Leighton clare illustrator (14 Ergebnisse)

Hardcover. Zustand: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less. Clare Leighton (illustrator) (illustrator).

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less. Clare Leighton (illustrator) (illustrator).

Hardcover. Zustand: Very Good. No Jacket. 1st Edition. Very good copy in blue cloth with gilt titles. Fading to spine and near edges of boards. A spot on spine and one on front cover. Repair on first pastedown.

First Illustrated Edition. Very good cloth copy in a good if somewhat edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains quite well-preserved overall. Physical description: 343 pages illustrations, plates; 22 cm. Subjects: Travel; Amazon River Description and travel; Madeira River (Brazil and Bolivia) Description and travel; Brazil Description and travel; Amazon River; Brazil; South America Madeira River. 1 Kg.…

hardback, 4to, (viii),102,(4)pp, woodcut frontispiece by Clare Leighton, signed by the author on limitation page, slight browning, owner's bookplate, text clean and binding sound, gilt-ruled blue cloth, spine rubbed, Good condition / no dustwrapper.

Hardcover. Zustand: Very Good. Good +. First American edition. 166pp. Quarto [27 cm] Sea-green cloth over boards. The edges of the spine and covers are faded. In a price-clipped dust jacket, with darkening, and multiple closed and open tears to the edges. Several tears have been taped on the reverse. With 88 wood engravings by the author. The author's portrayal of the seasonal changes of her garden, located on a slope of the Chiltern Hills.…

hardcover. Zustand: Good. Hardback. No dust jacket.

Leather Bound. Zustand: Very Good. Very good hardcover in DJ and plastic cover. Dust jacket shows edge wear and tanning, but is protected from further wear by plastic cover. Pages are clean and unmarked, though tanned. Binding is tight, hinges strong.; 100% Satisfaction Guaranteed! Ships same or next business day.…

Zustand: Very Good. Zustand des Schutzumschlags: Good. A vivid narrative of the Amazonian rainforest, reimagined through the modernist lens of the 1930s. Originally published in 1912, this edition of Tomlinson's foundational travelogue is elevated by the stark, rhythmic woodcuts of Clare Leighton, capturing the raw tension between the industrial tramp steamer and the primal density of the jungle. KEY FEATURES: +++ Visuals: Features 16 full-page woodcut illustrations by Clare Leighton, plus additional decorative headpieces. +++ Binding: Green cloth with gilt-stamped spine titles; top edge stained. +++ Content: A detailed 2,000-mile journey through the Amazon and Madeira Rivers, including an influential appendix and the first appearance of this specific illustrative suite. +++ Imprint: London: Duckworth, 1930. First Edition Thus (First Illustrative Edition). +++ Specs: 9.25 x 6.25 inches / 343 pages. +++ Design: A superior example of early 30s book design where Leighton's 'black-line' technique mirrors the physical claustrophobia of the jungle narrative. CONDITION: Very Good. +++ The Book: The bindings are tight and square. The text is clean with light, even age-toning throughout. Moderate shelf handling wear is present, including rubbed corners and minor softening to the spine ends. Several pages remain unopened, suggesting the book has been largely unread. +++ The Jacket: The original dust jacket is present; it shows sun-fading to the spine and perimeters, with modest edge wear and a few tiny closed tears. It remains a solid, unsophisticated example of a fragile 1930s wrap. SCHOLARLY FEATURES +++ Historical Impact: Tomlinson's work is a cornerstone of 20th-century English travel writing, often cited alongside Conrad for its psychological depth and atmospheric prose. It documents the late-colonial Amazon during the height of the rubber boom's ecological and social transition. +++ Modernist Influence: This 1930 edition marks a pivotal shift in how the work was marketed, moving from a standard 'travel diary' to a high-aesthetic 'gift book' featuring Clare Leighton, one of the most significant female wood-engravers of the era. +++ Contextual Analysis: The narrative serves as a primary document for the 'tramp steamer' era of global trade, specifically the Swansea-to-Brazil route and the subsequent loading of cargo in Tampa, Florida. HISTORICAL SIGNIFICANCE -- H. M. Tomlinson was a seasoned journalist and war correspondent whose prose was defined by a quiet, maritime melancholy. The Sea and the Jungle was his masterpiece, born from a spontaneous decision to quit his desk job and board a freighter. His ability to weave personal introspection with the 'green wall' of the Amazonian landscape set the standard for the modern literary travelogue. This 1930 Duckworth edition matters because it represents the definitive visual interpretation of the text. Clare Leighton was at the peak of her powers here; her woodcuts don't just decorate the pagethey translate Tomlinson's themes of human insignificance. SUBJECTS: Amazon Rainforest, Brazil, Madeira River, Steamship History, 20th Century Exploration, Natural History, Modernist Wood-Engraving, British Travel Literature, Swansea, Tampa. Illustrated Book, First Edition Thus, Travel Memoir, Maritime Literature. BIBLIOGRAPHIC REFERENCE: Slocum & Cahoon (Contextual); NCBEL 4:634. Full title: The Sea and the Jungle: Being the Narrative of the Voyage of the Tramp Steamer Capella from Swansea to Santa Maria De Belem Do Grao Para in the Brazils, and Thence 2,000 Miles along the Forests of the Amazon and Madeira Rivers to the San Antonio Falls; Afterwards Returning to Barbados for Orders, and Going by Way of Jamaica to Tampa in Florida, Where She Loaded for Home. Done in the Years 1909 and 1910. …

