with the title Seven a poem of Kangxi Huang Di Yu. Han Ku life of the farmer Weaver to express his gratitude. Farming and Weaving the China Nongsang the production of the first sets of image data. Farming and Weaving become descendants of the most precious image data to study the agricultural production technology in the Song.Four Satisfaction guaranteed,or money back. Seller Inventory # RE074965

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Shakespeare, William (1564-1616); Marlowe, Christopher (1564-1593); Chapman, George (1559-1634); Spenser, Edmund (c.1552-1599), Jonson, Benjamin (circa 1572-1637); et al.; Allott, Robert (fl. 1600), compiler

Published by For N[icholas] L[ing]. C[uthbert] B[urby]. and T[homas] H[ayes],, London: (1600)

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About this Item: For N[icholas] L[ing]. C[uthbert] B[urby]. and T[homas] H[ayes],, London:, 1600. Octavo: [12], 494 [i.e. 510] pp. Collation: A-Z8, Aa-Kk8 (lacking blank leaves A1, A2, and Kk8) One of the Most Celebrated and Most Important Contemporary Anthologies of Elizabethan Poetry. With 91 Extracts from Shakespeare including passages from Romeo & Juliet ?This volume is a compilation of quotations of various lengths, generally with sources noted but not always accurately, taken from the poetical works of some fifty Elizabethan writers. There are included 91 genuine extracts from Shakespeare?s works, mostly (63) derived from ?Venus and Adonis? and ?Lucrece? but all from plays or poems that had been printed before 1600.?(Pforzheimer)?Of the five Shakespeare plays from which extracts are incorporated in the volume (Love?s Labour?s lost, Henry IV, Part I, Richard II, Richard III, and Romeo & Juliet), Romeo & Juliet is the most heavily represented, signaling the play?s popularity, or perhaps utility, in the period.?(Roberts, Companion to Shakespeare?s Works, The Tragedies)The extracts are arranged alphabetically under subject-headings, and the author's name is appended in each case. Spenser is quoted 225 times, Shakespeare 91, Daniell 115, Drayton 163, Warner 117, Chapman 83, Ben Jonson 13, and Marlowe 33.John Payne Collier notes that, in addition to ?Venus and Adonis? and ?Lucrece?, Shakespeare?s ?Loves Labours Lost? is quoted twice, ?Henry IV part One? twice, ?Richard II? five times, ?Richard III? five times, and Romeo and Juliet 11 times.?[Allott?s ?Parnassus?] is a large poetical dictionary with 2350 items, a work Moss claims is ?an attempt to replace the ancient canon of authors and rewrite commonplaces in the language of a new canon of modern poets? (Moss, 210)? Allott, then, was an important agent in the process of redirecting texts that normally circulated in manuscript and found their resting places in private collections of individual compilers into the more public world of print. The poetical and prose collections for which he was directly responsible and those with which he was otherwise connected represent an important moment of late Elizabethan literary anthologizing that signaled print's growing importance as the medium of literary transmission.?(Marotti, ODNB) Bibliotheca Anglo-Poetica 1; Grolier, Langland to Wither 3; Hayward 38; Pforzheimer 358; Case, Poetical Miscellanies, 23(a); Bartlett, Shakespeare: Original and Early Editions of the Quartos and Folios, His Source Books, and those Containing Contemporary Notices (Elizabethan Club, Yale), No. 299 Bound in 17th c. blind-ruled sheepskin. A very nice, complete copy with just a little soiling to a few leaves. With an intricate woodcut device on the title page. FIRST EDITION, the issue with the dedication leaf to Thomas Mounson signed R.A. Seller Inventory # 3091D

