Resultados de búsqueda: italy a poem poems de rogers samuel

T. Cadell, 1830, 1834. Full Leather. Very Good. in x in x in. Sunned spine. Light rubbing to edges. Both vols. lightly read if read at all. Binding is fine. Gilt page edges. Poem vol. has pencil notes on back of front free page concerning the books being first editions and Turner plates (it read like it was pencilled in by a previous bookseller). No other markings in books.

London: Edward Moxon, 1842. Leather. Good. 8" by 5.5". None. Two nicely bound poetry collections by the popular writer, Samuel Rogers. Including Italy: A Poem (1842) and Poems (1842). Illustrated throughout with numerous engravings in the text. Bound by Leighton Brewer In morocco bindings. Externally, generally smart, though with some rubbing to the extremities. Institutional lettering to spines. Internally, firmly bound. Bookplate of Westminster Public Library to front pastedowns, with ink stamps to the endpapers, and ex-libris blindstamp. Ink inscription to front free-endpaper. Pages are bright, though with some scattered ink stamps and foxing throughout. Good

London: Edward Moxon, 1851-1852. Leather. Very Good. 8" by 5.5". None. Two uniformly-bound collections of the poetry of Samuel Rogers. Containing an anthology of poetry (Poems by Samuel Rogers, 1851) and his long poem Italy (1852). Samuel Rogers (1763 – 1855) was an English poet, during his lifetime one of the most celebrated, although his fame has long since been eclipsed by his Romantic colleagues and friends Wordsworth, Coleridge and Byron. In 1814 Rogers travelled through Switzerland to Italy, keeping a full diary of events and impressions, Out of the earlier of these tours arose his last and longest work, Italy. The first part was published anonymously in 1822; the second, with his name attached, in 1828. It was at first a failure, but Rogers was determined to make it a success. He enlarged and revised the poem, and commissioned illustrations from J.M.W. Turner, Thomas Stothard and Samuel Prout. These were engraved on steel in the sumptuous edition of 1830. The book then proved a great… Leer más

London: Edward Moxon 1854 / 1859. 8vo. In 2 volumes. viii, 306; vii, 327 pp. Uniformly bound in contemporary full red morocco with gilt borders and urn design to front & rear boards. Raised bands to spines with gilt panels & lettering. All edges gilt. Boards clean. Scattered foxing. Frontis portrait. Illustrations. Bindings firm. . Very Good. Gilt-decorated Morocco. New Edition. 1854.

London: T. Cadell 1830, 1834. Small 4to. 2 volumes. vii, 285; viii, 298, [3] pp. Original marbled boards by Westley, with paper title labels to spines showing published price of 1l 8s; pages uncut. Spines both quite faded, with rubbing and marks to boards and slight wear to extremities. Ink name dated 1832/4 to front pastedowns. A little cracking to hinges but binding firm; light spotting throughout both volumes. Black & white illustrations throughout. . Very Good. Marbled Boards. First Editions. 1830.

London: Printed for T. Cadell , 1830. 1st Edition . Hardcover. Very Good. First Illustrated Editions. Italy: a poem, 1830. vii + pp284. Poems, 1834, viii + pp296. Both Vols withsteel engravings after J.M.W. Turner & T. Stothard throughout. 8vo's. Hardcovers no dust jackets. Both volumes with identical binding of full blue leather with gilt design to boards and spines and dentelles to inner boards. Both volumes in very good condition with a little rubbing to edges of spine. Inside both Vols have a Amorial Bookplates of Robert Hollond (1808-1877) to flyleaf. All pages, with full edges gilt, have some foxing throughout both volumes. A handsome set.

London: T. Cadell, 1834. Full Leather Hardcovers. The bindings are tight and square. Text clean, light even toning. Moderate shelf handling wear with some rubs.. Two volumes. Uniformly bound in full red morocco by Sangorski & Sutcliffe for N.J. Bartlett & Co., spines and boards with gilt decorations, spines titled in gilt, top edges gilt. With numerous in text illustrations. 8vo; 8.25 inches tall; vii, 284p; viii, 295p.  Wear to leather mostly at spines and edges, sunning to spines, contents lightly toned in the margins. The bindings are tight and square. Text clean.. Rogers an English poet of the Romantic School is best remembered as a witty conversationalist and as a friend of greater poets. On Wordsworth's death, in 1850, Rogers was offered the laureateship, which he refused. His visit to Italy in 1815 suggested to him the idea of a poem descriptive of that country, which Byron had not then handled in the fourth canto of Childe Harold.

