Editions printer (19 résultats)

Presumed first edition (no direct statement provided) SIGNED AND DATED BY THE AUTHOR. 25 pages. Hardcover: H 20.25cm x L 13.25cm. Soiled, stained, and edge-worn tan dust jacket, paper loss along torn spine with dj now in two separate detached parts and laid-in book. Tan cloth with several small stains, spine's paper title label toned, front panel's paper title label still clean. Author's two-line ink inscription upon the front free endpaper: "Blanche Simpson | Dec 27th 1940." Light toning to endpapers. Stitched binding still firm. A very good copy with a poor dust jacket. OCLC locates copies at only one member institution (Bates College).…

Hardcover. Etat : Good. Etat de la jaquette : Good. Français, couverture rigide sous jaquette, bon état, des dommages mineurs à la jaquette, grand format, 191 pages.

Stapled wraps. Etat : Very Good. Some fading and rubbing to covers. Internally clean. Always securely packed. Professional booksellers since 1994. Satisfaction guaranteed.

Hardcover. Etat : Fine. 29.5 x 25 cm. Quarto. 264 pages. French language text. Glossy boards no dust jacket as issued.

#1190 of a limited edition of 1500 copies (per publisher's rear colophon). Muted purple slipcase, H 29cm x L 20.5cm, rubbed with some soiling and a few surface abrasions/losses; a few short splits at seams but remains firm. Acetate dust jacket with usual toning and some chips and tears. Hardcover: H 28cm x L 19.5cm. xii, 556, [2] pages. Reddish-brown canvas cloth with bright spine stamping. All text block edges colored reddish-brown. Interior pages are bright and clean. Binding retains some crispness. Laid-in at pages 158-159 are LEC's pre-shipment "Number Three" paper slip and folded four page "The Monthly Letter of The Limited Editions Club" for August 1954, Number 253. An unusual Limited Editions Club publication in the circumstance that all copies are unsigned by the illustrator as Reginald Marsh passed before the book's printing. Please note that this large book has an approximate shipping weight of 5 pounds (2.26 kg) and may require additional postage for any postal class other than domestic Media Mail.…

Couverture souple. Etat : Très bon. Pas de jaquette. Edition originale. Rémy Guichard (directeur de la publication), CAHIERS INTEMPESTIFS N°7. Très bon état.

Etat : Très bon état. in-4, cartonnage éditeur en couleurs, 262 pp., nombreuses reproductions en noir et en couleurs. Préface de Bernard Ceysson. Bon état.

OKart. Gr.-Qu.-8°, cirka 60 S., mit zahlr. Bildern und 1 Beilage, Nummernstempel (636) auf hinterem Innendeckel. Guter Zustand.

Couverture souple. Etat : Bon. Etat de la jaquette : Bon. Edition originale. Éditions Printer - Saint-Etienne - 1998 - In-quarto en feuillets sous couverture illustré - Reproductions en couleurs et en pleine page - 56 pages. Exemplaire en bon état - Couverture et intérieur très propres - boitier en plexiglas manquant - Envoi rapide et très soigné uniquement en colissimo recommandé contre signature sous emballage cartonné à l'abri des heurts pour la France métropolitaine et pour l'international ( recalcul obligatoire des frais de port selon destination ) - réf n° B - 290525.…

Couverture souple. Etat : Bon. Etat de la jaquette : Bon. Edition originale. Éditions Printer - Saint-Etienne - 1997 - In-quarto en feuillets sous couverture illustrée - 56 pages. Exemplaire en bon état - boitier en plexiglas manquant - Couverture et intérieur très propres - Envoi rapide et très soigné uniquement en colissimo recommandé contre signature sous emballage cartonné à l'abri des heurts pour la France métropolitaine et pour l'international ( recalcul obligatoire des frais de port selon destination ) - réf n° B - 290525.…

1,500 numbered copies signed on the colophon leaf by the printer and engraver. 4to, (282x185mm), xxii,516p. wood-engravings and text decoration engraved by Kurt Craemer and printed in grey or red. Original light grey cloth, decorated with a repeat pattern of several motifs printed in darker grey, gilt lettered on a red lettering piece, backstrip faded, slipcase; bookplate of David Sellars. …

Couverture souple. Etat : Très bon. Etat de la jaquette : Très bon. Edition originale. Exemplaire en excellent état - couverture et intérieur très propres - envoi rapide et très soigné en colissimo recommandé contre signature sous emballage cartonné à l'abri des heurts - frais de port ajustés pour le colissimo international selon destination - ouvrage totalement épuisé chez l'éditeur - réf n° B5.…

Couverture rigide. Etat : Très bon. Etat de la jaquette : Très bon. Edition originale. Éditions Printer - Saint-Etienne - 1997 - In-quarto en feuillets sous couverture illustrée en sous emboîtage en plexiglas - Reproductions en couleurs et en pleine page - 56 pages. Exemplaire en bon état - Couverture et intérieur très propres - boitier en plexiglas légèrement d'usage - Envoi rapide et très soigné uniquement en colissimo recommandé contre signature sous emballage cartonné à l'abri des heurts pour la France métropolitaine et pour l'international ( recalcul obligatoire des frais de port selon destination ) - réf n° B - 290525. …

in 4 cartonné, couverture illustrée, 264 pages Préface de Bernard Ceysson. Entretien de l'artiste avec Eric Darragon. Nombreuses illustrations en couleurs. Une coiffe un peu abimée. Exemplaire signé par l'artiste avec un petit (vraiment petit) soleil de dessiné.