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About this Item: An Important Communication in the Power Struggle Between President Abraham Lincoln and Treasury Secretary Salmon P. Chase For Control of the Republican Party in 1864Lincoln defends his integrity to Chase, and states that such attacks are against the public interest; He criticizes the performance of ChaseÕs men in the New York Customs House, and seeks to replace them with his own menÒThis Mr. Bailey as I understand having been summoned as a witness to testify before a committee of the House of Representatives which purposed investigating the affairs of the New-York Custom-House, took occasion to call on the Chairman in advance, and to endeavor to smother the investigation, saying among other things, that whatever might be developed, the President would take no actionÉThe public interest can not fail to suffer in the hands of this irresponsible and unscrupulous man.Ó As early as December 1862 Republican leaders met to express dissatisfaction with the Lincoln administration, and there was continuing organized criticism over the next year that caused Lincoln much grief. Then in 1864 there was a movement to replace Lincoln at the head of the Republican ticket, which became strong enough that Lincoln despaired of his renomination. Lincoln put the blame squarely on Salmon Chase, his Secretary of the Treasury, whom he said was at the bottom Òof all the mischief.Ó Hiram Barney was a Republican whose wife was the daughter of noted abolitionist Lewis Tappan, who played a key role in the defense of the slaves who captured the Amistad. Lincoln was entertained by Barney while visiting New York for his Cooper Union speech in February 1860. After the speech, it was Barney who took Lincoln out to dinner at the Athenaeum Club on Fifth Avenue. Barney was a political ally of Salmon P. Chase of Ohio, who viewed Barney as his chief New York sponsor. However, Barney supported Lincoln at the May 1860 Republican National Convention when he realized that Chase was out of the running for the presidential nomination. After Lincoln was nominated, Barney traveled to Springfield to meet with Lincoln and consult regarding potential cabinet appointments. Barney enthusiastically supported the ticket and raised $35,000 in New York for the national ticket. This would be the equivalent of over $1,000,000 today.Newly inaugurated President Lincoln appointed Chase Secretary of the Treasury. The greatest prize within the Treasury Department was the collectorship of the port of New York, a place highly paid, honorable, and, through its large number of employees, a means of affecting the politics of New York City and State. Lincoln named Barney Collector of the Port of New York.Lincoln later related, ÒYou remember that when Hiram Barney was appointed, at the beginning of this administration, collector of the port of New York, everybody supposed that he was ChaseÕs selection and nobody elseÕs. Now Barney was as much my choice as he was ChaseÕs; and when (Chase, Seward, and myself standing round that table) BarneyÕs appointment was decided upon, I believe that I was the most gratified person then present.Ó But in office Barney was was a lightening rod for trouble. He was not politically active enough to suit ChaseÕs supporters, was soon out of favor with the anti-Chase faction in New York that was loyal to William Seward, appointed Democrats to posts in his department, and was widely and credibly accused of corruption. Barney made noises about resigning, but did not.Meanwhile, in early 1864, BarneyÕs enemies spread stories that he was supporting Chase for President and opposing President LincolnÕs reelection. Moreover, Lincoln had his eye on the New York customs house because he feared the embarrassing corruption scandals might hurt his chances in New York in the November election. At this time Barney had drifted into the Radical Republican orbit, and some radicals sought to replace Lincoln at the top of the ticket, with ChaseÕs at least tacit approval. So there was grow. Seller Inventory # 11578

