cornell trans (6 resultados)

Hardcover. 1896 (1886) Hardcover, green cloth, gilt lettering on spine and front board, index, 184 pp. Near fine. Legitimate ex-lib (stamped "withdrawn") . Corners rubbed, 3 faint drop marks on rear board, 1 inch closed tear front gutter, text starting to age tan, o/w tight, clean, almost crisp. Thorough, well researched history of music from Antiquity through the Middle Ages, Renaissance, etc, with a separate chapter on Richard Wagner. Music; musical criticism; opera; early music; medieval.

Paperback. Condición: Good. Illustrated by Ilustrador. old edition. GOOD Condition ,.well bound double spine staples.has cover page.but not the yellow stiff paper cover.has all text, etc.blank back paper cover. Some pencil marks to early pages. ; familiar black floral edge border & cover banner SCHIRMER'S LIBRARY OF MUSICAL CLASSICS.Vol 391.; Sheet Music; ; 39pg thin pages; has english titles, but no lyrics.just sheet music.

8vo. pp vi, 196. Original publisher's light blue illustrated wraps with white lettering at the spine. ISBN: 0700716971 May show some slight shelfwear but content clean and unread. Very good indeed.

Reprint. Early French edition. (If not the first printing) A good- copy in lime green boards with orange titles, without dj. (if one was issued) (Fairly large chip at fore edge of last blank page. Text age toned. Foxing at top edge) Text in French. Decent enough place copy.

Hardcover. Condición: Very Good-. First Edition Thus. 8vo 8" - 9" tall; 187 pages; 1893 G. Schirmer. HC 1st edition, thus. Soundly bound in original red cloth with titles and borders brightly in gilt; top edge gilt. Trace silverfish flaking to the lower edge of the spine; a few tiny nicks and dents to the cloth boards. Contents bright and neat. VG-.

No Binding. Condición: Near Fine. First edition in English translation (edited and abridged), copy 6 of 300. Quarto, 12 unbound, uncut and unopened signatures loose in chemise with frontispiece etching by Thomas Cornell, unsigned, the pages 31.8 x 21.8 cm, interleaved with 20 loose etchings 31.2 x 21.2 cm by Cornell on blue Fabriano laid paper, each titled in blind and signed "Cornell" in pencil. Letterpress in Baskerville type printed by Harold McGrath on linen Nideggen laid paper moldmade in Germany. Collates as six quires of unsigned quartos in twos, one of each pair inserted into the fold of the other, [1]1-2, [2]1-4, [1]3-4, etc.: [2ll.] (blanks), 1 l. (half-title recto, frontispiece etching of Gracchus Babeuf verso), 1 l. (title recto), pp. 1-[59] (Babeuf's Address to the Jury), [60] (notes), 61- [64] (Sylvain Maréchal's Manifeste des Égaux, 1796), 65-[78] (essay by John Anthony Scott, "François-Noël Babeuf and the Conspiracy des Égaux"), 79-[84] (Biographical Notes), [1 l.] (blank), 1 l. (colophon and press device in red, variant X, recto), [1 l.] (blank); the interleaved 20 loose etchings placed generally before the 1st, 3rd, 5th and 7th leaves of each quire. Tan calf chemise 32.2 x 22.5 cm, edges blind-ruled, spine lettered and ruled in gilt, Nideggen paper pastedowns, in a folding tray case 38.8 x 28.5 cm. in olive bookcloth lined with Nideggen paper. Separate suite of 21 etchings, each titled, numbered 6/50, dated 1964 and signed Cornell in pencil, on heavy off-white Rives wove paper 37.8 x 27.8 cm, in a matching portfolio case, together with two watercolors of Clootz (Jean-Baptiste du Val-de-Grâce, baron de Cloots), one 33 x 25 cm, corresponding to the profile view of the etching (in reverse), signed in pencil "Thomas Cornell," the other 25 x 21 cm, three-quarter view, initialed "C" in grey ink and numbered "16" in pencil lower right verso, both on cream wove watercolor paper. The tray case and portfolio are contained in a matching quarter-leather clamshell box, 40 x 30 cm, the black calf spine with tan calf title label and footer date strip lettered and ruled in gilt. Leonard Baskin designed the work; Emiliano Sorini printed the etchings in New York; Arno Werner executed the bindings. Clamshell box with corner and edge wear to spine leather, top front corner of spine worn through, chipping of labels and bumping of outside top corner of bottom cover; all else fine. One of 21 copies (numbered 1-21) with a watercolor, of the 50 copies with the separate suite, of the total edition of 300; this copy is not signed or numbered by Cornell on the colophon but is identified as copy 6 by the numbers "6/50" on the suite; it contains an additional, very forceful watercolor of Clootz not used in the etchings and may be a collaborator's copy. Reference: The Gehenna Press, The Work of Fifty Years, 1942-1992, The Bridwell Library & The Gehenna Press (1992), biblio. no. 36, pp. 56-8; ill. (title page), exh. no. 20, p. 158; see also p. 17 (assessment by Colin Franklin). This work is a collaboration of Baskin's design and McGrath's presswork in the heyday of The Gehenna Press. Colin Franklin quotes its prospectus in his assessment in the Bridwell Library catalogue, "After the Apology of Socrates before the Jury of Five Hundred, Babeuf's plea before the tribunal of the Directory during the final hours of the French Revolution is perhaps the most splendid testament ever uttered in behalf of the freedom of man's mind." Baskin relates in his note to the entry in the catalogue: "The book is an exemplar of an ideal that the press strove for in those years. A meaningful text, generally unavailable, set forth in handsome & apposite typography & enhanced with a set of etchings, woodcuts or lithographs, that enlarge or augment or deepen the text. To make this glorious work more widely known the University of Massachusetts Press published a popular edition of it.".