David roberts george croly (21 Ergebnisse)

Zustand: New. pp. 256.

Zustand: New.

Dos carré collé. In-4 (27,4 x 21 cm), format à l'italienne, dos carré collé, 31 pages, sans date, texte en anglais, illustrations en couleurs ; petites rousseurs en tête de la page 31, petite pliure sur 3 cm au quatrième plat, bon état. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande. Roberts David.…

Zustand: gut 5 Hardcover ohne Umschlag im Schuber, Cover illustriert / leichte Gebrauchsspuren.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

37 x 27cms. ISBN: 9780847823123.

Hardcover. Zustand: Brand New. 379 pages. 13.75x11.25x1.50 inches. In Stock.

Zustand: Very Good. ** Complete 3-Volume Slipcased Set **; Very Good; Hardcover; The covers of all three volumes are close to new with "straight" edge-corners; The textblock edges are unblemished; The endpapers and text pages of all three volumes are all unmmarked; There is a hinge repair the back inside cover hinge of the Holy Land volume, otherwise the binding in each volume is tight with a straight spine; This book set will be shipped in a sturdy cardboard box with foam padding; Extra-Large Format (Folio, 14" - 16" tall); 15.0 lbs (Heavy); Brown cloth covers with titles in gold lettering along the spine of each volume, housed in an illustrated c; 1999, Rizzoli Publishing; 287 pages; "Holy Land And Egypt & Nubia," by David Roberts & Rev. George Croly.…

Half Calf. Zustand: Very Good. No Jacket. First. First Edition, 3 divisions published as one volume, Div. I covering Jerusalem & Galilee, Div. II covering The Jordan & Bethlehem, and Div. III covering Idumea & Petra. Text and historical description by Rev. George Croly, 120 tinted lithographs by Louis Haghe from original drawings by David Roberts, division titles printed in red and black, bound in half blue calf with gilt decoration, spine with raised bands and gilt decoration and title in gilt, all edges marbled, occasional foxing to text but lithographs are clean and bright, very good condition, Cassell, Petter, Galpin & Co., London, no date of publication, but circa 1889. THIS IS A HEAVY ITEM SO PLEASE ASK FOR A POSTAGE QUOTE BEFORE ORDERING - ADDITIONAL POTAGE WILL BE CHARGED. ROBERTS, David; HAGHE, Louis (illustrator).…

Zustand: Very Good.

hardcover. Zustand: Fair. Volume 3 only; London, 1855; Idumea and Petra; title page is plate 88; includes plates 89-120, with text pages mixed in; plates 121-125 missing and possibly some text pages that accompany these plates; all edges tipped in gold; all pages are loose within blue colored cloth covered boards by The Library of Congress; pages foxed, soiled, toned; additional shipping charges may be required for International orders; 4to - over 9 3/4" - 12" Tall; pages unnumbered; Additional shipping charges may be requested.…

