Hodnett e (37 resultados)

Paperback. Condición: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Hardcover. Condición: Good. No Jacket. 86pp. 61 plates.Original publisher's brown cloth hardback, gilt title spine and frontcover.

Hard covers, dust jacket. Condición: Good. Estado de la sobrecubierta: Good. 1st edition. Ex-library copy with labels. Weight: 1.0 Language: English.

Condición: As New. Unread book in perfect condition.

Condición: New.

Cloth, paper spine-label, 8vo, 26 cm, 237 pp, ills, portraits. From the blurb: " 'Francis Barlow' is the first substantial study of the greatest English book illustrator before Blake. It sets Barlow, best known for his much prized sporting and animal pictures, firmly in the artistic and historical context of the seventeenth century. Dr. Hodnett chronicles the development of English illustrated books from the time of Caxton, and surveys in detail the seminal work of Gheeraerts the Elder, Cleyn, and Barlow's friend and collaborator Wenceslaus Hollar. He analyses in depth Barlow's visual realisations of the written word, and examines his entire body of interpretive illustrations. Dr. Hodnett concentrates especially on Barlow's contributions to the mystical Theophila and on his sparkling re-interpretations of Aesopic fables. " Very Good in dustwrapper with minor wear.…

Holland-backed boards, top-edge gilt, 4to, 29 x 23 cm, xv, 483 pp, plates. From the foreword: "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " An ex-library copy with library number inked on the spine, a library bookplate on the front pastedown endpaper, a sticker on the front free endpaper and a tipped-in accession slip, cloth darkened and marked and boards rubbed and slightly marked, contents slightly agetoned.…

Cloth, 8vo, 26 cm, vii, 271 pp, 42 ills. "Looks at the illustrations for books published by John Day (1522- 1584), illustrations for Shakespeare's plays in the eighteenth and nineteenth centuries, William Blake as illustrator, John Martin's pictures for Paradise Lost, the work of Hablot Knight Brown ("Phiz"), Sir John Tenniel's illustrations for A lice in Wonderland, Edward Burne Jones' designs for William Monis, and Aubrey Beardsley's pictures for four books published in the 1890s: Sir Thomas Malory's Le Morte D'Art hur, Oscar Wilde's Salome, Alexander Pope's Rape of the Lock, and Beardsley's own Under the Hill. Hodnett assesses the efforts of these artists as interpreters of the text. For instance, he sees Fuseli's illustrations of Shakespeare as vigorous but insensitive to the text. Though John Gilbert was a lesser artist, his illustrations are more effective. Hodnett praises John Martin's Miltonic sensibility but questions his selection of scenes to depict." - Rosenblum. Contents: Image and Text; John Day's Illustrated Books; Images of Shakespeare; William Blake the Illustrator; John Martin's Paradise Lost; Phiz in Retrospect; Tenniel in Wonderland; The Kelmscott Burne-Jones; The Beardsley Gesture; Bibliography; Index. Near Fine in Near Fine dustwrapper.…

Cloth, 8vo, 26 cm, vii, 271 pp, 42 ills. "Looks at the illustrations for books published by John Day (1522- 1584), illustrations for Shakespeare's plays in the eighteenth and nineteenth centuries, William Blake as illustrator, John Martin's pictures for Paradise Lost, the work of Hablot Knight Brown ("Phiz"), Sir John Tenniel's illustrations for A lice in Wonderland, Edward Burne Jones' designs for William Monis, and Aubrey Beardsley's pictures for four books published in the 1890s: Sir Thomas Malory's Le Morte D'Art hur, Oscar Wilde's Salome, Alexander Pope's Rape of the Lock, and Beardsley's own Under the Hill. Hodnett assesses the efforts of these artists as interpreters of the text. For instance, he sees Fuseli's illustrations of Shakespeare as vigorous but insensitive to the text. Though John Gilbert was a lesser artist, his illustrations are more effective. Hodnett praises John Martin's Miltonic sensibility but questions his selection of scenes to depict." - Rosenblum. Contents: Image and Text; John Day's Illustrated Books; Images of Shakespeare; William Blake the Illustrator; John Martin's Paradise Lost; Phiz in Retrospect; Tenniel in Wonderland; The Kelmscott Burne-Jones; The Beardsley Gesture; Bibliography; Index. Fine in Very Good dustwrapper.…

