lortic (8 Ergebnisse)

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

First edition, large 8vo, 19, [1]pp., one of 300 copies printed on vellum paper, 2 double-page plates, orig. printed wrappers loose.

Paris, Bibliotheque de La Joie par les livres, 2001, 8vo brossura originale con copertina illustrata a colori, pp. 102 con illustrazioni in nero e a colori nel testo. Ottime condizioni.

Complete 37 plays of Shakespeare with a glossary. Frontispiece portrait after Thomas Stothard, with 38 plates engraved after Thomas Stothard, Joshua Reynods &c. Printed by Corrall in Pickering's Diamond type. Pp. [iv], 783. 16.5 x 11 cm. Sumptuously bound by Lortic in full blue morocco, both sides delicately decorated with a detailed gilt border with pucks, tendrils and scrolls around a central panel, 3 series of gilt fillets, spine in compartments with raised bands, 5 panels with the smae details gilt tooling of pucks and tendrils with gilt fillets, letterd in gilt, beatuiful elaborate doublures of full red morocco with fanfare gilt tooling all the way round and several gilt borders of teeth, dolts and fillets, marbled paper endpapers, all edges gilt, in the original shammy leather and cloth top closing box.

225 x 147 mm. (8 7/8 x 5 7/8"). XLIX, [3], 1-372, [4] pp.Preface by Alexandre Dumas fils. LOVELY DARK BLUE MOROCCO, GILT, BY MARCELLIN LORTIC (stamp-signed on front turn-in, his ticket on verso of front free endpaper), covers with French fillet border, intricate cornerpieces with floral spray and two birds, raised bands, spine compartments with floral vase sporting two tiny birds at center, surrounded by delicately entwined floral vines, gilt lettering, richly gilt turn-ins with floral vines inhabited by birds, marbled endpapers, all edges gilt. Original vellum wrappers bound in. Housed in a chamois-lined matching morocco-lipped slipcase. With additional engraved title page, four portraits of the author (one as called for, three added), and 34 plates, 12 as called for, 22 from other editions. With a handwritten note laid in: "With much love & many kind thoughts from your most devoted admirer. V. A. B." Carteret V, 160. Board edges bowed slightly inward, one added plate mildly browned, otherwise AN ESPECIALLY FINE COPY, the contents clean and fresh, and the binding lustrous and unworn. This deluxe Large Paper Copy of a classic French novel is admired for its excellent printing, important preface by a celebrated contemporary author, and lovely illustrations, most of them added from other editions. And our copy is beautifully bound by a distinguished French binder. The tragic tale of a young nobleman and his attractive but mercenary lover, Manon, was first printed in 1731 as the last volume in "Memoirs and Adventures of a Man of Quality." The book was reissued separately in 1733 and became immediately successful--and censored--due to the illicit love and amoral behavior of the principal characters. It was officially published again 20 years later (following many pirated editions), having been extensively revised by the author. There has been some speculation that the story is semi-autobiographical, with its author, usually referred to as Abbé Prévost (1697-1763), having vacillated between religious and military careers, suffering at least one unfortunate love affair, and, for a brief time, living in exile. The present edition includes a famous preface by Alexandre Dumas fils that attests to its enduring allure and celebrity. Dumas, whose own "La Dame aux Camelias" was influenced by the present novel, praises the work while musing on the dangerous intensity of Manon's passion, noting that "She can only live in pleasure, as fish can only live in water." In addition to the excellent plates by French engraver Leopold Flameng, this work has been supplemented with engravings by other noted French illustrators such as Edmond Hédouin and Louis Monzies. Adding to the appeal of this copy is its beautifully preserved binding from an esteemed Parisian workshop. Marcellin Lortic (1852-1928) was trained by his father Pierre (1822-92), one of the great binders of 19th century Paris; the firm was known for their superb interpretations of traditional styles. Flety notes that unlike his father, Lortic fils handled all aspects of a binding himself as designer, binder, and gilder. He was an eccentric workaholic, living alone in his workshop and devoting his life to his craft. According to Flety, "his bindings appeared in numerous libraries of great collectors of his time" who showed their satisfaction and appreciation with persistent loyalty. Protective of his reputation--and also loathe to work with others--he refused to hire an apprentice/successor, choosing instead to sell his equipment and tools when he was no longer able to work. No. 8 OF 50 LARGE PAPER COPIES ON PAPIER CHINE, from a total edition of 333.

