Scolar press edition first edition (42 resultados)

Cloth, 8vo, 26 cm, xvi, 263 pp, 66 plates, ills. The first detailed and comprehensive survey of steel-engravings for book illustration. This well-illustrated work moves from the identification problems and early history of steel engravings through the production and printing of the plates to a study of several of the engravers and artists as well as the books themselves. "Although examples of steel engraving date from the fifteenth century, the nineteenth century was the great age for this type of illustration. It stood between the cheap woodcut for the masses and the handcolored aquatints for the rich. Steel engraving persisted through the 1800s, but its heyday was 1825-1845. Hunnisett notes that the steel engraving (often actually steel etching because of the hardness of the metal) made possible the illustrated literary annual. By the 1880s steel engraving was in decline, and photography provided the last blow. With sixty-six facsimiles. An appendix reprints an article from All the Year Round of October 27, 1866 that explains the process of steel engraving. Ibbin A. Sparling of the Yale Center for British Art wrote in The American Book Collector 2 (March/April, 1981): 78-79, "In Steel-Engraved Book Illustration in England Basil Hunnisett provides a comprehensive study of steel-engraving which ranks as a significant addition to the literature of British book illustration. . . . A pioneering work of high scholarship, [it] is destined to become a standard in its field." - Rosenblum. Very Good in Very Good dustwrapper.…

Paperback. Condición: Very Good. Colour and Black and White illustrations. Very Good, without dust jacket. Blind embossing stamp on front cover and first page.

Cloth, 8vo, xv, 202 pp. From the blurb: "The religious conflict which was rife in England after the accession of Elizabeth I in 1558 produced a large body of printed literature which has never been properly categorized or studied. Far from being concerned merely with narrow theological topics, these books touched on wide-ranging philosophical and political matters, and a knowledge of the issues involved and the literature which they gave rise to is of importance to all who study Elizabethan history. Father Milward's book charts the progess of these various disputes by listing all publications involved, placing each in the context of a particular controversy and explaining its relationship with the other literature. It is both a reference book and an historical study, being a descriptive catalogue of the material with linking commentary and historical background. As Professor Elton writes in his Foreword: 'Whatever one may think of two generations of intelligent men who spent so much time, thought and ink on lambasting one another in the cause of the Prince of Peace, a vital part of the age's experience flowed in those channels.'" Very Good in slightly used 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. " Very Good in dustwrapper with minor wear.…

Printed wrappers with flap to rear wrapper, large 4to, 30 cm, containing facsimile letter, printed transcription, and facsimile portrait (unbound as issued). Wrapper edges torn, otherwise Good.

Hardcover. Condición: Fair. First Edition. With dust jacket. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Cloth, large 8vo, 28 cm, xvi, 250 pp, 70 plates. From the blurb: "During the summer of 1638 the Reverend Jose Glover set off across the Atlantic for New England with a printing press, a supply of type and a stock of paper, with the intention of setting up a press in the infant colony to serve church and state. Although Glover died during the voyage, Stephen Daye, a barely literate locksmith who had accompanied him, and Daye's son took over the establishment of the press in the grounds of Harvard College. The first item printed in America was an 'Oath of Allegiance to the King', and the first book, the 'Bay Psalm Book', was completed in 1640. The Printed Book in America traces the history of American printing from these unsteady beginnings to the present day, paying particular attention to major figures such as Benjamin Franklin and Isaiah Thomas in the earlier period and Daniel Berkeley Updike, Bruce Rogers and Frederic W. Goudy in the present century. This monumental survey is the first book to compress into a single volume a comprehensive account of the development, variety and quality of American typography. It pays particular attention to private and special presses which, building upon the heritage of the past, have carried forward the traditions and enriched the aesthetic achievements of American printing and bookmaking."Contents : The Colonial Period : Stephen and Matthew Daye, Samuel Green , Marmaduke Johnson , William Bradford , Benjamin Franklin , Ephrata Press , Christopher Sower , James Parker , John Green , William Parks , Jonas Green , William Goddard , Colonial Women , Binny and Ronaldson , Isaiah Thomas , Mathew Carey ; The Nineteenth Century and into The Twentieth Century: The House of Harper , Joel Munsell , Theodore Low De Vinne , An Historical Retrospective , Boston, to the 's, Thomas Bird Mosher , Stone & Kimball , Copeland & Day , Way & Williams , Elbert Hubbard , The Elston Press , Walter Gilliss ; The Renaissance In American Printing: Daniel Berkeley Updike Bruce Rogers , Frederic W. Goudy , Will Bradley , Carl Purington Rollins , Thomas Maitland Cleland , William Addison Dwiggins , Rudolph Ruzicka , John Henry Nash , William Edwin Rudge , Dard Hunter ; The Twentieth Century: Elmer Adler , Victor Hammer , Edwin and Robert Grabhorn , New England , New York and the East , The Midwest , California ; The Plates ; Bibliography ; Index. Very Good in a chipped and marked dustwrapper.…

