Aesop rackham arthur illustrator (17 resultados)

Paperback. Condición: Very Good. Rackham, Arthur (ilustrador).

hardcover. Condición: As New. Excellent condition. Interior is tight, bright and clean; no underlining, notes or highlighting. Hard covers are tight and stiff. Complete with original and sticker free paper dust cover. Minor scuffing and/or wrinkles on the paper dust cover. Gift inscription on inside page. 100% Satisfaction Guaranteed. All items are carefully enclosed with bubble wrap. We ship promptly and worldwide via US Post and will email you a tracking number. Arthur Rackham (ilustrador).…

Paperback. Condición: Very Good. 269 p., immaculate and unmarked; of course Rackham ill. wonderful; bindign firm; pictorial wrapper has minimal wear. Rackham, Arthur (ilustrador).

Hardcover. Condición: New. Rackham, Arthur (ilustrador).

Paperback. Condición: Brand New. new ed edition. 208 pages. 7.75x5.25x0.50 inches. In Stock. Arthur Rackham (ilustrador).

Hardcover. Condición: Brand New. 166 pages. 6.24x0.60x9.24 inches. In Stock. Rackham, Arthur (ilustrador).

Hardback. Condición: Very Good. Estado de la sobrecubierta: Good. Reprint. xxix, 223 page Hb illustrated in colour and b/w by Arthur Rackham . a very good clean copy with no previous ownership markings in a very good dust jacket.

Hardcover. Condición: Brand New. lea ill edition. 432 pages. 9.26x6.26x1.16 inches. In Stock. Rackham, Arthur; Crane, Walter (ilustrador).

Hardcover. Condición: Brand New. lea ill edition. 432 pages. 9.26x6.26x1.16 inches. In Stock. Rackham, Arthur; Crane, Walter (ilustrador).

Paperback. Condición: New. In shrink wrap. Looks like an interesting title. Arthur Rackham (ilustrador).

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Good. Reprint Edition. A lovely reprint edition in red cloth with blindstamped graphics and tipped in image to front board and gilt to type. Top page ends tinted red. Sharp corners, clean interior and tight binding. Bookplate to front pastedown and some tanning to endpapers. Thirteen color plates and 5 black and white illustrations. Jacket has edgewear/nicks and a few edge tears and small chips. Some rubbing to spine edges and a puncture to same.…

New Edition. Good copy rebacked with the original spine laid back, gilt decoration to the spine and boards. Front board starting. Some staining, wear and tear as with age. Remains well preserved overall; bright and sharp-cornered. Includes previous owner's inscription. Series; Children's illustrated classics. Physical description; xxix, 223 pages, 13 unnumbered leaves of plates : illustrations (some color) ; 21 cm. Subjects; Fables, Greek ; Translations into English. Fables. Aesop's fables. Aesop's fables Children's literature. Animals in literature. Short stories ; Juvenile fiction. Folklore. Fables, Greek ; Illustrations. Children's stories. Fables ; Juvenile fiction. Folklore ; Juvenile fiction. Fables Juvenile literature. Fables, Greek ; Adaptations. Animals ; Juvenile fiction. Animals. Fables. Genres; Adaptations. Fables. Fiction. Illustrated. Juvenile works. Translations. 1 Kg.…

New Edition. Good copy rebacked with the original spine laid back, gilt decoration to the spine and boards. Front board starting. Some staining, wear and tear as with age. Remains well preserved overall; bright and sharp-cornered. Includes previous owner's inscription. Series; Children's illustrated classics. Physical description; xxix, 223 pages, 13 unnumbered leaves of plates : illustrations (some color) ; 21 cm. Subjects; Fables, Greek ; Translations into English. Fables. Aesop's fables. Aesop's fables Children's literature. Animals in literature. Short stories ; Juvenile fiction. Folklore. Fables, Greek ; Illustrations. Children's stories. Fables ; Juvenile fiction. Folklore ; Juvenile fiction. Fables Juvenile literature. Fables, Greek ; Adaptations. Animals ; Juvenile fiction. Animals. Fables. Genres; Adaptations. Fables. Fiction. Illustrated. Juvenile works. Translations. 1 Kg.…

London, W. Heinemann, 1933, XXIX,(1)223,(1) pag., 8 colour plates, b/w illustrations and orignal red cloth illustrated in black with dustjacket by Arthur Rackham, 20,5 x 14,7 cm. = Fine copy with price intact; back-panel somewhat foxed.