Etat : Near Fine. First Edition. Spectacular record of the gardens exhibited at the Exposition des l'Arts Décoratifs which occurred in Paris in 1925. Folio, 33.5 by 25 cm. Unpaginated gathering of two folded sheets, or eight pages with title, colophon, brief intro by Marrast, plate table, followed by 54 numbered plates, which include eleven pochoir plates by Jean Saudé. Other plates have either photos, one or two at a time, or line drawings. Photos are sepia and white. Line drawings are layouts or designs mostly. Rear portfolio cover with small loss of paper pastedown. Light and inconspicuous soiling here and there on plates. One plate with a repaired mostly horizontal tear on upper margin. Portfolio, paper pastedown on boards, cloth spine, ribbon tie, leaves within loose as issued. Jean Saudé, responsible for pochoir plates (illustrateur).…

Aquatint engraving, printed in two colours, blue and sepia. Trial proof. Impression limited to 50 copies, from the original copper plate. In perfect condition. Image size: 16 x 22 1/2 inches. William James Bennett (c. 1787-1844) was born in England and received his training at the Royal Academy. He emigrated to the United States in 1826, and is best known for his views of American cities, including the Hudson Valley Region, Niagara Falls, and numerous port cities such as New York, Charleston, and Buffalo. Views of West Point were extremely popular in the nineteenth century and this view, after one of Bennett's best-known paintings, was exhibited at the Annual Exhibition of the National Academy in 1832. With the arrival of William Bennett and several other émigré artists such as William Guy Wall, and John Hill, the quality of aquatint engraving in America was elevated to a level equaling, or perhaps even surpassing, that of European printmakers. This was the beginning of an important period of American topographical-view making. The aquatint of West Point from Phillipstown was originally published in 1831 by Parker and Clover, who produced four states of the original edition, changing slightly the publication line as the business or printer changed. These four states were all published in a short period of time. The Parker and Clover edition was printed in two colours of ink, blue for the sky and sepia for the foreground, the print was then finished by hand in watercolour. Currier and Ives later acquired the copper plate, and published an issue of this print (not a lithograph as has been noted). As was a common practice of the day, the original publication line was polished out of the copper plate and was re-engraved to read "Currier and Ives." The Currier and Ives aquatint was published in black and white, then coloured in the studio in the same manner as their very popular lithographs. The edition published by Parker and Clover and later by Currier and Ives from this copper plate must have been very limited as the printing caused very little wear to the plate. Whereas lithographs printed from limestone blocks will produce thousands of good quality prints, the copper plate of the aquatint is much more delicate and prints from copper plates do not print successfully in large numbers. The original copper plate engraved for this view remains in excellent condition, and, in this contemporary impression, was limited to 50 copies. Great care was taken to recreate the original 1831 publication techniques. Using an original first-issue print as a model, this aquatint was printed in two colours, blue and sepia. It is a rare trial proof impression which was used as a model for the later finished impressions.…

Stiff Wraps. Etat : Very Good. First Edition Thus. 4to. 29 by 20 cm. Unpaginated, 136 pp. 8 color pochoir plates by Barbier, with many smaller color illustrations interspersed in the text. Unnumbered copy to match the 225 on Verge d'Arches from a total edition of 300. Condition: light soiling to the wraps. A few tears and one dangling piece of the spine, with minor loss of the paper on the spine. Light age toning to the leaves within.…

Aquatint engraving. Trial proof impression printed in black and white. Impression limited to 50 copies, from the original copper plate. In perfect condition. Image size: 16 x 22 1/2 inches. William James Bennett (c. 1787-1844) was born in England and received his training at the Royal Academy. He emigrated to the United States in 1826, and is best known for his views of American cities, including the Hudson Valley Region, Niagara Falls, and numerous port cities such as New York, Charleston, and Buffalo. Views of West Point were extremely popular in the nineteenth century and this view, after one of Bennett's best-known paintings, was exhibited at the Annual Exhibition of the National Academy in 1832. With the arrival of William Bennett and several other émigré artists such as William Guy Wall and John Hill, the quality of aquatint engraving in America was elevated to a level equaling, or perhaps even surpassing, that of European printmakers. This was the beginning of an important period of American topographical-view making. The aquatint of West Point from Phillipstown was originally published in 1831 by Parker and Clover, who produced four states of the original edition, changing slightly the publication line as the business or printer changed. These four states were all published in a short period of time. The Parker and Clover edition was printed in two colours of ink, blue for the sky and sepia for the foreground, the print was then finished by hand in watercolour. Currier and Ives later acquired the copper plate, and published an issue of this print (not a lithograph as has been noted). As was a common practice of the day, the original publication line was polished out of the copper plate and was re-engraved to read "Currier and Ives." The Currier and Ives aquatint was published in black and white, then coloured in the studio in the same manner as their very popular lithographs. The edition published by Parker and Clover and later by Currier and Ives from this copper plate must have been very limited as the printing caused very little wear to the plate. Whereas lithographs printed from limestone blocks will produce thousands of good quality prints, the copper plate of the aquatint is much more delicate and prints from copper plates do not print successfully in large numbers. The original copper plate engraved for this view remains in excellent condition, and, in this contemporary impression, was limited to 50 copies. Great care was taken to recreate the original 1831 publication techniques. This fascinating print is a trial proof impression of the modern edition.…

Three vols. xxvi, [765]-1382, [2] pp. Numerous photogravure plates. All three uniformly bound in quarter black cloth over decorated boards, black embossed cameos on front covers, w/ original glassine d.j.'s (some chipping, edgewear), still NF/VG- set preserved in open-backed slipcase, numbered on colophon as issued, from the library of Louise & Walter Swoope, w/ bookplates on front pastedowns. First Limited Editions Club set, No. 1319 of 1500 issued, of these Sherlock Holmes adventures originally published as the Last Bow, and new introduction.…