prayer books (19 Ergebnisse)

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. Cover and edges may have some wear.

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Paperback. Zustand: Brand New. 100 pages. 10.00x8.00x0.23 inches. In Stock.

Paperback. Zustand: Brand New. 100 pages. 10.00x8.00x0.23 inches. In Stock.

Zustand: New. In.

Paperback. Zustand: Brand New. 26 pages. 8.00x5.00x0.07 inches. In Stock.

Paperback. Zustand: Brand New. 27 pages. 8.03x4.96x0.35 inches. In Stock.

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Brand New. 200 pages. 11.00x8.50x0.46 inches. In Stock.

Zustand: New. In.

Paperback. Zustand: Brand New. 266 pages. 8.00x5.00x0.63 inches. In Stock.

8vo., First Edition thus; original series binding of navy ribbed cloth, gilt back, dark top, pictorial endpapers, a very good, bright, clean copy. With personal bookplate on front paste-down. EL 449; Seymour 800.0. SCARCE.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

TWO VOLUMES. INDIA PAPER EDITIONS. Diamond 128mo. (2.2 x 1.8 inches). 688pp, vi, 862pp. Publishers black morocco bindings with gilt lettering to the spines and front boards. Housed in a black morocco slip-case. Black coated endpapers, the front one lacking from Common Prayer and a small area of loss to the top of the front one in Hymns. All edges gilt. Corners rounded. Some rubbing to the extremities of the slip case but the book?s bindings are clean and sound, with the gilt still lovely and bright.

Hardcover. Zustand: Near Very Good. 16mo. 29 cm x 21 cm. [2], 3-192 pp. Blue publisher's cloth with a red border on each board, red lettering on the front board, flexible boards. There is a pocket on the rear board, but nothing is in the pocket. Immediately after the title page, the book states the motives and objects of (the First World) war: "We are glad to fight for the ultimate peace of the world, and for the liberation of its peoples, the German peoples included; for the rights of nations great and small, and the privilege of men everywhere to choose their way of life and obedience . ". It is an excerpt from President Wilson's statement on the United States entering the First World War. An inscription on the free front endpaper reads: "Willis [Winfried/Winfreed] 506 S. Neil [The next line is illegible] Illinois 1917 - U.S.A. Great Lakes Illinois". The owner of this prayer book was either trembling while writing his inscription or his ink was exposed to moisture (though the paper itself has no dampstain). This book clearly traveled with the naval recruit to Great Lakes, the naval training station just north of Chicago. Although we cannot identify exactly who the owner was, the item is significant as it is a record of what kind of item was important enough to a Navyman to transport to a war zone (based on the book's significant wear and use we believe it traveled to the European theatre after the recruit completed his training at Great Lakes). Significant rubbing to the cloth, rear gutter is cracked but the binding is holding.

