reference works (17 Ergebnisse)

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

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

Hardcover. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Signed Copy . Very Good dust jacket. Inscribed by author on front endpage.

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

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

Hardcover. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Zustand: New. In.

Paperback. Zustand: Brand New. 360 pages. 8.50x5.50x1.00 inches. In Stock.

Fifteenth revised edition hard back binding in publisher's original burgundy cloth covered boards, blocked and lettered gilt back. Quarto. 10'' x 8''. Contains (viii), 636 pp with monochrome marks and monograms throughout. Foxing to the end papers. Very Good condition book in Very Good condition dust wrapper, £7 10s 0d. Member of the P.B.F.A. CERAMICS & POTTERY.

Third edition hard back binding in publisher's original elaborate gilt decorated bottle green cloth covered boards, blocked and lettered gilt back, top edge gilt, others untrimmed, grey stone marble lining papers. 8vo. 10'' x 7''. Contains (vii), 329 pp with numerous monochrome and 4 colour plate illustrations throughout. Very Good condition book in Good condition dust wrapper with chips to the corners and spine ends. Dust wrapper protected. Member of the P.B.F.A. CERAMICS & POTTERY.

First edition hard back binding in publisher's original terracotta cloth covers, gilt stamped title and author lettering to the spine. 8vo. 9'' x 6''. Contains tissue-guarded frontispiece, red and black printed title, (x), 391 pp + publisher's catalogue with 200 monochrome illustrations, many of which are full page. A little repaired fraying of the cloth to the top front gutter, without any foxing and in Very Good clean and crisp condition. Member of the P.B.F.A. DECORATIVE ARTS.

Zustand: Very Good. 1st Edition. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

The first edition of the classic work hard back binding in publisher's original embossed blue cloth covers, gilt stamped title and author lettering to the spine and to the front cover. 8vo. 9'' x 6''. Contains red and black printed title, list of subscribers, (viii), 256 pp illustrated with nearly 1000 monochrome woodcuts throughout. From the private library of Robert Forrest with his armorial bookplate to the front paste down, fraying of the cloth across the spine ends, corners soft and in Good condition. Member of the P.B.F.A. CERAMICS & POTTERY.

2pp., 4to. In good condition, lightly aged. He knew that Finck was ill, but 'the news of his death broadcast on Friday night came as a shock to me. | He & I had known each other for many years, & specially during the last five or six years we had much to say to each other at the Savage, my admiration for him deepening the more I knew him.' Another member of the Savage Club, Philip Page, referred to Finck as 'the most genial man he ever knew', and this was 'endorsed by all his fellow Savages'. As 'Chairman of the House Dinner on Saturday night', Hammerton paid 'a brief tribute to him', and asked 'the Brethren who knew him so well to toast his memory in silence'. He ends with reference to '[a]nother dear friend of mine', who 'passed away within an hour or so of Herman - Sir Wm. Ramsay - to whose widow I have been writing tonight'. While Ramsay 'had his fill of years' at the age of 88, Finck hadn't, 'though his years were full & mostly lovely, and none of us who knew him well will ever hear one of his compositions played without feeling he is still with us . . . dear old Herman.' Finck's 'In the Shadows' was one of the last songs played as RMS Titanic went down.

12mo, 2 pp, and 8vo, 1 p. A little grubby and creased, but with text clear and entire. He is sorry that Shorter was not able to visit the Chateaux of the Loire, but hopes that 'the sea air of Dieppe' has done him good. The year before Shorter's death, Hammerton writes: 'But you must really cease this brink-of-the-grave touch! Ten years hence, from an inglenook at Knockmoroon [where Shorter would die], you will wonder why you were anticipating the "closing down" of C.K.S. when everything was still "calling".' Discusses an 82-year-old friend for whom, 25 years before, 'all his thoughts & his physical equipment seemed "graveward hurrying". He is now quite lively: "the will to live" was the reason he gave me for his happy continuance after a long period of ill-health. Don't give in (even by contemplation) to the feeling that teh sands are running low in Old Time's glass.' Quotes eight lines from a poem by Thomas Hardy, 'written before 1898': 'Think of it, nigh on thirty years ago & he is still to the fore with another life-time of achievement to his credit.' He is 'going to print this out in a book' he is 'writing in a hurry'. He will be golfing with 'Sutton at Margate' the following week, so cannot meet Shorter.