Cloth, 8vo, 27 cm, xxvi, 414 pp, colour frontispiece, numerous black-and-white ills. From the blurb: "The output of the Edinburgh binders James and William Scott stands out in the work of eighteenth-century Scottish bookbinders. Though few William Scott bindings are known today, a substantial number of James's bindings have survived: his work was characterised by its clean break from the Scottish geometrical style of binding ornamentation towards a style aimed at the kind of people who would be patrons of Chippendale or Adam and might be expected to want to own bookbindings which would fittingly adorn their houses. Thus the history of eighteenth-century bookbinding can be seen to relate to wider concerns of aesthetics and design in the visual arts. Mr Loudon's book, the first detailed examination of the Scotts, gives detailed descriptions of all known Scott bindings and includes full-page reproductions of all but a few. It also examines in detail (and reproduces) the tools and rolls employed." Bookplate of Peter M. Scott on front pastedown endpaper, Near Fine in a partly faded dustwrapper and plain card slipcase.…

Cloth, 8vo, xv, 202 pp. From the blurb: "The religious conflict which was rife in England after the accession of Elizabeth I in 1558 produced a large body of printed literature which has never been properly categorized or studied. Far from being concerned merely with narrow theological topics, these books touched on wide-ranging philosophical and political matters, and a knowledge of the issues involved and the literature which they gave rise to is of importance to all who study Elizabethan history. Father Milward's book charts the progess of these various disputes by listing all publications involved, placing each in the context of a particular controversy and explaining its relationship with the other literature. It is both a reference book and an historical study, being a descriptive catalogue of the material with linking commentary and historical background. As Professor Elton writes in his Foreword: 'Whatever one may think of two generations of intelligent men who spent so much time, thought and ink on lambasting one another in the cause of the Prince of Peace, a vital part of the age's experience flowed in those channels.'" Very Good in slightly rubbed 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. Near Fine in Near Fine dustwrapper.…

Cloth, 8vo, 27 cm, xxvi, 414 pp, colour frontispiece, numerous black-and-white ills. From the blurb: "The output of the Edinburgh binders James and William Scott stands out in the work of eighteenth-century Scottish bookbinders. Though few William Scott bindings are known today, a substantial number of James's bindings have survived: his work was characterised by its clean break from the Scottish geometrical style of binding ornamentation towards a style aimed at the kind of people who would be patrons of Chippendale or Adam and might be expected to want to own bookbindings which would fittingly adorn their houses. Thus the history of eighteenth-century bookbinding can be seen to relate to wider concerns of aesthetics and design in the visual arts. Mr Loudon's book, the first detailed examination of the Scotts, gives detailed descriptions of all known Scott bindings and includes full-page reproductions of all but a few. It also examines in detail (and reproduces) the tools and rolls employed." Near Fine in a slightly yellowed but otherwise Near Fine dustwrapper.…