First Elzevier Edition. 135 x 75 mm. (5 1/4 x 3"). 12 p.l. (including engraved title), 663, [9] pp. ELEGANT DARK BLUE MOROCCO, GILT, BY LORTIC (stamp-signed on front doublure), covers with graceful lobed French fillet frame, intricately lacy gilt at corners, delicately tooled lozenge at center, raised bands, spine densely gilt in compartments with complex mandorla centerpieces, curling tendrils at corners, and myriad small tools, gilt lettering, RED MOROCCO DOUBLURES with very fine lace gilt frame, leather hinges, marbled endpapers and flyleaves, all edges gilt. Engraved title and engraved arms. Willems 601; Rahir 599; STCN 832762849; USTC 1027902. Half-inch crack to head of front joint, minor wear to head of spine, corners a little rubbed, isolated faint foxing, otherwise a fine and pretty copy, clean and fresh internally, and in a lustrous binding. With striking gilt elaboration inside and out, this is a beautifully bound and delightful Elzevier edition of Charron's celebrated work "On Wisdom," first printed in 1604. Inspired by the letters of Seneca and Stoic in spirit, the work gives a meticulous and reasoned argument for living an austere, virtuous, and purposeful life in harmony with nature. But Charron's rationalism, combined here with a lack of interest in revelation as a source of truth, made his work suspect to the theological authorities of his day, and he was accused of portraying religion as unnecessary for morality. His attempt to revise the work to satisfy his critics was interrupted by his death. A lawyer before he became a theologian and preacher, Charron (1541-1603) desired at age 45 to join a monastic community, but was rejected for being too old. Our volume was lavishly bound by Pierre Marcellin Lortic (1822-92), who apprenticed with the Gruel bindery before opening his own workshop in 1844. Over the next 40 years, he won numerous awards, became a preeminent Parisian binder, and was named a Chevalier of the Legion of Honor. Beraldi says of Lortic: "For the decoration [of a binding], Lortic, with real passion, conceived the bound book as a jewel: he loved the rich, the sumptuous, the flamboyant." Beraldi put Lortic in the first rank of gilders, even though Pierre did not do the gilding with his own hand. Instead, he employed the best doreurs available, including Wampflugh, Maillard, and Domont, before his talented son (and eventual successor) Marcellin took over those responsibilities in the 1870s.

