Resultados de búsqueda: Títulos que empiezan por D de Phillip J. Pirages Fine Books and Medieval Manuscripts

London: Printed by C. Whittingham, for John Harding, 1804. 175 x 105 mm. (6 7/8 x 4 1/8"). 70 pp., [1] leaf (ads).Preface and description of plates by Francis Douce. EXCELLENT CONTEMPORARY CRIMSON STRAIGHT-GRAIN MOROCCO, GILT, BY R. WALLIS for C. E. Lauriat (stamp-signed on verso of front free endpaper), covers with French fillet borders, circles at corners, raised bands, spine compartments with central floral sprig within a lozenge of small tools, acanthus leaves at corners, turn-ins with intricate floral roll, marbled endpapers, top edge gilt, other edges untrimmed. Engraved frontispiece portrait of Holbein, 30 PLATES AFTER WENCESLAUS HOLLAR'S ENGRAVINGS OF HANS HOLBEIN'S PAINTINGS, and a folding plate based on a woodcut from Lydgate's 1554 "Dance of Macabre," ALL HAND-COLORED. ◆Neat older repair to fore edge of one leaf, other trivial imperfections, but AN ESPECIALLY FINE COPY, clean and fresh internally with attractive hand coloring, in a gleaming, unworn binding. This is very appealing… Leer más

Paris: F. L. Schmied, 1924. THE ARTIST'S OWN COPY ("Exemplaire d'artiste") SIGNED BY SCHMIED, from a total edition of 140 copies. 305 x 245 mm. (12 x 9 3/4"). [90] leaves. MAGNIFICENT MIDNIGHT BLUE CRUSHED MOROCCO BY DEVAUCHELLE (stamp-signed on front turn-in), INLAID AND GILT TO AN ART DECO DESIGN INSPIRED BY SCHMIED, covers with gold and silver geometric tooling, with metallic and tan morocco inlays, smooth spine with vertical titling, fawn-colored suede doublures and free endleaves edged with brown morocco, all edges gilt. Original illustrated paper wrappers bound in. Housed in the original matching morocco-backed chemise and slipcover. WITH 50 COMPOSITIONS ENGRAVED ON WOOD IN COLOR AND ENHANCED WITH SILVER AND GOLD BY FRANÇOIS-LOUIS SCHMIED. Nasti, "Schmied" B5, p. 116; Ray, "The Art Deco Book in France," p. 57-8. ◆A bit of offsetting from the illustrations, otherwise A PRISTINE COPY inside and out. This is François-Louis Schmied's own copy of the book Ray deemed "the Art Deco book par… Leer más

London: Willow Press, 1982. No. 31 OF 55 COPIES SIGNED by artist and binder Susan Allix. 300 x 230 mm. (12 x 9"). 4 p.l., 91, [1] pp., [1] leaf (colophon). Translated by A. M. Burnett. WHIMSICAL PICTORIAL MOROCCO BY SUSAN ALLIX (stamp-signed on rear pastedown), the wrap-around design showing Daphnis and Chloe in blind-tooled brown morocco silhouetted against a blue morocco sea and cream morocco sky, beneath the lovers a blind-tooled vine with 11 inlaid or onlaid citron morocco leaves, blind-stamped lettering to front cover, turquoise blue pastedowns and white free endpapers painted with blue, fore edge of front free endpaper cut into wave pattern, showing a glimpse of the yellow handmade paper front flyleaf, edges untrimmed and lightly brushed with blue paint. In the original felt-lined tan linen clamshell box, blind-lettered cream and blue morocco label on back. With etched frontispiece and 20 etchings, 14 in color and six in sepia, by Allix. ◆As new. This is a modern take on the most popular… Leer más