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TUNNEY, Gene

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About this Item: Condition: Very Good. An enormous archive of photos, correspondence, scrapbooks, and ephemera from the personal files of heavyweight boxing champion Gene Tunney, best-remembered for his dual victories over boxing legend Jack Dempsey. The approximately 14 linear feet of material includes more than 700 photos of Tunney through all aspects of his life; 200 stills from his lost 1926 silent film, The Fighting Marine; over 500 pages of letters to Tunney from close friends, writers, and business leaders, including several dozen of his retained carbons; nearly 250 telegrams of congratulations on his second victory over Dempsey from friends and celebrities; and a vast assortment of ephemera and memorabilia, including a pair of used boxing gloves, boxing programs, various awards and commendations, and an abundance of contemporary newspapers and newspaper clippings.Among the highlights are nearly a dozen Signed and Inscribed photos of Tunney; two photographic portraits of Tunney by Carl Van Vechten; photos of Tunney with Jack Dempsey, George Bernard Shaw, Thornton Wilder, and Amelia Earhart; correspondence from Wilder, President Herbert Hoover, Eleanor Roosevelt, Booth Tarkington, Ed Sullivan, Dorothy Canfield Fisher, and other political, cultural, and business leaders; several meticulously assembled scrapbooks of his boxing career, including a stunning elephant folio containing original photos and news clippings documenting his second bout with Dempsey, presented to Tunney by his trainer, Bill McCabe; and a checkbook with over 70 canceled checks Signed by Tunney. The collection is overall in very good condition with modest age-toning and general wear; some small groups of items, consisting of a couple of boxes of the newspapers, a handful of photos, and a small group of ephemera related to his silent film, have been damaged from storage (including tears, dampstaining, and erosion at some of the extremities).James Joseph "Gene" Tunney (1897-1978) was undefeated as World Heavyweight Champion from 1926-1928. He is best remembered for his two victories over Jack Dempsey, particularly the rematch which is one of the most famous boxing matches in history. The Long Count, as it is also known, was held at Chicago's Soldier Field on September 22, 1927 and drew more than 100,000 spectators. It was the first fight to earn over $1 million at the gate (ultimately taking in over $2.6 million). During the fight Tunney was knocked down for the first time in his career, but Dempsey refused to withdraw to a neutral corner, thus delaying the referee's count and giving Tunney extra time to recover. Tunney eventually got back up and won the bout by a unanimous decision. He retired the next year after defending his belt against New Zealand's Tom Henney.Tunney was one of seven children born to Irish immigrants in the working-class neighborhood of Greenwich Village, New York. He joined the local athletic club as a teenager and took up boxing. While not the strongest or quickest fighter, he was a smart and strategic boxer who knew how to exploit his opponents' weaknesses. He joined the Marines at the outbreak of World War I and became the service's light heavyweight champion. He turned pro after the war and climbed the ranks as "The Fighting Marine." After his final match he married Connecticut socialite, Mary "Polly" Lauder, a Carnegie heiress. Tunney threw himself into various business endeavors and national organizations, including several anti-Communist causes such as the National Foundation for American Youth, for which he served as national chairman.Despite never finishing high school, Tunney was also a lifelong autodidact who preferred reading to most other pursuits. His refined speech and scholarly tendencies were criticized by sportswriters of the day who felt his dedication to books was a detriment to his boxing career and reputation. Such academic pursuits ultimately helped him excel after retiring from the ring, where many others boxers faltered. Along the way he formed. Seller Inventory # 370647

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Here Begyneth a Littel Tome and Hathe: DIBDIN, Thomas Frognall

About this Item: 16 pp. 8vo, a wonderful cont. binding by George Mullen of Dublin (with his ticket) of cream-colored straight-grained morocco (spine very slightly darkened), richly gilt & blind-tooled, around sides gilt roll borders in a "Gothic" design, flanked by quadruple gilt fillets, central panels decorated in blind, in center of each cover a large lozenge-shaped arabesque blind stamp, inner arabesque cornerpieces; inside borders gilt, doublures & endleaves of blue watered silk, framed by blind ornamental borders, spine with four raised bands & richly gilt, second compartment with title lettered in gilt, a.e.g. [London: printed by W. Bulmer, [1814].]. First edition, limited to 36 copies only; one of the great Dibdin rarities, here bound, ca. 1816, in one of the masterpieces by George Mullen of Dublin, Ireland's finest binder of the period, with his ticket. In this work we find Dibdin in the guise of bookseller. In October 1814 Dibdin managed to purchase for 500 guineas from the Dean and Chapter of Lincoln Cathedral six volumes containing 19 titles, mostly black-letter rarities, including four Caxtons. Within a month, Dibdin produced the present catalogue. "The well-turned archness of the title and the enthusiasm of the descriptions, the use of the best printer in England and the small limitation, the quality and the rarity of the books?and the standing in the book world of the celebrated author of Bibliomania, were carefully chosen ingredients which made The Lincolne Nosegay the most exclusive bookseller's catalogue ever issued. It may perhaps be more aptly termed a private auction catalogue, for it is unpriced, but the distinction is not important. More important is the limitation of edition as the measure of Dibdin's influenceable circle of friends and maximum targeted sales audience: thirty-one in the Roxburghe Club, including himself, and five spare copies?It is therefore not surprising that the Nosegay became a highly-prized collector's bijou - a joy to possess and a frustration not to possess?The Nosegay has remained a rare and attractive relic of its age."-Rabaiotti, "Beckford's A Dialogue in the Shades and Dibdin's The Lincolne Nosegay" in The Book Collector, Summer 1989, pp. 212-13. Provenance: This copy was given or sold by Dibdin to the Rev. Daniel McNeille, rector of Hackestowne in Ireland; on the upper portion of a front flyleaf Dibdin has written: "Price stitched 3s/6d. Only 36 Copies printed. T.F.D." This copy was bought at the sale of McNeille's "valuable" library in Dublin in July 1816 (clipping regarding the sale from the Dublin Journal of 20 July 1816 mounted on an endpaper) by William Shaw Mason (1774-1853), author of A Statistical Account or Parochial Survey of Ireland. On the flyleaf, underneath Dibdin's note, the auctioneer, Richard Edward Mercier, has recorded that Dibdin himself had given him an unsuccessful commission for this book: "?I had a Commission from Mr. Dibdin to purchase for him this Literary Bijoux, which he was very anxious to repossess." Mason, who probably asked Mercier to write this note, had it bound by Mullen, the outstanding Irish binder of the period, and presented it to Earl Whitworth of Abaston (1795-1825), Lord Lieutenant of Ireland from 1813 to 1817. On another flyleaf, there is a dedication in Mason's hand: "His Excellency Charles Earl Whitworth, Lord Lieutenant of Ireland &c., whose kind Condecension has so especially promoted the progress of the Statistical Survey." With the bookplate of George John, Eighth Earl of De La Warr (1791-1869) on the front doublure. From the library of Bernard H. Breslauer (his sale, Christie's NY, 21 March 2005, lot 83). The binding was exhibited, and reproduced in the exhibition's catalogue, at the Houghton Library in 1991. Fine copy preserved in a box. ? Jackson 34. Windle & Pippin A 24a. Seller Inventory # 5279