Comprising 220 separate line items. Most in publisher's bindings or original wrappers, several in limp leather, limp suede, or stiff vellum, a few nicely bound in half or full morocco, and TWO PICTORIAL MOROCCO BINDINGS, one by RIVIERE (with inlaid frame of brown stems, green leaves, and purple grapes), and the other by BAYNTUN (with a reclining figure in a turban under a moonlit sky, the scene framed by titling at top and bottom and a very handsome panel on the left and right with brown stems, green leaves, and purple grapes set against a densely stippled ground). Much of the collection with bindings showing light (and in some cases moderate) wear, contents with occasional minor foxing, soiling, and similar issues, the two fine bindings rejointed; but a good portion of the books in excellent condition, with only trivial issues. Amassed over the course of many years by a passionate collector of the Rubaiyat, this is a very substantial and wide-ranging group of 220 items that attest to the work's enduring popularity more than 150 years after Edward FitzGerald introduced it to the West. Son of a wealthy Irish landowner, FitzGerald had enough money to pursue a rather desultory literary career as a "genteel gipsy" (in Terhune's words) before beginning to study languages in middle age. He started his translation of the quatrains ("rub?iy?t" in Persian) attributed to "Umar Khayyam" in 1856; according to DNB, about half of FitzGerald's final work paraphrases (rather than directly translates) portions of the 11th century poem, while the rest is original verse inspired by Omar. "The result is generally seen as being in some ways an original English poem, one that is much better known than Omar's poem is in Persian." (DNB) In Jewett's opinion, it certainly earned FitzGerald "a prominent place among the immortals of English literature." In 1858, FitzGerald submitted 25 of the "less wicked" verses to "Fraser's Magazine," only to be rejected. He had 250 copies published, anonymously, at his own expense, but had no luck selling them. Admitting defeat, he gave 200 copies to Quaritch; these sold so poorly that they were relegated to the penny bin, where Potter says they were discovered--and soon celebrated--by Dante Gabriel Rossetti and Algernon Swinburne. Those copies that remained unsold when Quaritch moved to Piccadilly in 1860 were either lost or destroyed, but by 1861, Rossetti and his Pre-Raphaelite brethren, along with Celtic scholar Whitley Stokes, were evangelizing for the work, embracing the lush, lyrical verse that would move English poetry away from Victorian orthodoxy and convention. According to Day, by the end of the 19th century, "a copy of the 'Rubaiyat' upon an Oxford table was a symbol of sophistication. Today . . . it remains the most popular single poem of the Victorian era." The present collection contains a large number of editions with FitzGerald's text (the earliest examples being a Third Edition (1872), a Fourth Edition (1879), and the First Published American Edition (1878)), but it also contains a number of other important translations that followed thereafter, such as those by Justin Huntley McCarthy (First Edition, one of 60 copies on Large Paper), Eben Francis Thompson (First Edition, one of 485 copies signed by the translator), and Elizabeth Alden Curtis (First Edition, one of 600 copies), as well as translations into languages other than English, examples of which here include the First Edition in French (1867) and the First Edition in Yiddish (1926). The collection is especially strong in illustrated editions, with more than 40 different artists represented, including Edmund Dulac, Elihu Vedder, Willy Pogany, Florence Lundborg, Adelaide Hanscom, Gilbert James, Edmund J. Sullivan, Arthur Szyk, and Stephen Gooden. It also contains an impressive selection of fine press material, including limited editions issued by the Vale Press, Gregynog Press, Thomas Mosher, Essex House, the Roycrofters, and the Shakespeare Head Press, as well as rare and important examples by lesser-known presses such as the Philosopher Press of Wausau, Wisconsin, and the Blue Sky Press of Chicago. While most of the books here come in their original bindings, there is a small group of fine bindings that include two sumptuous examples of pictorial morocco by Riviere and Bayntun. Satirical adaptations with titles like "The Rubaiyat of the Egg" and "The Rubaiyat of a Persian Kitten" inject a little humor into the group, and demonstrate the work's broad influence. Finally, there is useful reference material, including a special copy of Potter's bibliography (one of 50 signed and numbered copies on special paper), providing important context and scholarly resources. There are no duplicated editions in this collection, and there are no trade paperbacks. A full list of the collection's contents is available upon request.