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Published by Rose King, 2020
ISBN 10: 1734000899ISBN 13: 9781734000894
Seller: booksXpress, Bayonne, NJ, U.S.A.
Book Print on Demand
Soft Cover. Condition: new. Henderson, Dan (illustrator). This item is printed on demand.
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Published by Rose King, 2020
ISBN 10: 1734000864ISBN 13: 9781734000863
Seller: booksXpress, Bayonne, NJ, U.S.A.
Book
Soft Cover. Condition: new.
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Published by Rose King, 2022
ISBN 10: 1736206079ISBN 13: 9781736206072
Seller: booksXpress, Bayonne, NJ, U.S.A.
Book Print on Demand
Soft Cover. Condition: new. Henderson, Dan (illustrator). This item is printed on demand.
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New offers from US$ 17.53
Published by Rose King, 2016
ISBN 10: 0692722556ISBN 13: 9780692722558
Seller: Revaluation Books, Exeter, United Kingdom
Book
Paperback. Condition: Brand New. Langtry, Lynn (illustrator). 248 pages. 9.00x6.00x0.56 inches. In Stock.
Published by Rose King, 2022
ISBN 10: 1736206052ISBN 13: 9781736206058
Seller: Revaluation Books, Exeter, United Kingdom
Book
Paperback. Condition: Brand New. Henderson, Dan (illustrator). 26 pages. 10.00x8.00x0.07 inches. In Stock.
Published by Harcourt, Brace and World, /1959, 1st printing US; brown clothbacked white boards, with wrap around illustration of the king and his little daughter, Briar Rose, looking from the castle tower, taupe endpapers with white roses, coloured pictures drawn on stone and printed in Switzerland; in jacket identical to boards; 8.4x11.9; np., New York, 1960
Seller: Truman Price & Suzanne Price / oldchildrensbooks, Monmouth, OR, U.S.A.
First Edition
/Felix Hoffmann, illustrator (illustrator). CONDITION: Very Good in Fair jacket; no names or other marks, tight, straight, clean, corner tips worn through and edges rubbed, spine nice, pages clean and flat; in jacket with little loss of paper but very wrinkled closed 3-4" tears all across top, also spine bottom end; unclipped 3.50. Picture book hardback The busy life of the castle and its long sleep under the hedge of thorns are beautifully rendered. ABE Heritage Seller, since 1996: Search ABE Keyword: oldchildrensbooks. Conservative AB condition grading, secure packing, international shipping. /Felix Hoffmann, illustrator.
Published by London: printed for the author; and sold by J. Oswald at the Rose and Crown in the Poultry; M. Cooper at the Globe in Pater-Noster-Row; and R. King at the Bible and Crown in Fort-Street, 1746
20cm. [2], vi, 5-32 pages, head and tail-piece. Half-title and last page soiled. Half-title: 'Great Britain's deliverance and duty: represented in a sermon preached at Ringwood'.
Published by London : Printed for J.B. and sold by Aaron Ward, at the King's Arms, in Little-Britain ; T. Wotton, at the Three Daggers and Queen's-Head, against St. Dunstan's Church, Fleet-Street ; D. Browne, at the Black Swan, without Temple-Bar ; R. Williamson, at Grey's-Inn Gate, Holborn ; T. Astley, at the Rose, in St. Paul's Church-Yard ; and J. Stagg in Westminster-Hall., M. DCC. XXIX., 1729
Book
Hardcover. Condition: Fair. 2nd. 2 volume set. Full contemporary leather. Vol. 1 front board detached. Bindings split in two. Pages generally clean, faint spotting. Fold out frontispiece. In this work Lord Mulgrave (Sheffield) adapted Shakespeare's Julius Caesar, breaking it up into two plays, Julius Caesar and Marcus Brutus. Alexander Pope edited a collected edition of his works at the request of his widow, this is the 2nd ed. of his work.
Published by No Publisher but Printed for Jonathan Robinson at the Golden-Lion, John Taylor at the Ship, John Wyat at the Rose, and Richard Wilkin at the Kings-Head, St. Paul's Church-Yard, London, England, 1694
Seller: Montreal Books, Westmount, QC, Canada
First Edition
Full Leather. Condition: Good+. First Edition. Ex-library with blind stamp to first two pages and sticker at foot of spine. Top cover missing. Five raised bands. Wear to cover and backstrip. Chip to back fep. Occasional very light soiling to text block, but overall clean and bright. Binding tight. Size: 8vo. Book.