Cloth, paper spine-label, 8vo, 26 cm, 237 pp, ills, portraits. From the blurb: " 'Francis Barlow' is the first substantial study of the greatest English book illustrator before Blake. It sets Barlow, best known for his much prized sporting and animal pictures, firmly in the artistic and historical context of the seventeenth century. Dr. Hodnett chronicles the development of English illustrated books from the time of Caxton, and surveys in detail the seminal work of Gheeraerts the Elder, Cleyn, and Barlow's friend and collaborator Wenceslaus Hollar. He analyses in depth Barlow's visual realisations of the written word, and examines his entire body of interpretive illustrations. Dr. Hodnett concentrates especially on Barlow's contributions to the mystical Theophila and on his sparkling re-interpretations of Aesopic fables. " Edges a trifle spotted, otherwise Near Very Good in dustwrapper. Errata slip tipped-in.…

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Slight bumping to fore-edge of front board, newspaper clipping concerning a review tipped-in to front free endpaper, otherwise near Very Good.…

Cloth, 8vo, 26 cm, vii, 271 pp, 42 ills. "Looks at the illustrations for books published by John Day (1522- 1584), illustrations for Shakespeare's plays in the eighteenth and nineteenth centuries, William Blake as illustrator, John Martin's pictures for Paradise Lost, the work of Hablot Knight Brown ("Phiz"), Sir John Tenniel's illustrations for A lice in Wonderland, Edward Burne Jones' designs for William Monis, and Aubrey Beardsley's pictures for four books published in the 1890s: Sir Thomas Malory's Le Morte D'Art hur, Oscar Wilde's Salome, Alexander Pope's Rape of the Lock, and Beardsley's own Under the Hill. Hodnett assesses the efforts of these artists as interpreters of the text. For instance, he sees Fuseli's illustrations of Shakespeare as vigorous but insensitive to the text. Though John Gilbert was a lesser artist, his illustrations are more effective. Hodnett praises John Martin's Miltonic sensibility but questions his selection of scenes to depict." - Rosenblum. Contents: Image and Text; John Day's Illustrated Books; Images of Shakespeare; William Blake the Illustrator; John Martin's Paradise Lost; Phiz in Retrospect; Tenniel in Wonderland; The Kelmscott Burne-Jones; The Beardsley Gesture; Bibliography; Index. Fine in Fine dustwrapper.…

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Trace of sticker residue on rear board, otherwise Near Fine.…

Condición: New.

Condición: As New. Unread book in perfect condition.

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Near Fine.…

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Top edge slightly duststained, otherwise Near Fine.…

Original Cloth. Condición: Very Good. pp xv, 483, 82 (additions and corrections). 122pp of facsimiles. A great record of woodcuts from Caxton, William de Wurde's work, etc. A most interesting reference book.