Hardcover. Zustand: Good. First edition. 6 volumes bound in 3. London: F.G. Moon, 1842-1849. First edition. Folio (23 13/16" x 16 7/8", 605mm x 429mm): [full collation available upon request]. With 250 plates in toto, of which six are title-pages, 2 are maps, 1 is a portrait of Roberts, and 120 are half-page. Bound in half red morocco over red pebbled buckram boards. On the spine, 5 raised bands. Author and title gilt to the second panel, number gilt to the fourth. All edges of the text-block gilt. Boards rubbed at the extremities. Significant dampstain to the real board of volume I. Tailband of volume I lifting. Foxed throughout, with sporadic dampstaining and soiling. Repair to the top edge of plate "Sabaste, Ancient Sumaria" in volume I. Tear to the lower edge of pp. 5/6 in volume IV. Repaired tear extrending from the fore-edge to the title-page of volume V. Volume VI with persistent water damage. Top edge of "Cairo, Looking West" infilled with card. Library label to the heel of each spine. David Roberts (1796-1864) was the first professional artist of the West to visit and document the Near East without a patron, connection to a military expedition, or missionary motives. In his youth, Roberts had apprenticed as a house painter in his hometown of Edinburgh, and, with proven technical skill, he secured a contract with a traveling circus as a theatrical scene painter. Throughout his decade in the trade, Roberts simultaneously exhibited his landscape, architectural, and historical paintings throughout Europe was able to support himself as a full-time fine artist by 1829. After a stint in Spain, Roberts refocused his interest on the Eastern Mediterranean and North Africa and set sail for Alexandria in 1838. For eleven months, Roberts traveled up the Nile River, across deserts and mountains, through Egypt and the Holy Land, to arrive in Jerusalem on Easter 1839. Roberts recorded his impressions of landscapes, temples, ruins, and people in three sketchbooks and more than 272 watercolors. As he says in his preface for The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, "I may not have done them justice, but few artists of my standing could afford more time, and I daresay few could have produced more in the same number of days." As the first British artist to sketch the monuments of Ancient Egypt, Roberts was well aware of the stir his drawings would create in London. According to John Ruskin's Praeterita, Roberts's drawings "were the first studies ever made conscientiously by an English painter, not to exhibit his own skill, but to give true portraiture of scenes of historical and religious interest." The colossal subjects and broad vistas were ideally suited to Roberts's background in the theatre, and his depictions were dutifully transferred to the stone by Louis Haghe. Haghe was recognized as the most prolific lithographer of his time; he had moved to England to establish himself as specialist of the hand-tinted lithograph, and his sensitive handling of the levigators and abrasives imparts a delicate range of tonality and preserved the spontaneous quality of Roberts's original images. Of the prints, Ruskin notes that "they are faithful and laborious beyond any outlines from nature I have ever seen." Originally published in 41 parts over 7 years in large folio, the set was available to subscribers in a deluxe hand-colored format mounted on card, proofs in portfolio, and a single-tint option (as in the present example). A testament to the publication's staying power, the quarto edition was released in 1855, and, with plates reduced by photography, the set maintains the grandeur of the previous decade's folios. To the present-day, Robert's Holy Land endures as one of the most desirable and coveted travel and plate books in the history of fine printing. Cataloged by G.R. Murdock.…

Hardcover. Zustand: Very Good. 6 volumes bound in 3. London: Day & Son Lithographers to the Queen, 1855-1856. First quarto edition. Quarto (11 1/4" x 8 3/16", 287mm x 208mm): Volume I: binder's blank, [6] (dedication, blank, list of subjects, 3pp. history of Roberts's travels) 1 2-35 [4] (blank, 2pp. armorial ensign of Jerusalem, explanation of the title-page vignette). With a lithographed frontispiece, a lithographed title-page, and 42 tinted lithographs, each with an explanatory page of text. Volume II: [2] (list of subjects, blank) 1 2-3 [2] (blank, explanation of the title-page vignette). With a lithographed title-page and 42 tinted lithographs, each with an explanatory page of text. Volume III: [1] (list of subscribers) 1 2-3. With a lithographed title-page, 1 lithographed map, and 36 tinted lithographs, each with an explanatory page of text. Volume IV: [2] (list of subscribers, blank) 1 2-9 [1] (blank). With a lithographed title-page and 42 tinted lithographs, each with an explanatory page of text. Volume V: [2] (list of subjects, blank). With a lithographed title-page, 1 lithographed map, and 42 tinted lithographs, each with an explanatory page of text. Volume VI: [1] (list of subscribers). With a lithographed title-page and 37 tinted lithographs, each with an explanatory page of text. With 250 tinted lithographed plates in toto. Bound in lapis buckram boards with the armorial ensigns of Jerusalem gilt to the boards of each volume. On the spine, title gilt to second panel and regions described in the volume gilt to the fourth. All edges of the text-block gilt. Light rubbing to the extremities. Cracking to the hinges, skillfully repaired where necessary. Foxed and toned. Dampstaining to the upper fore-corner of the frontispiece and engraved title page. Gift inscription, "S. Abington Veesey / from her beloved Father / 1867" to the recto of the flyleaf in each volume. Conservator's ticket to the rear pastedown of volume I, completed in manuscript "Oct 1990." David Roberts (1796-1864) was the first professional artist of the West to visit and document the Near East without a patron, connection to a military expedition, or missionary motives. In his youth, Roberts had apprenticed as a house painter in his hometown of Edinburgh, and, with proven technical skill, he secured a contract with a traveling circus as a theatrical scene painter. Throughout his decade in the trade, Roberts simultaneously exhibited his landscape, architectural, and historical paintings throughout Europe was able to support himself as a full-time fine artist by 1829. After a stint in Spain, Roberts refocused his interest on the Eastern Mediterranean and North Africa and set sail for Alexandria in 1838. For eleven months, Roberts traveled up the Nile River, across deserts and mountains, through Egypt and the Holy Land, to arrive in Jerusalem on Easter 1839. Roberts recorded his impressions of landscapes, temples, ruins, and people in three sketchbooks and more than 272 watercolors. As he says in his preface for The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, "I may not have done them justice, but few artists of my standing could afford more time, and I daresay few could have produced more in the same number of days." As the first British artist to sketch the monuments of Ancient Egypt, Roberts was well aware of the stir his drawings would create in London. According to John Ruskin's Praeterita, Roberts's drawings "were the first studies ever made conscientiously by an English painter, not to exhibit his own skill, but to give true portraiture of scenes of historical and religious interest." The colossal subjects and broad vistas were ideally suited to Roberts's background in the theatre, and his depictions were dutifully transferred to the stone by Louis Haghe. Haghe was recognized as the most prolific lithographer of his time; he had moved to England to establish himself as specialist of the hand-tinted lithograph, and his sensitive handling of the levigators and abrasives impa. …