First Edition. [Educational] FIRST EDITION. Octavo (23 x 17cm), pp.[4]; 206. With numerous in-text lithographic illustrations, including a frontispiece, by Clare Leighton. Blue pictorial cloth over boards. Light toning throughout leaves, with minor foxing to preliminaries and edges. Spotting to cloth boards, mostly lower. Rubbing to joints and extremities. Overall, very good. Farjeon's book to teach children the alphabet, framed as a narrative taking place in Zeal Monachorum. In it, the Alphabet Pedlar pays a visit to a couple and their 26 appropriately named children.…

Hard Cover. First edition. Octavo, pp., 206. Colour illustrated frontispiece and further six full-page colour illustrations. Illustrated cloth covered boards in navy blue and turquoise on white, with navy blue titles to spine and front. Original baby pink illustrated dust-jacket. Minor foxing to endpapers and text block edges. Light sunning to dust-jacket spine. Otherwise a near fine copy in like jacket. The story of the twenty-six children of Zeal Monachorum who did not know their ABC, until one day Perkin the Pedlar came by. He told them a story and a verse for each letter of the alphabet, starting with Appledore and ending with their own Zeal Monarchorum. Eleanor Farjeon (18811965) was an English author of children's stories, plays, poetry and history. Winner of both the prestigious Carnegie Medal and the Hans Christian Andersen Medal she was one of the most prolific and distinguished children's writers of the 20th century. It is rare to find this first edition in its dust jacket and in this condition.…

Hardcover. Zustand: Very Good. Illustrated Edition. Bound in full brown Morocco with elaborate gilt illustration on front cover, raised bands on spine, top edge gilt. Some scuffing along edges and on spine bands. Damp-stain on top edge of gilt which bleeds into top margin for first 90 pages. Bookseller stamp on endpaper. …

Macmillan signed limited edition of Hardyâs sixth published novel. Octavo, bound in half vellum over boards with gilt titles to the spine, top edge gilt, frontispiece, with black and white woodcut illustrations. Signed by illustrator Clare Leighton on the colophon page. One of 1,500 copies. In very good condition with toning and bumping. Illustrated by Clare Leighton. The Return of the Native is Thomas Hardy's sixth published novel. It first appeared in the magazine Belgravia, a publication known for its sensationalism, and was presented in twelve monthly installments from January to December 1878. Because of the novel's controversial themes, Hardy had some difficulty finding a publisher; reviews, however, though somewhat mixed, were generally positive. In the twentieth century, The Return of the Native became one of Hardy's most popular and highly regarded novels.…

One page, sm. folio, airmail, one small closed tear, good condition. Text: "I was glad to get your letter of 8th August and must apologise for my delay in answering it. I was, just then, caught up into a confusion of work. | I telephoned Mr Leventhal (he doesnt live in Woodbury, but in Boston; however, we are in touch) and he was delighted at his good fortune in acquiring a copy of my FARMER'S YEAR. It is, now, very rare, | [] (By the way, there is, at the moment, a three month retrospective of my work at the Boston Public Library, with an illustrated--partially so - catalogue which is a true catalogue raisonne. If you are interested I will send you a copy.) | I have had several special editions I have illustrated, and last year, for the Bicentennial, I did a book for the Book Club of California, called GROWING NEW ROOTS. It was, alas, available only to members. | The blocks of THE FARMER'S YEAR belong to me, and I have a limited, signed edition of the prints from the book which are for sale. They are nearing their end, I fear. And as the Boston exhibition goes from there to San Francisco for three months and then to Los Angeles, I think they will be sought after. | I have often been asked if I sell the actual blocks. So far I have resisted it, though I have given some to one or two universities. But always I cancel them, with an engraved line obliquely across them. Yes, I most certainly have engravings for sale. As a result of the various exhibitions I have been having my market is good. (By the way, I am glad you think so highly of the work of George Mackley. I consider him exceptionally fine) There is very little wood engraving being done over here in America. I think it is because it is a tedious, lengthy medium so that you cant get rich quickly! | And dear David Jones! I was very fond of him when lived in England. It is so good to see he is at last being recognised. | When I hear from you I will send you my dossier and the Boston catalogue.". …