Condición: Very Good+. First Edition. 8vo, 8 1/8 x 6 1/4 inches (250 x 155 mm); xxix, 224 pp; Thirteen color plates, including frontispiece, with descriptive tissue guards and fifty-three drawings in black & white (nineteen full-page). Handsomely bound in half red calf over red cloth boards by Oxford Binding, stamped in gilt inside lower edge; spine with gilt compartments and lettering, marbled endpapers, top edge gilt. Corners and joints rubbed, but the binding remains firm, square, and attractive. Interior generally clean with light toning and occasional foxing, most noticeable where tissue guards have rested against the text. Plates bright and well-preserved. A classic early 20th-century illustrated edition of Aesop's Fables, featuring some of Rackham's most charming and expressive work, combining his distinctive line drawings with richly colored plates. A desirable example in a pleasing period-style binding. Arthur Rackham (ilustrador).…

Where Ancient Fable Meets Arthur Rackham's Enchanted Imagination The Signed Limited Edition of Aesop's Fables, 1912 [RACKHAM, Arthur]. AESOP. Aesop's Fables. A New Translation by V.S. Vernon Jones with an Introduction by G. K. Chesterton and Illustrations by Arthur Rackham. London: William Heinemann, 1912. Limited to 1,450 numbered copies signed by the artist, this being copy no. 1103. Large quarto (11 7/16 x 8 7/8 inches; 291 x 227 mm). xxix, [1,blank], 223, [1] pp. Thirteen color plates mounted on heavy brown paper, with captioned tissue guards, and fifty-three black and white text drawings. Publisher's white buckram, front cover and spine pictorially stamped in gilt, top edge gilt, others uncut. Spine very slightly darkened otherwise a very fine copy, the gilt bright and fresh. Aesop's Fables or the Aesopica is a collection of fables credited to Aesop, a slave and story-teller believed to have lived in ancient Greece between 620 and 560 BC. The 1st century AD philosopher, Apollonius of Tyana, is recorded as having said about Aesop: ". like those who dine well off the plainest dishes, he made use of humble incidents to teach great truths, and after serving up a story he adds to it the advice to do a thing or not to do it. Then, too, he was really more attached to truth than the poets are; for the latter do violence to their own stories in order to make them probable; but he by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events" (Philostratus, Life of Apollonius of Tyana, Book V:14). Lattimore and Haskell, pp. 38-9. Riall, p. 111. Signed.…

290 x 227 mm. (11 1/2 x 9"). xxix, [1], 223, [1] pp. SUPERB HONEY-BROWN CRUSHED MOROCCO, GILT AND INLAID, BY SANGORSKI & SUTCLIFFE (stamp-signed on front turn-in), covers with Arts & Crafts-style frame of gilt rules punctuated with inlaid green morocco dots, inlaid green morocco Tudor roses at corners with four leafy branches, upper cover with gilt titling at head of central panel, central gilt-ruled medallion contain the letters "E B" in inlaid blue and green morocco with a collar lettered "XMAS 1912," this surrounded by a wreath of gilt vines and eight inlaid green morocco roses, raised bands, spine compartments with French fillet frames, two panels with gilt lettering, turn-ins with multiple gilt rules, top edge gilt, other edges untrimmed. Housed in a felt-lined buckram clamshell box. With 20 full-page black and white illustrations, numerous illustrations in the text, and 13 COLOR PLATES, as called for, each mounted on heavy brown stock and protected by lettered tissue guard. Printed on Large Paper. WITH HAND-ILLUMINATED PRESENTATION LEAF BOUND IN: "TO EDMUND" written in burnished gold, surrounded by curling leafy vines in blue, orange, and green, "WITH BEST WISHES FOR A MERRY CHRISTMAS AND A HAPPY NEW YEAR" written in black ink, an ornament below it in colors and gold, and "FROM THE BINDERY / XMAS. 1912." in black and red ink at foot. Front pastedown with engraved bookplate of "EMB" and "EWB"; front free endpaper with ex-libris of L. W. Jordan Jr. and with pencilled inscription "To Roxy from Edmund." Hudson, p. 169; Latimore and Haskell, pp. 38-39. The typical offsetting on free endpapers from binder's glue used for turn-ins, very small, very faint areas of transfer from acidic mounts used for color plates (wherever tissue guard doesn't fully cover a facing leaf), other trivial imperfections, but still QUITE A LOVELY COPY, clean and fresh internally, and in an unworn handsome binding. In a fine binding by an eminent English workshop, this is Rackham's take on the famous fables, populated with charming animals anthropomorphized to just the right degree, along with wistful maidens, ancient crones, and some seriously sinister trees. Arthur Rackham (1867-1939) studied art at Lambeth School, where the work of his fellow student Charles Ricketts influenced his development. As Houfe says, soon after Rackham joined the staff of "The Westminster Budget" in 1892, he began concentrating "on the illustration of books and particularly those of a mystical, magic, or legendary background. He very soon established himself as one of the foremost Edwardian illustrators and was triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian, and among them are evidently the works of Cruikshank, Doyle, Houghton, and Beardsley, but also the prints of Dürer and Altdorfer." After studying under, and then working for, Douglas Cockerell, Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year, the firm suffered three major blows: their famously splendid jewelled binding, dubbed the "Great Omar," was lost on the Titanic; a few weeks after this accident, Francis himself drowned; and Francis' brother, Alberto, who had been a central figure in producing the firm's vellum illuminated manuscripts, went over to Riviere. Despite these losses, the firm grew and prospered, employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. This special binding was created as a Christmas present, and includes a hand-illuminated leaf from the bindery, possibly done by Alberto before he moved to Riviere. Such a grand presentation could only have been reserved for a special patron.…