Cloth, 8vo, 26 cm, xvi, 263 pp, 66 plates, ills. The first detailed and comprehensive survey of steel-engravings for book illustration. This well-illustrated work moves from the identification problems and early history of steel engravings through the production and printing of the plates to a study of several of the engravers and artists as well as the books themselves. "Although examples of steel engraving date from the fifteenth century, the nineteenth century was the great age for this type of illustration. It stood between the cheap woodcut for the masses and the handcolored aquatints for the rich. Steel engraving persisted through the 1800s, but its heyday was 1825-1845. Hunnisett notes that the steel engraving (often actually steel etching because of the hardness of the metal) made possible the illustrated literary annual. By the 1880s steel engraving was in decline, and photography provided the last blow. With sixty-six facsimiles. An appendix reprints an article from All the Year Round of October 27, 1866 that explains the process of steel engraving. Ibbin A. Sparling of the Yale Center for British Art wrote in The American Book Collector 2 (March/April, 1981): 78-79, "In Steel-Engraved Book Illustration in England Basil Hunnisett provides a comprehensive study of steel-engraving which ranks as a significant addition to the literature of British book illustration. . . . A pioneering work of high scholarship, [it] is destined to become a standard in its field." - Rosenblum. Very Good in Good dustwrapper, which is slightly creased at top edge and browned at top and bottom of inside flaps.…

Cloth, 8vo, 26 cm, xvi, 263 pp, 66 plates, ills. The first detailed and comprehensive survey of steel-engravings for book illustration. This well-illustrated work moves from the identification problems and early history of steel engravings through the production and printing of the plates to a study of several of the engravers and artists as well as the books themselves. "Although examples of steel engraving date from the fifteenth century, the nineteenth century was the great age for this type of illustration. It stood between the cheap woodcut for the masses and the handcolored aquatints for the rich. Steel engraving persisted through the 1800s, but its heyday was 1825-1845. Hunnisett notes that the steel engraving (often actually steel etching because of the hardness of the metal) made possible the illustrated literary annual. By the 1880s steel engraving was in decline, and photography provided the last blow. With sixty-six facsimiles. An appendix reprints an article from All the Year Round of October 27, 1866 that explains the process of steel engraving. Ibbin A. Sparling of the Yale Center for British Art wrote in The American Book Collector 2 (March/April, 1981): 78-79, "In Steel-Engraved Book Illustration in England Basil Hunnisett provides a comprehensive study of steel-engraving which ranks as a significant addition to the literature of British book illustration. . . . A pioneering work of high scholarship, [it] is destined to become a standard in its field." - Rosenblum. Fine in near Very Good 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, 8vo, 26 cm, xvi, 263 pp, 66 plates, ills. The first detailed and comprehensive survey of steel-engravings for book illustration. This well-illustrated work moves from the identification problems and early history of steel engravings through the production and printing of the plates to a study of several of the engravers and artists as well as the books themselves. "Although examples of steel engraving date from the fifteenth century, the nineteenth century was the great age for this type of illustration. It stood between the cheap woodcut for the masses and the handcolored aquatints for the rich. Steel engraving persisted through the 1800s, but its heyday was 1825-1845. Hunnisett notes that the steel engraving (often actually steel etching because of the hardness of the metal) made possible the illustrated literary annual. By the 1880s steel engraving was in decline, and photography provided the last blow. With sixty-six facsimiles. An appendix reprints an article from All the Year Round of October 27, 1866 that explains the process of steel engraving. Ibbin A. Sparling of the Yale Center for British Art wrote in The American Book Collector 2 (March/April, 1981): 78-79, "In Steel-Engraved Book Illustration in England Basil Hunnisett provides a comprehensive study of steel-engraving which ranks as a significant addition to the literature of British book illustration. . . . A pioneering work of high scholarship, [it] is destined to become a standard in its field." - Rosenblum. Lightly agetoned at page edges, otherwise Very Good in somewhat yellowed dustwrapper.…