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TRITHEMIUS (or TRITHEIM), Johannes

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About this Item: 148 leaves, including the final blank), Roman letter (except for the two-line title in gothic type), 51 lines & headline, capital spaces with guide letters. Folio (290 x 188 mm.), late 17th-cent. panelled English speckled calf (rebacked with the orig. spine laid-down, minor staining to a few leaves in blank upper margins). Basel: J. Amerbach, 1494. First edition of the "first bibliography to be compiled as a practical work of reference."-Grolier Club, Bibliography, 7. Tritheim (1462-1516), one of the leading polymaths of his age, was appointed the 25th abbot of the monastery at Sponheim in 1483. "One of the first of his many self-imposed tasks was the reorganization and cataloguing of the monastic library, if one can call reorganization the process of transforming forty-eight mongrel volumes into a splendid collection of 2,000 printed books and manuscripts, many of great importance and rarity? "It was during the progress of this work, no doubt, as his exceptional knowledge of books caused inquiries frequently to be addressed to him, that he conceived the notion of compiling a new and ambitious bibliography of ecclesiastical writers. He began work in 1487, and by the spring of 1492 he was able to send the complete manuscript to the bishop of Worms. He then revised it, and in 1494 the Liber de scriptoribus ecclesiasticis, a folio of nearly 300 pages, issued from the Basle press of Johann Amerbach? "From Alexander, bishop of Cappadocia, down to himself, Tritheim sets out in chronological order nearly a thousand writers, largely but not exclusively ecclesiastical, giving a short account of each followed by a list of his (or her) writings. Nor are these lists merely perfunctory: it is obvious from such a heading as that for St. Augustine, under which he enumerates 277 works, that Tritheim must have lavished an immense amount of genuine research on his bibliography. In all about 7,000 books are recorded. An alphabetical index of authors, arranged of course by Christian names, is added. The contrast between the feeble theological bibliographies of the manuscript age and this first attempt in the printing era is very striking."-Besterman, The Beginnings of Systematic Bibliography, pp. 7-8. The title of the book is somewhat misleading since the work is not restricted to ecclesiastical writers but also includes authors such as Dante, Poggio, and Sebastian Brant. A fine and crisp copy of a book which has become uncommon on the market, preserved in a box. Bookplate of the Society of St. John the Evangelist, Cowley, Oxford. With a note on the rear paste-down referring to "Derby" (the Earls of Derby?) and a shelf-mark. ? Goff T-452. Seller Inventory # 5595