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Near Fine.…

Cloth, 4to, 28 cm, xv, 483, xvii, 82 pp, ills. "The task that lay before me, then, was to examine every extant book printed in England between 1480 and 1535, inclusive, list every one containing a woodcut, describe every cut, and note every book in which it occurs. While I have been at considerable pains to accomplish this aim, my best hope must be that oversights and ignorance of the existence of unrecorded books have not brought me too far short of its realization. Books printed in English on the Continent have not been included because to do so would swell the book with irrelevant material. The book is divided into the Introduction, the Bibliography of Illustrated Books, the Catalogue of Cuts, the Facsimiles, and the Index of Cuts by Sizes. The Catalogue of Cuts is the core of the book. As a matter of fact, however, I did not begin putting the Catalogue together until I had seen most of the books of the period, had made notes about each cut in each illustrated book seen, and had collected a great many photostats. Then I worked my way through the illustrated books a second time, describing each cut and listing the books in which it occurred as I went along. It soon became clear that the descriptions could be brief - as the limitations of space demanded they must be. Among the 2,500 cuts that I have described, few are of exactly the same size and design, so that, given the dimensions, one can identify almost any cut with reasonable certainty if in the description the figures are correctly placed, and if the chief features and a significant detail or two are noted. To this end in describing a cut I have always moved from left to right, although at the end of many descriptions I have added miscellaneous items, such as the number of windows, which should not be understood as being on the right side of the design. I have invariably mentioned the kind of nimbus a figure wears, tile floors, and the kind of border, unless it is a single rule. In the descriptions I have tried to indicate what can be seen rather than what the picture is meant to represent, a practice that, combined with a desire to save words, at times works out awkwardly, as when an unmounted knight in armour joins the genus soldier. To prevent confusion among cuts of the same size and design, I have given cross-references and distinguishing details. In recording the history of individual cuts I have attempted to include notes on their condition, principally as regards breaks in the borders and the presence of worm-holes. Such notes are incremental - that is, the breakage at a certain date is in addition to, not inclusive of, any breaks noted in an earlier occurrence.As a means of reference to the Catalogue I have prepared the Index of Cuts by Sizes. Here the cuts of all printers are listed together, the only division being the customary Religious and Non-Religious one. After the dimensions of each cut comes a two- or three-word description of it and then the Catalogue running number.As a natural corollary to preparing the Catalogue of Cuts I have drawn up the Bibliography of Illustrated Books (1480-1535), which is arranged according to printers in the same manner as the Catalogue - Caxton, D Worde, Pynson, Minor Printers. Each printer's books are listed chronologically. In an effort to give some sort of coherent statement of the material in the Catalogue and the Bibliography I have written the Introduction. This consists of following chronologically the output of each printer with remarks on the important books, series of cuts, and single cuts. " - from the foreword. Near Very Good.…

numerous illustrations. 237pp. sm.4to. with dust cover. (spine faded).

Condición: New.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Good. [1st edition] ; 72 pp. ; 21 cm. ; LCCN: 62-48966 ; LC: PS559.A7; Dewey: 811.508 ; OCLC: 1815501 ; green cloth with gold lettering in spine-sunned dustjacket ; Poets featured include: Lowell Vance Benefield -- Susan D Ackiss -- Joe O. Basham -- Lois LeFevre Bennett -- Allan Bryant -- Kate Ford Codington -- George William Cooper, Sr. -- Maude Curtis -- Geneva Davies -- Mabel Dollar -- Irma Smith Dowis -- Geraldine W. Ferguson -- Sue Fife -- Marge Farris Gaissert -- Mary Belle Griffin -- Bea Han sard -- Gertrude Jones Hodnett -- Hazel Ware Hook -- Willette E. Hume -- John Ransom Lewis -- Carolyn Pierce Long -- Ellis Atkinson McDonald -- Ollie Reeves -- Florence M Rustin -- Kathy Sams -- Edna Danielson Stuebing -- George A. Taylor -- James E . Warren, Jr. -- Fred W. Wells -- Clifton A Wood. ; FINE/G. Book. …

Condición: New.

Condición: As New. Unread book in perfect condition.

Cloth, large 8vo, 31 cm, 364 pp, 5 leaves of plates, ills (some colour). From the blurb: "This is the first detailed survey of the past five centuries of book illustration in England. It is divided into two parts. Part One, A Critical Account, is a comprehensive analysis of specific artists, books and illustrations. It covers the anonymous work in books by leading printers before 1600 and then the work of over two hundred illustrators up to 1976. Part Two, a Catalog of Illustrations and Books, lists 2700 significant English illustrated books. In addition the two hundred reproductions have been specially chosen to provide a record of representative illustrations which relate directly to the discussion. In each case, the author gives a general impression of an artist's work, describes the subject-matter of their designs, notes their relation to other illustrations, and comments on the most important or representative of their books. Each analysis attempts to reach an estimate of the artist's relative achievement as an interpretive illustrator." Very Good in Very Good dustwrapper.…

Utrecht, Haentjens Dekker & Gumbert, 1971. L-8vo. 91 pp. + 60 ill.on 40 plates. or.cloth.

Condición: As New. Unread book in perfect condition.

Condición: As New. Unread book in perfect condition.

Condición: New.