Two-tone cloth, 4to, 31 cm, 275 pp, facs, plates. Contents : Introduction; The Caricatures (1Royalty; 2 Politicians; 3 The Arts; 4 The Bench and Bar; 5 Clergy and Dons; 6 The Military; 7 Builders of the Empire; 8 Scientists; 9 Businessmen, Bankers and Builders; 10 Journalists; 11 Sportsmen; 12 Americans) Collecting Vanity Fair caricatures; Vanity Fair artists; Complete list of the caricatures; Bibliography; Index to theVanity Fair caricatures; General index . "This volume is also a work of reference in that it includes as an appendix a complete list of the Vanity Fair caricatures and their artists, which is supported by a cross-index of all the subjects. An extensive introduction traces the history of the magazine and the development of the art of caricature, and a chapter on the collecting of the caricatures documents the fascinating tale of the fate of the magazine's stock after it closed down in 1914." - from the blurb. Very Good 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, 8vo, 26 cm, xvi, 263 pp, 66 plates, ills. The first detailed and comprehensive survey of steel-engravings for book illustration. This well-illustrated work moves from the identification problems and early history of steel engravings through the production and printing of the plates to a study of several of the engravers and artists as well as the books themselves. "Although examples of steel engraving date from the fifteenth century, the nineteenth century was the great age for this type of illustration. It stood between the cheap woodcut for the masses and the handcolored aquatints for the rich. Steel engraving persisted through the 1800s, but its heyday was 1825-1845. Hunnisett notes that the steel engraving (often actually steel etching because of the hardness of the metal) made possible the illustrated literary annual. By the 1880s steel engraving was in decline, and photography provided the last blow. With sixty-six facsimiles. An appendix reprints an article from All the Year Round of October 27, 1866 that explains the process of steel engraving. Ibbin A. Sparling of the Yale Center for British Art wrote in The American Book Collector 2 (March/April, 1981): 78-79, "In Steel-Engraved Book Illustration in England Basil Hunnisett provides a comprehensive study of steel-engraving which ranks as a significant addition to the literature of British book illustration. . . . A pioneering work of high scholarship, [it] is destined to become a standard in its field." - Rosenblum. Very Good in Very Good dustwrapper.…

Cloth, large 8vo, 28 cm, xvi, 250 pp, 70 plates. From the blurb: "During the summer of 1638 the Reverend Jose Glover set off across the Atlantic for New England with a printing press, a supply of type and a stock of paper, with the intention of setting up a press in the infant colony to serve church and state. Although Glover died during the voyage, Stephen Daye, a barely literate locksmith who had accompanied him, and Daye's son took over the establishment of the press in the grounds of Harvard College. The first item printed in America was an 'Oath of Allegiance to the King', and the first book, the 'Bay Psalm Book', was completed in 1640. The Printed Book in America traces the history of American printing from these unsteady beginnings to the present day, paying particular attention to major figures such as Benjamin Franklin and Isaiah Thomas in the earlier period and Daniel Berkeley Updike, Bruce Rogers and Frederic W. Goudy in the present century. This monumental survey is the first book to compress into a single volume a comprehensive account of the development, variety and quality of American typography. It pays particular attention to private and special presses which, building upon the heritage of the past, have carried forward the traditions and enriched the aesthetic achievements of American printing and bookmaking."Contents : The Colonial Period : Stephen and Matthew Daye, Samuel Green , Marmaduke Johnson , William Bradford , Benjamin Franklin , Ephrata Press , Christopher Sower , James Parker , John Green , William Parks , Jonas Green , William Goddard , Colonial Women , Binny and Ronaldson , Isaiah Thomas , Mathew Carey ; The Nineteenth Century and into The Twentieth Century: The House of Harper , Joel Munsell , Theodore Low De Vinne , An Historical Retrospective , Boston, to the 's, Thomas Bird Mosher , Stone & Kimball , Copeland & Day , Way & Williams , Elbert Hubbard , The Elston Press , Walter Gilliss ; The Renaissance In American Printing: Daniel Berkeley Updike Bruce Rogers , Frederic W. Goudy , Will Bradley , Carl Purington Rollins , Thomas Maitland Cleland , William Addison Dwiggins , Rudolph Ruzicka , John Henry Nash , William Edwin Rudge , Dard Hunter ; The Twentieth Century: Elmer Adler , Victor Hammer , Edwin and Robert Grabhorn , New England , New York and the East , The Midwest , California ; The Plates ; Bibliography ; Index. Very Good in Very Good dustwrapper.…