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CHEN ZHONG GANG

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1935-01-01 Pages: 1 Publisher: the modern prints magazines auction photo shoot in a plastic bag. Modern Printmaking magazine published in 1935. Episode vi works part loose auction based on Mr. Ye Lingfeng collection the after removed to the hands of Lu Xun studies expert Wang Guanquan (see the third letter photo). but unfortunately missing the cover 6. Modern Printmaking magazine founded on April 1. 1935. each issue by the author directly on printmaking original rubbings and use the Yukou paper for the book page points (paste) up. say. journals works. all woodcuts original. in addition to periodicals. and hand Billiton system 50-60 to donate copies of their friends (see Chinese art journals over the eye recorded). This set should include printmaking original and cover 15 of the 12 emerging woodcut movement pioneers. but unfortunately is in the tradition of five prints and cover the loss of the surviving Li Hua Lai Shaoqi. Liu Da Nang eight woodcuts 9 works in the home for nearly 80 years to save the goods with good. near-total goods. (Modern Printmaking magazine. see Lu Xun Memorial Hall in Shanghai. Jiangsu Ancient Books Publishing House published printmaking discipline process - Lu Xun possession of modern Chinese woodcut Works) Friends of the Book Club. credibility-oriented. A good book is the school good book benefit Friends! Carefully identified and requirements of each product differences. having read the auction title shot paste descriptions and photographs of control approved. declined to games. questions asked ahead of time. the set is recognized. not supplier after set price. transaction settlement takes no returned. please be careful to buy! Book lovers to talk on morality! Related matters Executive everything goes according to the requirements of the site. International according to the weight of the book. product. version. packaging. mailing and other factors fuzzy may be. registered mail!Four Satisfaction guaranteed,or money back. Seller Inventory # EK068061

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LIANG YUN XIANG

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date :1935-01-01 Pages: 1 Publisher: the modern prints magazines auction photo shoot in a plastic bag. Modern Printmaking magazine published in 1935. Episode vi works part loose auction based on Mr. Ye Lingfeng collection the after removed to the hands of Lu Xun studies expert Wang Guanquan (see the third letter photo). but unfortunately missing the cover 6. Modern Printmaking magazine founded on April 1. 1935. each issue by the author directly on printmaking original rubbings and use the Yukou paper for the book page points (paste) up. say. journals works. all woodcuts original. in addition to periodicals. and hand Billiton system 50-60 to donate copies of their friends (see Chinese art journals over the eye recorded). This set should include printmaking original and cover 15 of the 12 emerging woodcut movement pioneers. but unfortunately is in the tradition of five prints and cover the loss of the surviving Li Hua Lai Shaoqi. Liu Da Nang eight woodcuts 9 works in the home for nearly 80 years to save the goods with good. near-total goods. (Modern Printmaking magazine. see Lu Xun Memorial Hall in Shanghai. Jiangsu Ancient Books Publishing House published printmaking discipline process - Lu Xun possession of modern Chinese woodcut Works) Friends of the Book Club. credibility-oriented. A good book is the school good book benefit Friends! Carefully identified and requirements of each product differences. having read the auction title shot paste descriptions and photographs of control approved. declined to games. questions asked ahead of time. the set is recognized. not supplier after set price. transaction settlement takes no returned. please be careful to buy! Book lovers to talk on morality! Related matters Executive everything goes according to the requirements of the site. International according to the weight of the book. product. version. packaging. mailing and other factors fuzzy may be. registered mail!Four Satisfaction guaranteed,or money back. Seller Inventory # EK068062