Modena: Franco Cosimo Panini Editore/Faksimile Verlag Luzern, 2004. No. 7 OF 980 COPIES. 162 x 105 mm. (6 3/8 x 4 1/8"). [472] pp. (in the facsimile). Two volumes (including commentary volume in German).. SUMPTUOUS REPLICA ROYAL PURPLE VELVET, SET WITH LARGE JEWELS, covers adorned with gilded metal filigree lozenge centerpiece containing a large oval lapis lazuli, gilded cornerpieces set with cabochon rose quartz, two golden clasps featuring silver hearts with chain link fasteners incorporating a rectangular piece set with a blue stone, edges gilt and gauffered in a diapered pattern. In a padded, satin-lined blue velveteen jewel box with silver and enamel heraldic crest on the upper cover (the commentary volume concealed beneath the velveteen lining). Rubrics and Calendar text in blue and gold, Kalends and a handful of four- to five-line initials in gold on a blue and green background with foliate decoration, numerous two-line initials in colors and gold, 12 medallions depicting the labors of the… Leer más

Zurich: David Gessner, 1768. 169 x 94 mm. (6 1/2 x 3 3/4"). 272, 64, 214 (of 215) pp. CONTEMPORARY PAINTED AND BLIND-TOOLED VELLUM, DECORATED IN AN ELABORATE AND QUAINT STYLE, covers with black and red starburst at center in a lobed red and green frame stamped with stars and tulips, yellow cornerpieces stamped with a floral design, smooth spine painted red and tooled in blind with flowers, Dutch gilded endpapers, all edges gilt. ◆Covers faintly soiled, extremities lightly rubbed, one leaf with two-inch portion torn away at fore margin (costing small parts of five closely spaced staves of music) occasional foxing of no great consequence; with some serious condition issues internally, but an extremely pleasing example of a binding representing German folk art of the period. Although lacking the final leaf of text, this volume is of considerable interest as an expertly made and decorated so-called "Peasant Binding," a colorful binding style that began in Hungary and spread through Germany, the… Leer más

Zürich: Coron Verlag, 1982. No. 8 OF 150 SPECIAL COPIES in the deluxe binding (of 850 total copies). 457 x 324 mm. (18 x 12 3/4"). 136 leaves (in the facsimile volume). Two volumes (including commentary volume in German). Companion volume by Rainer Kahsnitz. Facsimile attractively bound in the publisher's gold slubbed silk, both covers with brass cornerplates featuring a stylized quatrefoil leaf, front cover with the same plate used, on the diagonal, as centerpiece, wide raised bands; FACSIMILE VOLUME HOUSED IN A STRIKING LEATHER BOX WITH cork lining and a top in which is set A CONVINCING 8 x 5" REPRODUCTION OF THE ECHTERNACH GOSPEL COVER, FEATURING THE 10TH CENTURY OTTONIAN IVORY CRUCIFIXION, AROUND WHICH IS A WIDE FRAME WITH JEWELS set in gold filigree between intricately decorated enamelled plaques; companion volume with vellum spine and rose boards depicting in 28 squares roaring lions in Medieval style. Text in 23 1/2 karat gold, more than 500 initials in colors, gold, and silver, full-page… Leer más

Strassburg: Matthias Schürer, 1510. FIRST EDITION. 211 x 140 mm. (8 1/4 x 5 1/2"). [204] leaves, complete with all five blanks. Seven parts in one volume.. Contemporary pink-stained, blind-stamped half pigskin over wooden boards, raised bands, one brass fore-edge clasp (with renewed leather). WITH SEVEN WOODCUTS, one at the beginning of each story, INCLUDING THE FIRST PRINTED ILLUSTRATION DEPICTING CINDERELLA. Front pastedown with book label of Arthur & Charlotte Vershbow. STC German 335; VD16 G 764. ◆Clasp defective, short superficial crack to head of both joints and to tail of rear joint, a few fissures (of no consequence) in the spine pigskin, leather somewhat darkened (as expected), a handful of round wormholes on the back cover, but the original early 16th century binding still extremely pleasing as an entirely sound survival with considerable antique appeal. Top inch of title leaf renewed (no doubt to obscure a previous ownership), one round marginal wormhole in the first half of the text,… Leer más