Cloth, 8vo, 27 cm, xxvi, 414 pp, colour frontispiece, numerous black-and-white ills. From the blurb: "The output of the Edinburgh binders James and William Scott stands out in the work of eighteenth-century Scottish bookbinders. Though few William Scott bindings are known today, a substantial number of James's bindings have survived: his work was characterised by its clean break from the Scottish geometrical style of binding ornamentation towards a style aimed at the kind of people who would be patrons of Chippendale or Adam and might be expected to want to own bookbindings which would fittingly adorn their houses. Thus the history of eighteenth-century bookbinding can be seen to relate to wider concerns of aesthetics and design in the visual arts. Mr Loudon's book, the first detailed examination of the Scotts, gives detailed descriptions of all known Scott bindings and includes full-page reproductions of all but a few. It also examines in detail (and reproduces) the tools and rolls employed." Minor gluestain at edge of spine-label, otherwise Near Fine in price-clipped dustwrapper and plain card slipcase.…

Cloth, 8vo, xi, 264 pp. 764 entries. From the blurb : "Although the religious policy of James I was substantially the same as that of his predecessor Elizabeth, the religious controversies of the Jacobean age were markedly different from those in the Elizabethan in both quantity and quality: over seven hundred items of a religio-controversial kind were published in the twenty-two years of James's reign, and the writings of the established Church were characterised by an increase in the richness and mellowness of their tone. Distinguished literary practitioners like John Donne were quick to bring their talents to bear on the religious debates Father Milward charts the progress of the various disputes by placing each publication in the context of a particular controversy and explaining its relationship with other literature. This descriptive catalogue with linking commentary and historical background provides an indispensable guide to all scholars of the philosophy, literature, history and theology of the Jacobean age." Very Good in slightly used 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 Fine dustwrapper.…

large 8vo [26 x 19 cm]; 159 pp, 168 illustrations from early sources, bibliog, index. original cloth with gilt spine title lettering, dj (not price clipped, spine slightly faded), else fine. A well-illustrated and important work showing the development of the French Garden from early Italian influences to attain a dominating position in European culture. Very well-illustrated. The author was with the National Gallery of Art in Washington. A picture of this book is available on request.…

Condición: Fine. First thus edition hard back binding in publisher's original colour illustrated paper covered boards with crimson cloth spine. 8vo. 6½'' x 5''. Contains unpaginated printed pages of rhyming text with colour illustrations throughout. Fine condition book in Fine condition dust wrapper, not price clipped. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P.B.F.A. ISBN 0859675246 CHILDREN'S & JUVENILE.…

Cloth, 8vo, 27 cm, xxvi, 414 pp, colour frontispiece, numerous black-and-white ills. From the blurb: "The output of the Edinburgh binders James and William Scott stands out in the work of eighteenth-century Scottish bookbinders. Though few William Scott bindings are known today, a substantial number of James's bindings have survived: his work was characterised by its clean break from the Scottish geometrical style of binding ornamentation towards a style aimed at the kind of people who would be patrons of Chippendale or Adam and might be expected to want to own bookbindings which would fittingly adorn their houses. Thus the history of eighteenth-century bookbinding can be seen to relate to wider concerns of aesthetics and design in the visual arts. Mr Loudon's book, the first detailed examination of the Scotts, gives detailed descriptions of all known Scott bindings and includes full-page reproductions of all but a few. It also examines in detail (and reproduces) the tools and rolls employed." Very Good in a slightly yellowed dustwrapper.…

Condición: Good. First edition hard back binding in publisher's original tawny brown cloth covered boards, blocked and lettered gilt back over black ground, dove grey lining papers. 8vo. 9¼'' x 6¾''. Contains [xxx], 104 pp with 96 plates of Lamb drawings and designs in colour and black and white and by vignettes. Fine condition book in Good condition dust wrapper with rubbing to the spine ends and corners, not price clipped. Member of the P.B.F.A. BIO (Résumé, Memoir).…