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About this Item: paperback. Condition: Good. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pub Date: 1945 Pages: 11 Publisher: Shanxi-Chahar-Hebei Pictorial 945 years of publishing the [Shahong] formerly known as Wang Dun and December 22. 1920 Born in Jiangsu Xiaoxian (Anhui Province). Him to participate in the leadership of the party in 1936. Xuzhou secret ACSF. anti-Japanese activities. School expelled in 1937. and soon he went to Yan'an Kang Da Learning. 1939 with Kang Da Angeles via jindongnan came the Yimeng mountainous hinterland Yinan County East High Village. July on the eve of 1940. to commemorate the two authors of the party 19 birthday and a tribute to the Kang Da Campus Congress. songs full of passion of the party. each with about 10 minutes to create followed the Communist Party to express the love and trust of the party reflects the determination and confidence of the masses of the people followed the Communist Party. Sand old and Yimeng the people in the War of Resistance Against Japanese Aggression and the War of Liberation. Shandong. People's forged a deep friendship of revolution. he had in Dazhong Daily. the Xinhua News Agency. East China Branch. Branch of Xinhua News Agency. Jinan. Xuzhou Branch office. served as Xuzhou Daily. president of the Qingdao Daily. editor-in-chief. Qingdao Municipal Propaganda Department Vice Minister rank. Retired in 1988. appointed to the editorial director of the magazine Democracy and the rule of law club president and Elder Land . [In West crown of Shandong JUXIAN people. 1938 joined the Chinese Communist Party. Former Shandong Dazhong Daily correspondent. deputy director and deputy editor-in-chief. After 1951. he served as chief editor of Zhejiang Daily. the CPC Zhejiang Provincial Party Committee Propaganda Department. Deputy Minister. the All-China Journalists Association. the Journalists' Association of Zhejiang Province. the main Artemisia. the China Federation of Literary and Art Circles members. War years. write the glorious north-south Dai solid Battle. He Wanxiang. lieutenant. Old Red - Browning machine guns newsletter. 1949 to participate in the work of the first plenary session of the Chinese People's Political Consultative Conference (CPPCC) and founding Daqu coverage. He is the author of European tour Chronicle reporter Diary. eight half steps Siyi.Four Satisfaction guaranteed,or money back. Seller Inventory # RB001041

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Plates to Selby's Illustrations of British Ornithology.: SELBY, Prideaux John

SELBY, Prideaux John (1788-1867).

Published by Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]. (1823)

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About this Item: Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]., 1823. Atlas volume for Land Birds only, folio (24 4/8 x 19 4/8 inches). 70 EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked Ruse & Turners 1818, J. Whatman 1820 and 1821, and J. Whatman Turkey Mill 1822 and 1823 (some occasional insignificant spotting). Contemporary half brown calf, brown marbled cloth, gilt (extremities a bit scuffed). Provenance: The Foljambe Collection of Books, removed from Osberton Hall, Christie's 30th April, 2008, lot 50 Volume One, only, the Land Birds: 70 plates, numbered I, I*, III-XIII, XIII*, XIV, XV, XV*, XVI, XVII, XVII*, XVIII, XVIII*, XIX-XXIV, XIV*, XXV-XXVII, XVII*, XXVIII-XXXIV, XXXIV*, XXXV, XXXVI, XXXVI, XXXVII-XLII, XLII*, XLIII*, XLIV, LIV, XLV, XLV**, XLV*, XLVI-LIII, LVI, LVI*, LVII, LVIII, LVIII*, LIX, LXI, LXIII, LXV. 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) AN EXTREMELY FINE AND EARLY COLLECTION OF PLATES FROM THE FIRST EDITION OF THE ATLAS VOLUME, CONTAINING IMAGES OF LAND BIRDS,TO SELBY'S BRITISH ORNITHOLOGY, officially published in 1834, but issued from 1819 to 1840. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833) and "Water Birds" in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800–1874) with the descriptions, drawings, and etchings for their joint publication,'Illustrations of Ornithology' (1836–43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to the 'History of the Berwickshire Naturalists' Club'. Further papers were published in other journals between 1823 and 1838" (Christine E. Jackson for DNB). BM(NH) IV, p. 1896; cf. Fine Bird Books (1990) p.141; Mullens & Swann p. 519; Nissen IVB 853; cf. Wood pp. 561-562; cf. Zimmer pp. 571-572, cf. C. Jackson, Bird Etchings, 1985. [WITH]: "Contents of Number Thir. Seller Inventory # 72nhr211

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About this Item: paperback. Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.The various the collotype stone information books products with Yiyuan true reward club book dropFour Satisfaction guaranteed,or money back. Seller Inventory # AS054952

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