295 x 228 mm. (11 5/8 x 9"). 3 p.l., xi, [4], 16-41, [9] pp., [1] leaf (blank). French translation by André Bellessort. Prefaced by a letter from Anatole France. ELEGANT HONEY BROWN MOROCCO, GILT, BY LORTIC [fils], covers with Greek key frame, central panel enclosed by interlocking frames of brown and gilt rules embellished with gilt volutes and flowers, oblique palmette cornerpieces, raised bands, spine compartments with centerpiece formed by drawer-handle tools and palmettes, gilt lettering, wide turn-ins with palmette frame, purple watered silk endleaves, marbled paper flyleaves, all edges gilt. Original paper wrappers bound in. Preserved in a calf-lined marbled paper slipcase. Text in two alternating decorative frames, tailpiece at end, and 12 illustrations (three of them full-page) by Georges Bellenger, engraved by E. Froment, this copy with two additional suites of the 15 engravings (one on japon, one on chine) bound at rear, and WITH AN ORIGINAL WATERCOLOR of two nymphs tormenting a faun SIGNED BY GEORGES BELLENGER. Parallel text in Greek and French on facing pages. Front flyleaf with engraved armorial bookplate. Carteret IV, 377. âA couple of tiny dark spots to front board, title page with three small spots of foxing, but A VERY FINE COPY, clean and fresh internally with generous margins, the watercolor on bright stock, and the binding unworn. From one of the leading publishers of luxury editions during what Ray calls "the golden age of bibliophiles," this is an excerpt from the "Idylls" of Theocritus in a binding from an esteemed Parisian workshop. Marcellin Lortic (1852-1928) was trained by his father Pierre (1822-92), one of the great binders of 19th century Paris; the firm was known for their superb interpretations of traditional styles. Flety notes that unlike his father, Lortic fils handled all aspects of a binding himself, as designer, binder, and gilder. He was an eccentric workaholic, living alone in his workshop and devoting his life to his craft. According to Flety, "his bindings appeared in numerous libraries of great collectors of his time" who showed their satisfaction and appreciation with persistent loyalty. Protective of his reputation--and also loathe to work with others--he refused to hire an apprentice/successor, choosing instead to sell his equipment and tools when he was no longer able to work. Our text follows in the tradition of an ancient Greek poetic form comprising a conversation between two lovers, often, unsurprisingly, with amorous content--in the present case, seduction leading to marriage. The style was adopted by, and enjoyed a vogue among, Symbolist poets like Paul Verlaine in the 19th century. The illustrations--alive with nymphs, fauns, and other mythological creatures--are the work of Georges Bellenger (1847-1918). He exhibited landscapes and still life paintings in the Paris Salon, but was best known for his lithographs. He received a commendation from the Société des Artistes Français in 1889. No. 9 OF 25 COPIES (from a total run of 350) WITH AN ORIGINAL WATERCOLOR by Georges Bellenger and two extra suites of illustrations, signed by E. Froment.

Fourth Edition. 182 x 91 mm. (6 3/8 x 3 3/4"). 8 p.l., ccciii, [1] (blank) leaves.Edited by Clément Marot. ELEGANT SCARLET MOROCCO BY LORTIC (stamp-signed on front turn-in), covers tooled in gilt and blind in a Grolieresque strapwork design, raised bands, spine compartments with central gilt rose surrounded by blind tooling, gilt titling, turn-ins richly gilt, marbled endpapers, all edges gilt. With title page vignette and 49 impressions of 26 CHARMING WOODCUTS in the text. Front pastedown with engraved bookplate of P. Grandsire. Brunet III, 1175; Bourdillon, "Early Editions of the Roman de la Rose," the "S" version (pp. 62-63). âLeaves lightly washed and pressed, following the bibliophilic fashion at the time of binding, occasional mild browning or small marginal stains, but still A LOVELY COPY, clean and still crisp, IN A SPARKLING BINDING. Beautifully bound, this is a most attractive copy of the last early edition of this classic of courtly love, perhaps the most influential work in Medieval French literature. An allegorical love poem that unfolds as a dream vision, the "Romance of the Rose" is the work of two authors, Guillaume de Lorris, who composed the first 4,000 or so lines around 1230, and Jean de Meun, who contributed an additional 18,000 lines 40 years later. Our version was edited by the poet Clément Marot (1496-1544), to make the language more accessible to 16th century French readers, and his efforts contributed to a renewed popularity for the tale. Marot did four recensions of the text; this is the final one. After our printing, no other edition appeared until 1735. According to Bourdillon, the woodcuts here are copied from the "very pretty" series in the 1529 edition. The scenes are impressive in the level of detail, especially considering their diminutive size. Pierre Marcellin Lortic (1822-92) was one of the great binders of 19th century Paris, known for his superb interpretations of traditional styles, as in the present binding. According to Flety, "at once artisan and artiste, intelligent and conscientious, an expert and a lover of his metier, he knew how to give his work the finish, the brilliance, that very few practitioners of his time could attain." Our copy comes from the library of French bibliophile Paul Grandsire of Nogenten-Bassigny (Haute-Marne), whose notable collection of French imprints from the 15th to the 18th centuries was sold in 1930. All early versions of the "Romance of the Rose" are sought after, and this is especially true of well-preserved copies of those editions with charming illustrations and in fine bindings favored by discriminating bibliophiles.