mowery franklin (18 Ergebnisse)

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Good condition. 4 books in 1. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Very Good +. First edition. 7 3/4 X 11 IN. BUFF PAPER COVERS. B&W AND COLOR ILLUS. CONDITION IS VERY GOOD+ ; A TERRIFIC COPY ON ALL POINTS. BINDING VERY SOLID. Books on books. Stax.

Zustand: Fair. With an Introduction by Anthony Hobson ; Photographs by Julie Ainsworth.; Light yellow stains on several pages.

31.5 x 24 cm, cloth binding with dust jacket. 272 pp. Illustrated with 244 images, including 14 color plates. Introduction by Anthony Hobson. Text in English. In very good condition. See picture. 1880g.

Paperback. Zustand: Very Good+. Exhibition Edition. Unpaginated. Signed dedication from author on one of the last pages. Unnumbered (because the author humorously states he lost count) copy out of 500. Very Good condition. No noteworthy defects. No markings except mentioned. ; Your satisfaction is our priority. We offer free returns and respond promptly to all inquiries. Your item will be carefully cushioned in bubble wrap and securely boxed. All orders ship on the same or next business day. Buy with confidence.

Soft Cover. Zustand: Very Good. Limited. Paperback. Unpaginated. Illustrated. No. 393 of a limited edition of only 500 copies, signed by John Franklin Mowery. Slightest wear to covers only. A very pleasing copy. (bs106). Signed by Author.

First Edition. First edition, 8vo, pp. 271, [1]; 244 illustrations including 14 full-color plates, fine copy in fine dust jacket.

First Edition, 4to, 272pp., 244 illustrs., 14 plates in colour, orig. cloth, d.w. The Folger Shakespeare Library presents a selection of its finest bookbindings, from the 15th century to the present. Includes more than 150 examples of the binder's craft, each fully annotated by the curatorial staff of the Folger Library. An extremely sumptuous book, now out of print.

First Edition, 4to, 272pp., 244 illustrs., 14 plates in colour, orig. cloth, d.w. The Folger Shakespeare Library presents a selection of its finest bookbindings, from the 15th century to the present. Includes more than 150 examples of the binder's craft, each fully annotated by the curatorial staff of the Folger Library. An extremely sumptuous book, now out of print. From the library of Bernard H. Breslauer.

Washinton, Folger Shakespeare Library, 1992, in-4°, 271 pp, publisher's cloth with original dust jacket. Fine copy.

No. 48 OF CLXXV COPIES. 258 x 195 mm. (10 1/4 x 7 3/4"). 15, [3] pp. Understated black crushed morocco by J. Franklin Mowery (stamp-signed "JFM 94" on rear turn-in), wraparound design of blind-stamped L-shaped panels of intersecting lines, smooth spine with vertical gilt lettering, leather hinges, edges untrimmed. Original illustrated upper cover of dust jacket (repaired at one corner) bound in at rear. In a matching morocco-lipped slipcase. Title page with large woodcut of the risen Christ, four large vignettes in the text, four pictorial half borders, and four full-page woodcuts, all by David Jones, printer's device in colophon. Front pastedown with bookplate of Jan van der Marck. Chanticleer 40. A pristine copy. This is a wonderfully--if understatedly--bound copy of one of the most strictly limited Golden Cockerel Press productions. The binding is the work of J. Franklin Mowery, retired Head of Conservation at the Folger Shakespeare Library and past president of the Guild of Book Workers. Mowery studied bookbinding under Professor Kurt Londenberg at the Staatliche Hochschule für bildende Künste (Academy of Art) in Hamburg, and trained as a paper conservator under Otto Wächter in Vienna, before returning to the U.S. to work at the Huntington Library. According to his article "A Binder's Training" (Guild of Book Workers' Journal XX, 1981-82), the blind-stamping technique seen here was "particularly favored by Professor Londenberg" and often employed by Mowery for the range of design possibilities it offers. The method uses dies to stamp the patterns: "a photographic process can transfer any black and white image onto zinc plates that are deeply etched and mounted onto type-high metal blocks for heated impressions or onto wood for cold embossing." Mowery stated that lines of the design here represent the driving rain of the storm that struck Jonah's ship. Founded in 1920 with the intention to print fine editions of important well-known books as well as new literary works of merit from young authors, the Golden Cockerel Press was purchased in 1924 by the illustrator and wood-engraver Robert Gibbings. "Under his direction," says Cave, the Press was "transformed into the principal vehicle for the renaissance of wood-engraved book illustration that took place in the years between the wars." In addition to doing wood engravings himself, Gibbings employed a stable of eminent artists including, among others, Eric Gill, Blair Hughes-Stanton, John Nash, John Farleigh, Eric Ravilious, and David Jones. The memorable woodcuts are the work of Jones (1895-1974), who had a brief but impressive career as an illustrator before eye strain forced him to abandon engraving in 1930. In his published study of Jones' work, Douglas Cleverdon says that in the short time Jones was engraving "he produced a remarkable amount of work, of great variety; some witty, some mystical; some boldly cut, some delicately shaded; some simple to print, some virtually impossible. Although he never attained . . . the greatest technical mastery in the conventional sense, his prints are nearly always distinguished by their excellence of design, personal commitment, and absolute individuality." Our binding was commissioned by collector and self-described "radical" museum administrator Jan van der Marck (1929-2010), who championed artists that pushed boundaries--often to the consternation of the museum boards who employed him.

Zustand: Very good. 1992, Washington D.C., The Folger Shakespeare Library/Harry N. Abrams, Inc., folio, pp272, colour illustrations, brown cloth in dustwrapper.