Zustand: Good. 2 vols. Folio. 62 x 46.5 cm. Black half-morocco; spine with raised bands; title, author and printed in gold letters on the spine; green percaline cloth delimited by a double gold fillet. Elegant French binding with the plates mounted on hinges (sur onglets) with fresh paper guards for each plate.Volume 1 : 1 portrait, 1 title frontispiece and 43 tinted lithographs including 21 hors texteVolume 2 : 1 title frontispiece and 43 tinted lithographs including 21 hors texte.Table of plates for the three volumes in volume 1.Original edition of the first two volumes concerning the Holy Land (without the 3 following ones announced in the title). They appeared in issues between 1842 and 1845. Copy with the tinted lithographs mounted on strong paper. According to Abbey (Travel, 385), this set constitutes one of the most important publishing ventures of this kind in the 19th century, and the apotheosis of tinted lithography. The illustrations by David Roberts (1796-1864), who stayed in the region from 1830, are finely interpreted in lithography by Louis Haghe (1806-1885), who here signs his most monumental work. It is one of the most beautiful illustrated works published in the Holy Land.The first two volumes alone are very complete with their plates.References:Travel In Aquatint And Lithography 1770-1860 From The Library of J.R. Abbey . A Bibliographical Catalogue Volume II (repr. 1991), no. 385, p.334-41 [describing a 3-vol. issue, 1842, 1843, 1849, but referring to an earlier 2-vol. issue]; R.V. Tooley, English Books With Coloured Plates 1790-1860 (1954; repr. 1987), no. 401, p.321-4;B. Culliford, ed., David Roberts: From an antique land: travels in Egypt and the Holy Land (1989); H. Guiterman and B. Llewellyn, ed., David Roberts [exhibition catalogue] (1986); J. Ballantine, The life of David Roberts R.A. (1866);M. Twyman, Lithography 1800-1850 (1970), esp. p.220-5.Summary Note:The publication-date of 1842 is given on the title-page of Volume I. Plate [5] carries no date, but all other plates carry dates within 1841 May - July (pl. 1-4, 6-12, 14, 24, 26), or 1842 July - December (pl. [113, 15-23]), apart from the last plate, which carries the date of June 1 1844. The frontispiece portrait also carries the date of 1844 (and an additional plate, possibly bound in this volume in error, carries the date of Jan 1 1845). The in-text illustrations also carry dates, most ranging from May 1 1841 to Nov 1 1842 but the last carrying the date of Jany 1 1845.The publication-date of 1843 is given on the title-plate of Volume 2. Its plates carry dates ranging from November 1 1842 to December 1 1843 (pl. 1, 2, 4-13, 15, 18) but also from May 1 to November 1 1844 (pl. 3, 14, 16, 17, 19-29, 30-33) and January 1 1845 (pl. 31, 34). The in-text illustrations carry dates ranging from November 1 1842 (pl.2) to September 18 1843 (pl. 1, 3-15), but also 1844 (pl. 16-30, 32-34) and January 1 1845 (pl. 31, 35).Abbey states that the work was originally published between January 1842 and the end of 1845 in twenty parts, in eighteen wrappers, containing all the plates and illustrations described above - a map was added in later issues. Although 'Egypt, & Nubia' are mentioned on the title-plates, the three volumes devoted to those regions were published separately as Egypt & Nubia From Drawings made On The Spot By David Roberts R.A. . (1846, 1849, 1849).The plates of Volume I show views in Jerusalem, Petra, Bethlehem, Bethany, Jericho and Jordan Valley. The last plate shows a view of Suez. The additional plate (separated from its text, in Vol. 2) shows an approach to Mt. Sinai.The plates in the second volume show Judaea (the Jordan, Jericho, Mar Saba monastery, Wilderness of Engadi), Beit Jibrin, Hebron, Askelon, Ashdod, Gaza, Lydda, Jaffa, Mt. Carmel, Ramla, St. Jean D'Acre, Cape Blanco, Tyre, Sarepta, Sidon, Baalbec, Jenin, Mt. Tabor; Galilee (Nazareth, Cana, Tiberias), Nablous (Shechem), Sebaste (Samaria), Akabah, Sinai (Monastery of St. Catherine, Mt. Horeb).Abbe.…

