J r v p (3 resultados)

Hardcover. 8°. 16 x 10 cm. 7 original all-leather volumes with title and volume number in gold embossing on a red and green spine label, floral back decoration, gilding on the edges and red cuts. The leather is slightly rubbed and bumped. Volume 1: The front hinge has burst, causing the front cover and end sheet to be loose. Heraldic ex-Libris (Serjeantson of Hanlith) in the front inner covers. Volume 1 with an engraved portrait of the author as a frontispiece. The inner cover and end caps are more glue-shaded along the edges, with a slight touch on the title page and the last page. The interior itself is clean and firm. Overall, really well preserved, decorative specimen. --- 7 Original-Ganzlederbände mit Kurztitel und Bandnummer in Goldprägung auf rotem und grünem Rückenschild, floralem Rückenschmuck, Kantenvergoldungen sowie rotem Dreiseitenschnitt. Das Leder ist geringfügig berieben und bestoßen. Band 1: Vorderes Außengelenk ist geplatzt, dadurch sind Vorderdeckel und Vorsatzblatt lose. Heraldisches Exlibris ( Serjeantson of Hanlith ) in den vorderen Innendeckeln. Band 1 mit einem gestochenen Porträt des Autors als Frontispiz. Innendeckel und Vorsätze sind an den Rändern stärker leimschattig, mit schwachem Abklatsch auf Titelblatt sowie letztes Blatt. Der Innenbereich selbst ist sauber und fest. Insgesamt wirklich gut erhaltenes, dekoratives Exemplar. -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! // Bitte beachten Sie auch unsere Fotos! / Please also note our photos! / Veuillez noter nos photos -- Leuchtender Herbstbeginn! Wie wäre es mit einem guten Buch? Bei uns werden Sie fündig, stöbern Sie in unserem Ladengeschäft oder online. -- Wir kaufen Ihre werthaltigen Bücher! M09250.…

Small 8vo (92 x 149 mm). 9 vols. Vol. I: 179 pp. Vol. II: 182 pp. Vol. III: (2), 6-202 pp. Vol. IV: 220 pp. Vol. V: (2), 150 pp. Vol. VI: 155 pp. Vol. VII: 160 pp. Vol. VIII: 156 pp. Vol. IX: (4), 145 pp. One engraved frontispiece by Hogarth (issued with Vol. III but illustrating Vol. IV and bound with the latter). Contemporary uniform full leather, housed in a custom folding case. The anarchic masterpiece that revolutionised the English-language novel, in its first state and first edition, signed by the author. All original features are preserved, including the marbled page in lively colour: an especially advanced and daring visual effect in eighteenth-century printing, which Sterne called "the motly emblem of my work". - Sterne's other inventive graphic elements of the narrative are all present, including the black page, the tangled lines representing his narrative, and the blank space for the reader to add their own portrait of the beautiful Widow Wadman, "as like your mistress as you can, as unlike your wife as your conscience will let you". - Probably only 200, and certainly no more than 500 copies of the first volume of Tristram Shandy were printed at York in the first run, which Sterne financed himself. Following the work's runaway success, a second edition was released with a frontispiece by Hogarth, who produced a further frontispiece issued with the first edition of Vol. III (here bound with Vol. IV, as it illustrates a scene there). The demand for Tristram Shandy was such that Sterne introduced the anti-piracy measure of adding his autograph signature in ink to Vols. V, VII and IX, as in our set. - The elegant contemporary binding, in uniform tree-patterned calf, probably dates from its ownership by the Earls of Waldegrave, whose armorial bookplate adorns every volume. The volumes were probably acquired either by John, the Third Earl Waldegrave (1718-1784), or John James, the Sixth Earl Waldegrave (1785-1835) and housed in the family seat of Chewton Mendip Manor prior to its demolition. The Waldegraves were a notable military and political family, with the Second Earl holding the distinction of being possibly the shortest-serving Prime Minister in British History (8-12 June 1757). - A full set of first editions of Tristram Shandy is a nearly unheard-of rarity: Rare Book Hub lists only two complete sets containing some first editions in public sales records in the last century. - The most innovative and enduring English-language novel of the eighteenth century, here in its rarest form. - Some very light wear to boards and edges, but overall in good condition. Expert restoration to joints, extremities, and labels; vols. V and VI neatly rebacked to style with original labels laid down. Internally scattered staining and spotting, some light offsetting, otherwise overwhelmingly clean and fresh. - 1) Engraved armorial bookplates of Earl Waldegrave, probably John, Third Earl Waldegrave (1718-84), or John James, Sixth Earl Waldegrave (1785-1835). - 2) Their descendants. - 3) Peter Harrington, London. - 4) European private collection. - Rothschild II, 1970. Cf. Brunet V, 533. Ian Campbell Ross, Laurence Sterne: A Life (Oxford, 2001).…

Coloured aquatint. Printed on wove paper, watermarked 1794. In excellent condition. Image size: 9 1/2 x 15 3/4 inches. A wonderful early, separately published impression of Loutherbourg's celebrated image of fishermen on Brighton Beach. This delicate aquatint is an early, separately published state of a print which was later included in Phillip Jacques Loutherbourg's seminal work "Picturesque Scenery of Great Britain." The print, which was re-engraved in 1801 by J. C. Stadler, was enlarged and re-titled "Brighthelmstone, Fishermen Returning." This early example of Loutherbourg's work wonderfully shows his skill as an artist. The composition and arrangement of the image provides a fluidity to the picture that is truly compelling, and demonstrates Loutherbourg's abilities as a draftsman. The son of a court painter in Darmstadt, the versatile artist Philippe Jacques Loutherbourg was born in Fulda, Germany and was a pupil of J. H. Tischbein and Carle Vanloo and Francis Casanova the elder in Paris. His romantic landscapes, battle scenes, portraits, and biblical subjects were highly esteemed and lauded by influential colleagues such as Diderot. He frequently exhibited at the Salon and became a venerated member of the Académie Royale in 1767. In 1771, he moved to England, where he was employed as the principal scenery designer at London's Drury Lane Theatre. His creative and minutely detailed sets revolutionized the genre of scene painting, and he soon began dabbling in costume design. Loutherbourg once again astounded contemporaries in 1782 with his pioneering invention of the "Eidophusikon," a novel variety of moving panorama that was accompanied by music. His substantial and varied oeuvre also included book illustrations and a series of aquatints of British scenery that was published in 1801 and 1805. Aside from a brief trip to Switzerland in 1782, he remained in London for the duration of his life and became heavily engrossed in mysticism.…