Published by No Publisher but Printed for Jonathan Robinson at the Golden-Lion, John Taylor at the Ship, John Wyat at the Rose, and Richard Wilkin at the Kings-Head, St. Paul's Church-Yard, London, England, 1694
Seller: RPBooks, Champlain, NY, U.S.A.
First Edition
Full Leather. Condition: Good+. First Edition. Ex-library with blind stamp to first two pages and sticker at foot of spine. Top cover missing. Five raised bands. Wear to cover and backstrip. Chip to back fep. Occasional very light soiling to text block, but overall clean and bright. Binding tight. Size: 8vo. Book.
Published by printed for Dan. Brown at the Black Swan without Temple-Bar; Tho. Bennet at the Half-Moon, D. Midwinter and Tho. Leigh at the Rose and Crown, and R. Wilkin at the King's-Head in St. Paul's Church-yard, London, 1699
Seller: Liber Antiquus Early Books & Manuscripts, Chevy Chase, MD, U.S.A.
First Edition
Hardcover. Condition: Fine. Bound in contemporary English paneled calf, rebacked. Very fine condition. Two plates lightly browned, marginal foxing to a few leaves. Illustrated with 9 engraved plates of glass-making furnaces, tools, crucibles, and other apparatus. The core of Blancourt's text is Christopher Merret's annotated Latin edition (1668) of Antonio Neri's "L'Arte Vetraria"(1612). Merret had produced his own English (unillustrated) translation of Neri's work in 1662. Among Blancourt's notable contributions to the text are a chapter on crystal, glass and metal mirrors; and an appendix on a secret technique for making glass eyes look "Very Natural". "Antonio Neri's'L'Arte Vetraria'as the first printed book solely devoted to the art of glass formulation. It is a work committed to the subject of refining raw materials and combining them into a range of glasses and a rainbow of colors. The book divides into seven parts, each devoted to a different aspect of the glassmaker's art. He starts with the basics: preparing the fundamental ingredients of glass. Next, he combines those materials into "cristallo." Named after its mineral cousin, rock crystal,cristallowas a sophisticated Venetian specialty renowned for its delicate clarity. Neri details its traditional composition as brought to the Medici court by Venetian masters and then innovates with variations of his own. "At the other end of the spectrum is his "common" glass used for daily utilitarian purposes. He shows the standard formulas used in shops throughout the region and then proceeds to improve upon them. He presents a gamut of colors as well as advice for the glass "to emerge in full beauty and perfection." He shows the way to decolorize glass, to take away even a slight tinge of hue that may be present and bring the melt to perfect crystal clarity. He walks us through numerous recipes in preparation for making an iconic Renaissance glass, including the exquisite chalcedony-engineered to replicate the swirling colors of its namesake mineral. Beautiful to behold and thought by many to engender mystical properties, Neri describes it as "adorned with so many graceful and beautiful areas of undulations and enhanced with the play of diverse, lively, flaming colors." He goes on to describe leaded glasses, artificial gems, enamels and glass paints. Each time he innovates, each time he guides us with encouragement, admonition and painstaking clarity. "That Neri's book was the first of its kind in print is a notable distinction, but one that his deeper accomplishment easily surpasses;'L'Arte Vetraria'preserves a rare glimpse of skilled practical knowledge. In his era, prized techniques were frequently lost to subsequent generations, lost because artisans so often spared the pen. Their precious knowledge went purposely unrecorded, passing in strict confidence from master to apprentice working side by side. In 1612, Neri published his expertise to the world, preserving the techniques and science of glass practices, but also its art. Just as a great painter relies on the quality of pigments at hand, so must a master glass artisan depend upon the materials of the melt. For the glassblowers and furnace workers who shaped hot glass, a superior batch was crucial to superior results. A great piece of glasswork owes its form to the talent of the artist, but its substance is the province of the craftsmen who make the glass. "Neri wrote'L'Arte Vetraria'shortly before his death at the age of thirty-eight. Soon after, Galileo sent it to a friend in Rome, who was anxious for a copy."(Paul Engle, "Antonio Neri, Alchemist, Glassmaker, Priest", Corning Museum of Glass). FIRST ENGLISH EDITION of Jean Haudicquer de Blancourt's "De l'artde la verrerie".