6 volumes bound as 3. Second edition, with reduced illustrations but with more of them double-tinted or chromolithographed, of one of the most splendid and historically important visual records of the Middle East, after drawings by David Roberts (1796-1864) from the sketches he made from life during his travels through what are now Egypt, Israel, Jordan, Saudi Arabia, Syria and Lebanon in 1838 and 1839. His views also provide a very detailed visual record of many sites that were afterward destroyed or disturbed. His views of the modern cities also preserve records of both their architecture and their daily life and he shows spectacular landscapes in the mountains, around the Dead Sea and along the Nile and the Jordan. In very good condition, with occasional light foxing, mostly on the backs of the plates, and with a faint marginal water stain in the lower outside corner of many plates in volumes 3 and 4, not approaching the printed image. The inside front hinge of the second volume as bound has separated from the book block and the bindings show some wear at the hinges and extremities, but they are otherwise also very good. 250 mostly tinted and double-tinted lithographs providing stunning early views of the Middle East.l Abbey, Travel 388 (lacking vols. 5-6); Blackmer 1432 note; Gay 25; Hiler, p. 205; cf. Lipperheide, Lc 12 & Ma 27 (1842-1849 ed.); Tooley 401-402 (1842-1849 ed.). Contemporary, richly gold-tooled reddish-brown morocco, side-stitched and oversewn, then sewn on 5 recessed cords, with a hollow back, 5 false bands on the spine, gold-tooled turn-ins, combed and curled marbled endpapers, headbands in red and yellow, gilt and gauffered edges. With thin paper guard leaves facing each plate. With 250 numbered plates (including 6 tinted lithographed title-pages, 2 stone-engraved maps and 239 tinted and double-tinted lithographed and 2 chromolithographed views).…

Large 8vo (300 x 220 mm). 6 vols. bound as 3. With 250 numbered plates (image size 120 x 170 to 150 x 220 mm), including a tinted lithographed portrait of the artist, 6 tinted lithographed title-pages, 2 stone-engraved maps and 239 tinted and double-tinted lithographed and 2 chromolithographed views. Contemporary, richly gold-tooled reddish-brown morocco, side-stitched and oversewn, then sewn on 5 recessed cords, with a hollow back, 5 false bands on the spine, gold-tooled turn-ins, combed and curled marbled endpapers, headbands in red and yellow, gilt and gauffered edges. With thin paper guard leaves facing each plate. Second edition, with reduced illustrations but with more of them double-tinted or chromolithographed, of one of the most splendid and historically important visual records of the Middle East, after drawings by David Roberts (1796-1864) from the sketches he made from life during his travels through what is now Egypt, Israel, Jordan, Saudi Arabia, Syria and Lebanon in 1838 and 1839. In Egypt he ventured up the Nile as far as the Nubian temples at Abu Simbel, near the present border with Sudan and travelled by camel through the Sinai to the extraordinary carved-rock buildings of Petra. These had been unknown to Europeans until Burckhardt discovered them in 1812 and 1813, so Roberts's views are among the earliest and are in many ways better than the few predecessors. In Lebanon he ventured as far as Baalbek, which had seen few European visitors before Egypt annexed it in 1832. Other sites he visited and drew include Cairo, Suez, Gaza, Jerusalem and Beirut. He was one of the first Europeans allowed to make drawings of the interior of mosques, so even in well-known cities these too opened a new world to European eyes. His views also provide a very detailed visual record of many sites that were afterward destroyed or disturbed. He drew them during the infancy of photography, before it reached the Middle East and long before it reached maturity there. His views of the modern cities also preserve records of both their architecture and their daily life and he shows spectacular landscapes in the mountains, around the Dead Sea and along the Nile and the Jordan. Roberts, born to a poor (Welsh?) family in Edinburgh, was apprenticed as a house painter, moved to London and worked his way up to paint sets for the Drury Lane Theatre and others. Thanks to patrons who appreciated his talents and hard work he was able to make the expensive and dangerous voyage through the Middle East. George Croly (in volumes 1-3) and William Brockedon (in volumes 4-6) provided explanatory and historical notes on the sites shown in Roberts's views. - Roberts's views were originally published in two separate works, issued in parts in the years 1842 to 1849 and often found together. One centred on the Holy Land, though also including views in other parts of the Middle East, while the other was devoted to Egypt and Nubia. The views in the former were made with only a single tint block and even the latter used fewer tint blocks than the present second edition and only one chromolithograph. The present edition, with sometimes very intricate double tints and two chromolithographs (with black and three tint blocks) is a masterpiece of tinted lithography. Since the lithographers used photographic reductions of the lithographic views of the first edition as an aid to their work, the book also pioneered the use of photography in graphic reproduction. The lithographed title-pages are dated 1855 except for those of vol. 3 (from the simultaneous New York issue, undated) and 6 (1856) but volumes 2-6 include plates dated 1856. The dates of the plates in all six volumes range from 16 April 1855 to 15 December 1856. - The title-page of volume 3 was intended for the simultaneous New York issue, but appears to have always been part of the present copy. In very good condition, with occasional light foxing, mostly on the backs of the plates, and with a faint marginal wa.…