Edward Moxon, 1838. Very Good. Rogers, Samuel. Poems by Samuel Rogers with Italy, A Poem by Samuel Rogers, Two Volumes. London: Edward Moxon, 1838. viii, 265, viii, 274pp. Illustrated. 4to. Book condition: Very good. Scuffing and rubbing to edges and raised bands. The Italy volume has a four inch scratch to lower corner area of the front board. Bindings tight and internally clean with sporadic foxing to some of the plates. Both volumes are filled with steel engravings, some by J.M.W. Turner.

London: T. Cadell, 1834. Two works octavo, with numerous engravings, after Turner, Stothard and Prout, sumptuously bound to match; full polished calf, spines ornately gilt with crimson spine-labels, magenta endpapers, gilt dentelles, edges fully gilt, by Tout. A beautiful set in a superb binding by Tout. Two works by Samuel Rogers (1763-1855): Italy and Poems. These illustrated editions were a major success for Rogers who was in the same literary circle as his now more famous friends Wordsworth, Coleridge and Byron. Both volumes are for the most part odes to Italy and the taste for the "grand tour", Rogers having visited Italy and the Continent with his sister in 1814 and later in 1822. Out of these tours arose his last and longest work, Italy. It was at first a failure, but Rogers was determined to make it a success. He enlarged and revised the poem, and commissioned illustrations from J.M.W. Turner, Thomas Stothard and Samuel Prout. These were engraved on steel in the sumptuous edition of 1830.… Leer más

London, 1830. Book. Very Good. Hardcover. For the two volumes. Beautiful productions, with stamped coat of arms of Hon. R. Fitzgibbon on front and back covers. Vellum with rich gold and all dentelled detailing and embossed AEG edges. Mild soiling to covers, as expected. Both volumes in very good condition..

London: Cadell, 1830. First. hardcover. near fine. Turner, J.M.W. & Stothard, T.. 2 volumes. Both volumes are illustrated with many fine steel engravings and vignettes after J.M.W. Turner & T. Stothard, each protected with tissue. 8vo, uniformly bound in contemporary full red polished calf (surface of covers slightly scuffed), with gilt ruled borders and frames and elaborate gilt decorated spines with raised bands, inner dentelles, a.e.g. London: Printed for T. Cadell, Jennings and Chaplin; and E. Moxon, 1830 & 1834. A near fine copy.<br/> <br/> First editions with these illustrations (Italy is the second issue, with the vignette correctly placed on p. 88). With the Turner and Stothard engravings, which in many ways represent the peak of the artists' genius in book illustration.<br/> <br/>

London: Printed for T. Cadell, 1830, 1834. First illustrated editions of Samuel Rogers' famed works. Octavo, 2 volumes, bound in full straight grain morocco by Riviere & Son, gilt titles and tooling to the spine in six compartments within raised gilt bands, gilt ruling to the front and rear panels, gilt turn-ins and inner dentelles, top edge gilt, illustrated with four plates, 20 in-text illustrations, and more than 100 steel-engraved headpieces and tailpieces after designs by Thomas Stothard and J.M.W. Turner. In near fine condition. Samuel Rogers was one of the most celebrated English poets during his lifetime, although his fame has long since been eclipsed by his Romantic colleagues and friends Wordsworth, Coleridge and Byron. Rogers first achieved fame with the publication of The Pleasures of Memory in 1792 and, after traveling to Italy and meeting Shelley and Byron, he produced the first version of his now famed poem, Italy. Published in 1822, the first edition sold poorly. Rogers destroyed… Leer más

London: T. Cadell and E. Moxon; T. Cadell, Jennings and Chaplin, and E. Moxon,, 1834 & 1830. First Turner and Stothard editions, attractively bound by the leading British bookbinder Rivière. Rogers visited Italy for the first time in 1814, and it was during this trip that he envisioned the concept for his famous poem. The first edition – part I published in 1821 and part II in 1828 – was not well received; therefore, Rogers engaged Thomas Stothard and J. M. W. Turner to illustrate a new luxury publication (the present one), regarded as "one of the outstanding examples of the illustrated book in the first half of the nineteenth century" (ODNB). Stothard's figure scenes in this volume are considered "perhaps the climax" of his illustration, and Turner's landscapes are "his first outstanding success with steel... The success of Italy persuaded Rogers to undertake a similar costly edition of his Poems which was published in 1834 with thirty-three vignettes after Turner. Turner - himself a writer of… Leer más