Nuremberg: Johann Andrea Endterischen, 1768. 460 x 295 mm. (18 1/4 x 11 1/2"). 17 p.l., 11, [48], 2, [2], 3-8, [3], 9-190, [2], 191-740 pp.; 512 pp.; 2, [2], 3-190, [2], 191-480, [18] pp. Three parts bound in one volume.. STRIKING CONTEMPORARY SMOOTH CALF, LAVISHLY GILT in the entrelac style, covers with frame and compartments formed by gilt-ruled strapwork and filled with floral designs and lace-like ornaments of massed volutes and small tools, raised bands, spine compartments with central bouquet of pomegranate and flowers, with massed floral tools on either side, gilt lettering, brass clasps featuring images of King David and St. Paul, gilt-tooled turn-ins, marbled endpapers, all edges gilt and gauffered with pomegranates and flowers (older repair to front joint alongside top compartment). Extra engraved title page, woodcut headpieces and historiated initials, 47 engraved plates, comprised of: copperplate portraits of Luther and 11 Electors; 11 section titles, each with 11 vignettes; nine… Leer más

Lucerne: Faksimile Verlag, 2000. No. 208 OF 333 COPIES with the special replica binding. (There were also 60 copies without the reproduction binding.). 387 x 279 mm. (15 1/4 x 11"). commentary volume: 290 x 210 mm (11 1/2 x 8 1/4"); prospectus(?)folio volume: 430 x 300 mm. (17 x 12"). 111, [1], 124 leaves (in the facsimile). Three volumes (including a commentary volume in German and a prospectus).. IN AN ESPECIALLY FINE REPLICA OF THE ORIGINAL CARVED IVORY BINDING, upper cover with a headpiece showing two angels holding a medallion of Christ, tailpiece depicting the Nativity and Annunciation to the Shepherds, large triptych with the Virgin and Child at center flanked by a bearded saint on each side; lower cover with similar headpiece, but with the tailpiece depicting the visit of the Magi and central triptych with Christ triumphant, an angel on either side; both covers encased within metal frames; raised bands, black leather spine. In a padded black leather folding box with color medallion on upper… Leer más

Lucerne: Faksimile Verlag, 1993. No. 195 OF 980 COPIES. 206 x 168 mm. (8 1/8 x 6 5/8"). Four volumes (each with separate volume of commentary in English and German). With commentary by Mark L. Evans. Publisher's red velvet, flat spine, two silver gilt clasps, each volume housed in a matching velvet box with the commentary volume (in paper wrapper), gilt coat of arms on upper cover of each box. With 138 borders and 48 miniatures by Birago, and two borders and 16 miniatures by Horenbout. ◆In mint condition. This is a very fine facsimile of a Renaissance Book of Hours with an intriguing history and decoration by two different and distinguished illuminators, one Italian and the other Flemish. The Sforza Hours was originally commissioned from Italian miniaturist Giovan Pietro Birago (fl. 1471-1513) by Bona Sforza, wife of the Duke of Milan, around 1490. A surviving letter from Birago to an unknown nobleman complains that part of the manuscript was stolen by an unscrupulous "Fra Jacopo," and demands… Leer más

[Strassburg]: Johann Mentelin, [not after 1466]. FIRST EDITION. 280 x 205 mm. (11 x 8"). Single column, 39 lines in gothic type. Attractively matted. Capitals struck with red, paragraph marks in red or blue. Goff A-1226; BMC I, 52; ISTC ia01226000. ◆A touch of browning just to head edge, but AN ESPECIALLY FINE LEAF--extremely clean, fresh, and bright with ample margins--from the very rare first edition of Augustine's short work (22 leaves) on the art of preaching, and the only work to contain the name of printer Johann Mentelin. .

Rome: Conradus Sweynheym and Arnoldus Pannartz, 1470. 394 x 277 mm. (15 1/2 x 11"). Single column, 46 lines in roman type. Attractively matted. WITH A LARGE (40 x 50 mm.), LOVELY WHITE VINE-STEM INITIAL IN COLORS AND BURNISHED GOLD, with graceful marginal extensions. Goff A-1232; BMC IV, 10; ISTC ia01232000; PMM 3 (1467 printing). ◆Faint dampstain at lower left (well away from text), but A BEAUTIFUL LEAF, clean, fresh, and bright with generous margins, the gold initial gleaming. This is a lovely leaf from the fourth printing of one of the world's most influential theological works, issued by the prototypographers of Rome. Aside from Gutenberg and his immediate associates, there are no figures more important in the early history of printing than Sweynheym and Pannartz, the earliest printers outside Germany. First at Subiaco and later in Rome, they produced an imposing catalogue of first editions of ancient authors, which for the first time systematically exploited the potential of the new… Leer más