Three parts in one, preceded by the original 4-volume folio edition published privately in the 1840s and the quarto editions that followed in the 1850s. 120 hand-colored lithographs after Roberts' drawings, with accompanying text by Reverend George Croly. Divided into 3 sections: I. Jerusalem and Galilee, II. Bethlehem, and III. Idumea and Petra. Near Fine in publisher's blue cloth with gilt titles and page edges. Spine lightly toned, contemporary gift inscription on the half-title page. A lovely copy of this book of lithographic reproductions of Roberts' original drawings, with accompanying text by Reverend George Croly.…

Contemporary decorative publishers' cloth, expertly rebacked, spine in six raised compartments gilt bands and gilt tooling within gilt lines, all edges gilt. , In 1838 Roberts made a long tour in the East, and accumulated a vast collection of sketches of Middle Eastern scenery which had been hardly touched by British artists before, and which appealed to the public with all the charm of novelty. The next ten years of his life were mainly spent in elaborating these materials. In February of 1839 he traveled to the Holy Land via Suez, Mount Sinai and Petra arriving in Gaza, and then on to Jerusalem. He ended his tour by spending several months visiting the biblical sites of the Holy Land, and finally returning to England at the end of 1839. An extensive series of drawings was lithographed by Louis Haghe in Sketches in the Holy Land and Syria, 1842-1849. , Size : Large folio., Complete with 60 full page and 60 half-page finely hand coloured lithographic plates, all after paintings and drawings made on the spot by artist David Roberts., Volume : 3 volumes in 2. (Holy La, References : Abbey Travel 385. Beautifully hand coloured plates are clean and crisp, a fine example of this important work in handsome binding.…

Zustand: Very Good. thick folio, approx. 400 pp., 8 page catalogue at the back, 120 tinted lithographs; original gilt and maroon stamped blue cloth, a.e.g., covers lightly smudged, edges rubbed, else very good. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country. Photos available upon request.…