172 x 118 mm. (6 3/4 x 4 3/4"). [3], 34 leaves, 35-39, [1] pp., [2] leaves. LOVELY CRIMSON CRUSHED MOROCCO, GILT AND ONLAID, BY CAPÉ (stamp-signed on front turn-in), covers with onlaid green morocco cornerpieces and central quatrefoil, all filled and surrounded by delicate pointillé tooling in floral and paisley designs, raised bands, spine compartments tooled in pointillé, gilt lettering, richly gilt turn-ins, marbled endpapers, all edges gilt. In a felt-lined, morocco-lipped marbled paper slipcase. ENGRAVED THROUGHOUT, WITH 38 FULL-PAGE ILLUSTRATIONS, consisting of one portrait, two allegorical religious scenes (including title), and 35 illustrations of the Holy Eucharist, 40 pages of engraved text, 37 of these with text flanked by full-length figures of saints, accompanied by other religious symbols at head and foot of page, two framed with vignettes of angels or the Madonna, one page with text only. Front pastedown with "A W F" book label of bookseller Adrian Fluhmann. Duportal, "Étude sur les livres à figures," pp. 244-45; Brunet V, 624; Graesse VI, 4; Leaves perhaps (very lightly) washed and pressed, but an extremely fresh, clean copy IN A SPARKLING BINDING. Covered by a luxurious binding by Capé, this is a particularly attractive copy of a sumptuously illustrated prayer book composed entirely of engraved plates. According to Duportal, it is "One of three important publications whose engravings reveal the trend characteristic of religious illustrations in France between 1601 and 1660." The work opens with a dedication to Charles d'Aubespine, Marquis de Châteauneuf (1580-1653), with a full-page portrait by Guillame de Gheyn (b. 1610). The bulk of the book is made up of two groups of plates. Those in the first group, appearing primarily on the rectos, contain prayers in Latin and French flanked by pairs of saints; gaps in the prayers are filled by naturalistic flowers, insects, and birds. Many of these plates also include a scene (or two) in miniature, depicting the life of one or both of the saints or a vignette of angels. While just two of these engravings are signed "J. Collin," they all appear to be in the same hand, which demonstrates an impressive level of finesse and delicacy, depicting graceful figures with sure, light lines. Duportal notes that this artist had a "talent charmant," and that well-executed dry-points of this type are quite rare in French books of the period. The second group of engravings appear strictly on the versos, and depict the performance of a part of the Mass, beneath a cloud in which appears a relevant scene from the life of Christ. They are all unsigned, and clearly by a different hand with more rustic features--possibly "copies of originals published abroad," according to Duportal. The book concludes with two leaves of text framed by gamboling putti and the Virgin. Copies of this work can be found with varying numbers of leaves and engravings (apparently the result of multiple reprintings with added material produced between 1651-53), but the present item can be distinguished as an early (if not the very first) edition, as it does not contain "Privilege du Roy" dated 1652 or 1653. Furthermore, our copy also contains the earliest state of the plates, without the "I N R I" initials on the cross found on the title page, and with the earlier state of the verso engravings (before they were substantially reworked). Our edition seems to be quite rare, with OCLC finding just one other copy with the same sequence of contents, at the Bibliothèque Sainte-Genevieve. The stunning binding by Capé looks just as fresh and lustrous as the day it left its workshop. One of the most distinguished binders in France in the middle years of the 19th century, Capé (d. 1867) was especially well known for the delicacy of his work--which can be appreciated to full effect in the present example. He was the binder to the Empress Eugénie, and Béraldi calls him "the Bozérian of the second Empire." This is precisely the kind of book our former owner, the discriminating connoisseur-bookseller Fluhmann, would have owned.

172 x 110 mm. (6 3/4 x 4 1/4"). [3], 34 leaves, 35-39, [1] pp., [12] leaves. Fine old (contemporary?) red morocco, covers panelled with gilt fillets with flowering urn cornerpieces, raised bands, the spine densely gilt in compartments with scrolls and dots, two clasps, marbled endpapers, all edges gilt. ENGRAVED THROUGHOUT, WITH 38 FULL-PAGE ILLUSTRATIONS, consisting of one portrait, two allegorical religious scenes (including title), and 35 illustrations of the Holy Eucharist, plus 44 PAGES OF ENGRAVED TEXT, 37 of these with text flanked by full-length figures of saints, accompanied by other religious symbols at head and foot of page, six framed with vignettes of angels, the Madonna, or scenes from the life of David, one page with text only. Contemporary ink inscription to the lower margin of the title page reading "In Archui. vitr." Endleaf with engraved armorial bookplate of Viscount Strathallan; front pastedown with the bookplate of John Evelyn. Duportal, pp. 244-45; Brunet V, 624; Graesse VI, 4. Trivial rubbing to the extremities, leather straps slightly worn but holding strong, but A SUPERB COPY, exceptionally clean, fresh, and bright internally, and in its solid and unsophisticated (and still very pleasing) binding. This is a particularly attractive copy of a sumptuously illustrated prayer book in its especially appealing original(?) 17th century binding. According to Duportal, it is "One of three important publications whose engravings reveal the trend characteristic of religious illustrations in France between 1601 and 1660." The work opens with a dedication to Charles d'Aubespine, Marquis de Châteauneuf (1580-1653), with a full-page portrait by Guillame de Gheyn (b. 1610). Then, the bulk of the book is made up of two groups of plates. Those in the first group appear primarily on the rectos, and contain prayers in Latin and French flanked by pairs of saints; gaps in the prayers are filled by naturalistic flowers, insects, and birds. Many of these plates also include a scene (or two) in miniature, depicting the life of the saint(s) or a vignette of angels. Just two of these engravings are signed "J. Collin," but they all appear to be in the same hand and demonstrate an impressive level of finesse and delicacy, with emotive, graceful saints depicted with sure, light lines. Duportal notes that our artist had a "talent charmant," and that well-executed dry-points of this type are quite rare in French books of the period. The second group of engravings appear on the versos, and depict the performance of a part of the Mass, beneath a cloud in which appears a relevant scene from the life of Christ. They are all unsigned, and clearly by a different hand with more rustic features--possibly "copies of originals published abroad," according to Duportal. The book concludes with text framed by gamboling putti and scenes from the life of Christ and facing full-page bust portraits, followed by the Penitential Psalms, each with elaborate illustrated frames depicting scenes from the life of David. Copies of this work can be found with varying numbers of leaves and engravings, but the present item seems to be an early edition as it contains the earlier state of the engravings on the versos (before they were substantially reworked), and it does not contain the "Privilege du Roy" with the date 1652 or 1653. Our copy comes from the books assembled by the famous diarist John Evelyn (1620-1706), a library that Quaritch's dictionary of English book collectors calls "a noble collection." De Ricci says that the finest books from the library bear Evelyn's monogram (as ours does), and this bookplate brings with it the expectation of remarkably fine contemporary condition. This copy also has the bookplate of Viscount Strathallan, possibly William Drummond (1810-86), Conservative MP and the second to hold the family title following the reversal of the attainder put in place after his family's participation in the Jacobite uprising.