Pavia: Martinus de Lavalle, 3 August 1489. FIRST EDITION. 367 x 253 mm. (14 1/2 x 9 7/8"). Double column, 58 lines in gothic type. Attractively matted. WITH A FULL-PAGE WOODCUT OF THE "TREE OF CONSANGUINITY" in the shape of a large arrow superimposed on the body of Christ the King. Text printed in red and black. Remnants of mounting tape to verso. Goff C-945; BMC VII, 1012; ISTC ic00945000. ◆Slight corner crease, faint thumbing to one corner of margin, but A FINE LEAF, clean, fresh, and ESPECIALLY BRIGHT, from the only incunabular edition of a rare work on consanguinity, setting forth prohibitions on marriage between those closely related by blood. .

Braunschweig [Brunsvigae]: typis Andreas Duncker, impensis Godfridus Müller, 1640. 163 x 95 mm. (6 1/2 x 3 3/4"). 8 p.l., 9-200, [8], 20, [8] pp. VERY PRETTY RED MOROCCO, GILT, BY CAPÉ (stamp-signed on front turn-in), covers with French fillet border, filigree lozenge centerpiece with centrl oval containg a cross and the motto "In hoc signo vinces" ("By this sign [the cross] you will prevail"), raised bands, spine compartments wtih central filigree lozenge, gilt lettering, densely gilt turn-ins, marbled endpapers, all edges gilt. With printer's device on title page and 24 engravings, two of them full-page, primarily showing the cross as an instrument of torture. USTC 1009871. ◆One leaf with small marginal repair, text lightly pressed at time of binding, two quires faintly mottled, but still a very appealing copy in a lustrous binding with few signs of wear. Combining macabre illustrations and an elegant binding, this study of crucifixion has a wealth of visual interest. One of the 16th… Leer más

[Geneva]: Henri Estienne, 1576. FIRST EDITION. 145 x 100 mm. (5 3/4 x 3 7/8"). 8 p.l., 400 pp. Contemporary calf with triple blind-ruled fillets, neatly rebacked (using original leather), raised bands ruled in blind, endpapers (said in a pencilled note to be) from a Strassburg incunable, ca. 1470. Printer's device (Schreiber Device 16) on title. Front pastedown with the bookplate of Magdalen College, Cambridge, with their cancellation stamp. Renouard, p. 144; Schreiber 198; Adams S-1763. ◆Rear cover with a group of small (but rather deep) gouges, minor abrasions and scratches to the leather elsewhere, light wear to spine, but the binding quite secure and nicely restored; contents in excellent condition, with just the occasional trivial mark or light dampstain. This is a pleasing example of a 16th century scholar's portable volume that features the first edition of the first work in a trilogy decrying the fanatical Renaissance cult of Ciceronianism, written by the renowned classical scholar Henri… Leer más

[Cologne: Ulrich Zel, ca. 1470]. FIRST EDITION. 215 x 140 mm. (8 1/2 x 5 1/2"). [56] leaves (last blank). Complete. Single column, 27 lines in gothic type. Late 18th or early 19th century calf, covers framed by gilt fillets and repeating fleur-de-lys tools, raised bands, spine gilt in compartments with central floral sprig, one red and one green morocco label, marbled endpapers, joints and edges expertly renewed. Rubricated in red, capitals struck with red, numerous three- to four-line initials hand-painted in red. Upper right corner of text leaves numbered in ink in an early hand; front pastedown with 19th century bookplate of Dr. Bulkeley Bandinel (Bodley's Librarian at Oxford University). Goff G-231; BMC I, 184; ISTC ig00231000; Bernard Quaritch's Catalogue, No. 221, item 30, p. 11 (this copy; binding attributed to Chambolle Duru). ◆Covers a bit dulled, faint marginal mottling to perhaps half the text, occasional slight soiling, but internally fresh, and a perfectly acceptable copy in a well… Leer más