Second (First Small Folio) Edition. 285 x 195 mm. (11 1/8 x 7 3/8"). Six volumes bound in three. FINE 20TH CENTURY CRIMSON CRUSHED MOROCCO BY ZAEHNSDORF for Asprey & Co. (stamp-signed on front turn-in), boards with simple gilt-rule border, raised bands, spine compartments ruled in gilt, gilt titling, densely gilt turn-ins, marbled endpapers, all edges gilt. 250 FINE TINTED LITHOGRAPHED PLATES, MOSTLY OF VIEWS OF THE HOLY LAND, by Louis Haghe after Roberts (a few with hand coloring), including engraved titles, two engraved maps, and an engraved portrait of Roberts. Abbey, "Travel" 385, 388, and 272; Blackmer 1432; Tobler, p. 229. Text leaves with faint overall darkening (due to paper quality), isolated small patches of foxing or minor smudges to margin of plates, otherwise AN ESPECIALLY FINE SET, the text entirely clean, smooth, and fresh, the bindings unworn, and THE IMAGES VERY CLEAN, RICH, AND ENTIRELY WITHOUT FOXING. This is a remarkably clean and bright copy, in a very pleasing binding, of the small folio edition of one of the great travel books from the Victorian heyday of the genre. Roberts (1796-1864) started out painting houses and then theatrical scenery, but soon developed a reputation for paintings and lithographs of exotic scenery. His "Holy Land" is one of the most famous English illustrated books of the century. Its success was due in part to its lavishness, but certainly also to "Roberts' great accuracy as a draughtsman, his strong sense of country and place [and] . . . his love of architecture." (Houfe) Abbey says that "Haghe's skillful and delicate lithography, and his faithful interpretation of Roberts's draughtsmanship and dramatic sense, combine in what are undoubtedly remarkable examples of tinted lithographic work. . . . one feels that the colossal subjects and broad vistas were ideally suited to Roberts's talent, trained as he was in theatrical scene-painting." Ours is an especially appealing copy of a work often disfigured with foxing.…

Mit 241 getönten lithographierten Tafeln, 2 Stahlstich-Karten sowie 6 getönten lithogr. Titeln mit Vignetten. 4° (29,5 x 20,5 cm). OLeinen mit Deckel- und Rückenvergoldung, goldgepr. zentraler Wappenvignette auf beiden Deckeln sowie dreiseitigem Goldschnitt. D. Roberts (1796-1864), "gehört zu den geschätztesten Architekturmalern der neueren Zeit" (Thieme/B. 28, 428); vorliegende Ansichten aus dem Nahen Osten, Arbeitsergebnisse einer Reise in den Jahren 1838 und 1839, erschienen zuerst ab 1842 in Imperial-Folio und mit Handkolorierung der damals 118 Tafel und 120 Textillustrationen als 41 Lieferungen im Zeitraum von 7 Jahren. Roberts war einer der ersten Künstler, der nicht nach Hörensagen, Skizzen und Berichten anderer Illustrationen fertigte, sondern nach eigener Anschauung arbeitete. Als früherer Theatermaler war er sich der Wirkung von Inszenierungen bewußt, die er hier, in seiner zweiten Schaffensphase angelangt, und zuerst als Aquarell mit sicherem, feinem Strich aufs Papier brachte. Das Werk insgesamt ist sowohl ein Höhepunkt der lithographischen Buchillustration wie der ästhetischen Aneignung des (antiken) Orients durch Europa; es liegt hier in der zweiten Ausgabe vor. Der Text stammt von George Croly (1780-1860), einem irisch-englischen Schriftsteller (Drama, Lyrik, Roman) und Historiker, seinerzeit bekannt, einflußreich und als Geistlicher seit 1835 Rektor von St. Stephen Walbrook in London. Auch bei ihm ist das Wissen um die theatralische Wirkung von Inszenierungen vorauszusetzen, wobei es faktisch unterfüttert ist von historischen Kenntnissen. Etwas berieben und bestoßen; papierbedingt gebräunt; teils stockfleckig; Besitzvermerk auf Vorsätzen; auf hinterem Spiegel mit Buchbindermarke: "Bound by Leighton Son and Hodge". Bd 1: oberes Kapital mit Einriss und knittrig; Innengelenke angeplatzt; Titelporträt auf Vorsatz montiert; Titel und ein Textblatt am Rand mit Klebefilm unschön verstärkt (verfärbt). Bd 2: hinteres Innengelenk mit schmalem Leinenstreifen verstärkt; das Seidenschutzpapier einer Tafel mit kl. Einriss unschön mit Klebestreifen 'repariert'. Bd 3: eine Tafel verso zweier Ränder unschön mit Klebefilm verstärkt, eine weitere Tafel mit kleinem Einriss dito. Bd 4: vorderes Innengelenk angeplatzt; Frontispiz auf Vorsatz montiert; hinterer fliegender Vorsatz auf Innendeckel montiert. Bd 5: Innengelenke angeplatzt. Bd 6: eine Tafel längstseitig außerhalb des Bildbereichs mit Klebestreifen verstärkt (gebräunt). Please ask for further pictures and an English description. EN.…