London: T. Cadell, Jennings and Chaplin, and E. Moxon; T. Cadell and E. Moxon,, 1834 & 1830. One of the outstanding examples of the illustrated book in the first half of the 19th century". First illustrated edition of the Poems, together with the first complete and illustrated edition of his longest poem Italy, both with engravings from designs by J. M. W. Turner and Thomas Stothard. These copies are finely bound by Chivers in his superb "vellucent" style. Rogers visited Italy for the first time in 1814, and it was during this trip that he envisioned the concept for his famous poem. The first edition, of which Part I was published in 1821 and Part II in 1828, was not well received. Rogers therefore reissued it in this luxury format, for which he engaged Stothard and Turner as illustrators. Stothard's figure scenes are considered "perhaps the climax" of his illustration (ODNB). The popularity of this new edition of Italy, a Poem led Rogers to commission a similar version of his Poems, illustrated by… Leer más

London: T. Cadell, Jennings and Chaplin, and E. Moxon; T. Cadell and E. Moxon,, 1834 & 1830. Handsomely bound presentation copy First illustrated edition of the Poems, presentation copy, inscribed in Roger's hand "from the Author" on a front binder's blank, together with the first complete and illustrated edition of his longest poem Italy, both with engravings from designs by William Turner and Thomas Stothard. These copies are in a superb gilt binding by Riviere and Sons. Rogers visited Italy for the first time in 1814, and it was during this trip that he envisioned the concept for his famous poem. The first edition – part I published in 1821 and part II in 1828 – was not well received; therefore, Rogers engaged Stothard and Turner to illustrate a new luxury publication (the present one), regarded as "one of the outstanding examples of the illustrated book in the first half of the nineteenth century" (ODNB). Stothard's figure scenes in this volume are considered "perhaps the climax" of his… Leer más

London: T. Cadell and E. Moxton, 1834. First Illustrated Edition. Near fine. Turner and Stothard. 2 volumes; 8vo, 8 x 5 3/8 inches (202 x 135 mm); vii, [1], 284 pp.; viii, 296, [1] pp. Separately published works, often found as companion copies, in elegant matched bindings by Lucien Broca, stamp-signed on front turn-in. Crushed green morocco with gilt rules and intricate gilt floral and pointillé decorations on corners and turn-ins, gilt ruled board edges, raised bands with gilt dots, spine lavishly gilt in compartments with complex floral and pointillé designs and gilt lettering; bright green silk endpapers; t.e.g. Spine sunned, as typical of green morocco, but bindings square and in excellent condition. Occasional faint foxing. A total of 4 full-page plates, 20 in-text illustrations and over 100 steel-engraved headpieces and tailpieces most from designs by J. M. W. Turner and Thomas Stothard. - W.A. Foyle library bookplate in red morocco pasted inside front cover of each volume. [Ray 13, 15].… Leer más

London: Printed for T. Cadell, 1830, 1834. First Illustrated Editions. 202 x 135 mm. (8 x 5 1/2"). Two separately published works bound in two volumes (but often found as companion volumes).. VERY PRETTY SKY-BLUE MOROCCO, GILT, BY W. ROOT & SON (stamp-signed on front turn-ins), covers with gilt rule frame bedecked with a profusion of flowers, raised bands, spines gilt in compartments with large floral spray centerpiece, gilt titling, turn-ins decorated with gilt rules and floral garland, marbled endpapers, all edges gilt. The two volumes with a total of four plates, 20 illustrations in the text, and more than 100 fine steel-engraved headpieces and tailpieces, after designs mostly by J. M. W. Turner and Thomas Stothard. Ray 13, 15. ◆Spines slightly and uniformly darkened to a blue-green, but AN EXTREMELY PRETTY SET IN VERY FINE CONDITION, the immaculate text with virtually no signs of use, and the glittering bindings unworn. In flamboyant decorative morocco and containing illustrations of… Leer más

London: Printed for T. Cadell, 1830, 1834. First Illustrated Editions. 202 x 135 mm. (8 x 5 1/2"). iv, [2], 284 pp.; viii, 295, [1] pp. Two separately published works bound in two volumes (but often found as companion volumes).. VERY ATTRACTIVE GREEN MOROCCO BY RIVIERE & SON (stamp-signed on front turn-in), BEAUTIFULLY GILT-TOOLED BY FINISHER CHARLES MCLEISH, covers with frame of two gilt rules, with gilt dots along the inner frame, raised bands, spine lavishly gilt in compartments with complex design formed by trefoils sprouting from a central branch along with clusters of berries, the background with gilt pointillé, gilt lettering, gilt-rule-and-dot frame repeated on turn-ins, maroon endpapers, all edges gilt. The two volumes with a total of four plates, 20 illustrations in the text, and more than 100 fine steel-engraved headpieces and tailpieces, after designs mostly by J. M. W. Turner and Thomas Stothard. Italy with A HANDWRITTEN NOTE SIGNED BY ROGERS bound in at front. Ray 13, 15. ◆Spines… Leer más