Venetiis [Venice]: Giovanni Antonio & Pietro Nicolini da Sabbio, 1545. FIRST EDITION. 152 x 97 mm. (6 3 3/4"). 20 leaves. Modern rose and cream-colored marbled paper boards. Verso of title page stamped in red ink: "Duplicate / ex-libris Bernard Zufall." Young, "Bibliography of Memory," p. 34. ◆Paper boards lightly soiled, negligible foxing to a couple of leaves, but a fine copy, clean and fresh in a sturdy binding. This rare work on the preservation of memory offers advice to those seeking to optimize their cognitive functions, providing guidance about the best foods to eat and avoid, the best days and times for recollection according to the planetary hours, and, most interestingly, recipes to calm the mind and boost one's memory. This last section includes several formulas for various drams, salves, and confections that incorporate ingredients such as gingers, cinnamon, coriander, and rosemary. The compact size of this work suggests that it was meant to be portable and consulted frequently; our… Leer más

Leyden: Johann Maire, 1639. Third Edition. 198 x 145 mm. (7 1/2 x 5 3/4"). 2 p.l., 84, [2] leaves, 267 pp. (bound out of order but complete). VERY FINE CONTEMPORARY CALF, covers with double gilt fillet border, raised bands, spine compartments with floral lozenge at center (neat older repairs to joints). With two engraved plates showing veins in the arm. Two-inch repair to title page (not affecting text), perhaps to remove prior owner inscription. Keynes 3; Heirs of Hippocrates 417; Grolier Medicine 27 (1st ed.); NLM/Krivatsy 5329; Norman 1006 (1st ed.); Parkinson and Lumb 1147; PMM 127 (1st ed.); Waller 4089; Wellcome I, 3070. ◆A little spotting to boards, extremities a bit rubbed, two gatherings somewhat browned, occasional minor foxing, but AN OUTSTANDING CONTEMPORARY COPY, clean and fresh inside and out, THE PLATES ESPECIALLY BRIGHT, AND WITH RICH IMPRESSIONS. This is a remarkably attractive copy of the third (but second complete) edition of one of the most important medical books ever… Leer más

Strassburg: Johann Grüninger, 1501. FIRST ILLUSTRATED EDITION. 288 x 195 mm. (11 3/8 x 7 3/4"). 10 p.l., CCXXVI (i.e., CCXXVIII=228) leaves. Edited by Sebastian Brant. With commentary and glosses attributed to Thomas Aquinas. Contemporary pigskin over substantial wooden boards, upper cover with (early?) ink drawing of a sword, raised bands, old ink lettering to spine, two original brass clasps, text sewn onto guards made from Medieval vellum manuscript fragments, endpapers removed (exposing the book's inner structure of three channels at front and back, the channels containing sewing twine held in place with wooden pegs), the binding said by a previous source to be recased, though without evidence that we can see. Printer's device in colophon, decorative woodcut initials, and WITH four half-page woodcuts and 74 woodcut blocks, the blocks made into compositions combining two to four blocks, for A TOTAL OF 233 WOODCUT ILLUSTRATIONS. With contemporary ink inscription of first page and occasional… Leer más

Lyon: Jean de Tournes, 1554. First Edition with these Illustrations; First Edition in Italian. 171 x 108 mm. (6 3/4 x 4 1/4"). 340, [18] pp. Two (continuously paginated) parts in one volume. Translated from the Latin by Damiano Maraffi. Late 18th or early 19th century citron crushed morocco, cover with twining floral border, flat spine divided into panels by pentaglyph and metope rolls, these panels with gilt sunburst centerpiece, gilt turn-ins, marbled endpapers, all edges gilt. With ornate frame on title page, portrait of the translator, and 44 often dramatic woodcuts by Bernard Salomon ("Le Petit Bernard"). Cartier 281; Mortimer 388. ◆Spine uniformly darkened, covers with variation in color, title page a little soiled and with small repaired tears (a2 similarly repaired), leaves with overall faint browning, other trivial imperfections, but the text fresh and clean, and the binding showing almost no wear. This is a rare and important edition of the fourth century writer Julius Obsequens (as… Leer más