FIRST EDITION. 132 x 90 mm. (5 1/4 x 3 1/2"). 20 p.l., 427, [5] pp. FINE CONTEMPORARY VENETIAN RED MOROCCO, GILT, covers with border of repeating botanical tools, raised bands flanked by decorative gilt rolls, green silk pastedowns, all edges gilt and gauffered. HOUSED IN THE ORIGINAL PULL-OFF MARBLED CALF CASE, the book and its case within a brown cloth chemise and matching slipcase. ENGRAVED THROUGHOUT, with numerous floral initials, 20 charming tailpieces, frontispiece and 15 full-page illustrations by M. Pitteri all designed by Giambattista Piazzetta. Front flyleaves with book labels of John Saks, Arthur and Charlotte Vershbow, and David R. Godine. See: Boorsch, "Venetian Prints and Books in the Age of Tiepolo," p. 20 and no. 98; Selby, Carol E., "A Small Masterpiece from the Eighteenth Century Publishing World." Bulletin of the Detroit Institute of Arts, vol. 43, no. 3/4, 1964, pp. 60-63. âA hint of rubbing to extremities, one tiny abrasion to front cover, flyleaves with offsetting from binder's glue, one page with tiny ink spot in margin but AN EXTREMELY FINE COPY, ENTIRELY CLEAN, FRESH, AND BRIGHT internally, in a beautifully preserved binding and case. Preserved in its original pull-off case and in superb, unsophisticated condition, this is a very charming prayer book engraved by a trio of talented artists that is called "a small masterpiece" (in the "Bulletin of the Detroit Institute of Arts" in 1964) and described in the June, 2013, Christie's catalogue of the Vershbow sale as "one of the most desirable Venetian illustrated books of the 18th century." The plates here were designed by Giovanni Battista Piazzetta (1682-1754), a painter and illustrator whom Britannica calls "one of the outstanding Venetian artists of the 18th century." Piazzetta was known for his masterful use of chiaroscuro and dynamic compositions--both of which can be seen to great effect in the present work. The engravings were executed by a close collaborator of Piazzetta, Marco Alvise Pitteri (1703-86), whom Selby calls "one of the most able and popular engravers in Venice, being in demand for the reproduction of works of his most distinguished contemporaries." Using his own unique blend of engraving techniques, described by Boorsh as "unprecedented and unimitated," Pitteri is able to translate Piazzetta's animated compositions into a small-scale format, with figures that are beautifully highlighted and seem to glow on the page. But perhaps the most impressive part of this work is the text itself. What at first glance appears to be more than 400 pages of letterpress is in fact entirely engraved--an extraordinary feat of precision and patient craftsmanship by Angela Baroni, daughter of engraver Giuseppe Baroni. It seems likely that Angela learned the craft from her father, but little else is known about her life. Regardless, Angela's talents speak for themselves through this work. As Carol Selby tells us, "Engraving a book like this one is an undertaking indeed. . . . The more than 400 pages must each have been engraved in reverse on copper plates which, being almost impossible to correct, allowed little margin for error. The effect is charming, lively, controlled, but free." Thanks to the original (and very pretty) pull-off case, this little gem has remained in outstanding condition inside and out. The volume has a distinguished provenance, having belonged to collectors known for their taste and discrimination in the acquisition of a range of especially desirable books: John A. Saks (who bought it from Bernard Quaritch in 1981), then Arthur and Charlotte Vershbow, then David Godine, who bought it at the Vershbow sale (for $3,000).