Cloth, skiver spine-label, 4to, 29 cm, xxi, 365 pp, 176 black-and-white ills, 17 colour ills. From the prospectus: "The medieval manuscripts of Keble College, Oxford, form almost the last important collection of medieval manuscripts in England hitherto uncatalogued. The collection comprises seventy-one Western, five Greek and thirteen Oriental manuscripts together with a number of fragments. The Western manuscripts contain texts in Dutch, English, French, German and Italian as well as Latin and Greek; the Oriental manuscripts contain texts in Arabic, Hebrew, Persian, Pashto, Turkish and Samaritan. Most of the manuscripts are liturgical books or Books of Hours, lavishly decorated and illustrated by artists of outstanding ability. The oldest manuscript in the collection is a fragment of the Sacramentary made for Arno of Salzburg (d. 821). One of the most famous items is the Regensburg Lectionary, executed in the 1270s, and long regarded as one of the most important monuments of German illumination; another is the Breviary made for Abbot Tomacelli of Monte Casino in 1404. Among the artists whose work is represented are the well-known Master of the Duke of Bedford, the Master of Sir John Fastolf, the Master of the Missal of Cardinal Arrimboldo and one of the artists of the Reconstructed Carmelite Missal. Many of the other artists represented, although less well known, were also fine craftsmen, and it is hoped that the publication of illustrations of their work will help to make it more accessible to students and connoisseurs of medieval art. The liturgical texts include some of special interest, such as a copy of the Missal in French, the 'Walsingham Breviary', a rare English Benedictional Roll and a number of manuscripts which derive from Cistercian sources. Important non-liturgical manuscripts include a copy of the Pauline Epistles with glosses produced at Salisbury in the time of St Osmund, the earliest surviving copy of the Homiliary known as the 'Sancti Catholici Patres', collections of sermons and a collection of Cantiques et Chansons de Noel made at Nogent-le-Rotrou in 1600. The entries on the Western manuscripts include a full inventory of the contents of each book, a complete list of the miniatures, full codicological descriptions and an account of what Is at present known of the origins and history of each book. A special feature of the catalogue is that the descriptions of illustrations and decorations are supported by nearly two hundred reproductions, seventeen of which are in full colour. Summary descriptions of the Greek and Oriental manuscripts have been provided by specialists in these fields. " Very Good in Very Good dustwrapper (slightly stained on its iner face at the foot of the spine) in a somewhat stained publisher's card slipcase.…

Soft cover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st Edition. Large format-8 1/2 X 13 1/2 inches, Stiff paper cover with color illustrated dust jacket. Profusely illustrated with images of the fair, 173 pages. Fine condition.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. 1st Edition. Colour frontispiece and upwards of 130 full-page black-and-white reproductions of bindings; brown cloth, maroon spine label gilt, pictorial dust-jacket. A fine copy.

Cloth, 8vo, xiii, 241 pp, ills. Munby was a great bookman but had other talents. He drove an old Bugatti which developed gasket problems - Munby finally crafted the perfect replacement gasket from some vellum taken from an ancient and completely wrecked manuscript. Thereafter, in answer to the inevitable "Lovely car. How old is it?", Munby was able to respond "Well, parts of it date from the 15th century". Contents: Some Caricatures of Book-Collectors (1948); John Maynard Keynes: the Book-Collector (1949); Notes on King's College Library in the Fifteenth Century (1951); Floreat Bibliomania (1952); The Distribution of the First Edition of Newton's Principia (1952); Charles Geoffrey des Graz (1953); The Library of George Thackeray (1957); The Acquisition of Manuscripts by Institutional Libraries (1960); Did Mr. Cavendish Burn his Caxtons (with M. Pollard, 1963); The Libraries of English Men of Letters (1964); Macaulay's Library (1965); Three Opportunities (1966); The Case of the 'Caxton' Manuscript of Ovid (1968); The Earl and the Thief (1968); The Triumph of Delisle: a Sequel to 'The Earl and the Thief' (1969); Arthur Cole (1968); Book Collecting in the 1930s (1973); Father and Son: the Rev. Reginald Heber's Vain Attempt to Stern the Rising Tide of his Son Richard's Bibliomania (1976); List of Writings by A. N. L. Munby. Very Good in dustwrapper with a short closed tear.…