Rev george croly (14 Ergebnisse)

Zustand: Good. 1830. No edition remarks. 500 pages. No dust jacket. Half bound red leather with marbled paper covered boards. Rebacked spine. Pages are mildly tanned with visible foxing, heavy to endpapers. Heavy cracking to hinges. Pencil inscription to front pastedown and endpaper. Mild thumb-marking present. Boards have moderate shelf-wear with bumping to corners and rubbing to surfaces. Heavy tanning to board edges. Notable scratching and marking to boards. Notable scuffing to edges. Book has forward lean.…

With cancelled title-page on a stub. With cancelled title-page on a stub. Frontispiece and plates. 1 vols. 8vo. The first edition of this tale of Rome under Nero and Titus' siege of Jerusalem, based around the romance of the "Wandering Jew" appeared first in London in 1829. Original green cloth, decorated in gilt, lettered in gilt and black. Some light wear, else a very good copy Frontispiece and plates. 1 vols. 8vo. …

Full Leather. Zustand: Good. 356pp. Bevelled boards, all edges gilt, gilt decoration to ribbed spine & boards, no cracking to leather but internal paper hinges split but all still solidly bound. Occasional minor useage mark but after first few pages interior in very nice clean condition. No names or inscriptions. Scuffing wear to cover only. Heavy - Weighs 1.5kg Additional P&P will apply. Picture of this book available. Gustav Konig (illustrator).…

Zustand: Very Good. ** Complete 3-Volume Slipcased Set **; Very Good; Hardcover; The covers of all three volumes are close to new with "straight" edge-corners; The textblock edges are unblemished; The endpapers and text pages of all three volumes are all unmmarked; There is a hinge repair the back inside cover hinge of the Holy Land volume, otherwise the binding in each volume is tight with a straight spine; This book set will be shipped in a sturdy cardboard box with foam padding; Extra-Large Format (Folio, 14" - 16" tall); 15.0 lbs (Heavy); Brown cloth covers with titles in gold lettering along the spine of each volume, housed in an illustrated c; 1999, Rizzoli Publishing; 287 pages; "Holy Land And Egypt & Nubia," by David Roberts & Rev. George Croly.…

Zustand: DISCRETO USATO. Da revisionare INGLESE Libro usato che potrebbe presentare segni di usura e del tempo. Possono esserci danni alla copertina. La rilegatura potrebbe essere allentata, ma l'integrità non à compromessa. Potrebbero esserci scritte, sottolineature ed evidenziazioni al testo. Le pagine potrebbero presentare ingiallimento e fioritura come i tagli. La foto corrisponde al libro in vendita. Altre foto su richiesta. Numero pagine 444.…

pp. (iv), xxiv, 267. Engraved title & 10 plates. 8vo. Quarter calf, cloth boards. Shaken, stitching beginning to go at front hinge. From the library of William St Clair with his name in pencil. Poor copy ODNB. Croly (1780 - 1860) was a writer and clergyman. His poem 'Paris in 1815' was lampooned by Byron in Don Juan.…

Hardcover. Zustand: Good.

Leather. Zustand: Very Good. First edition. A very scarce first edition of this historical selection of conservative papers, attractively bound in full calf. First edition. Very scarce. In a handsome full-calf binding. With the signature of Welsh antiquary, genealogist and bibliophile David Lewis Wooding to the title page, dated 1873. An intriguing selection of sketches, speeches and papers, connected by their conservatism. Each text shares similar values, namely posed against democracy and the might of Rome. Compiled by Irish writer, historian and Anglican priest George Croly, who held his position as rector of St Stephen Walbrook from 1835 up until his death in 1860. In a handsome full-calf binding. With the binder's stamp of H. White & Sons (Carmarthen) to the rear paste down. A number of pencil annotations to the front paste down. Externally, smart with slight rubbing and loss of leather, particularly to the spine. Reasonable marking also to boards. Internally, firmly bound. Signed to the title page by David Lewis Wooding and dated 1873. Pages lightly age toned with occasional spotting, more common towards the front and rear. Minimal tear affecting pages 137-40, corrected by a previous owner. Very Good. None (illustrator). book.…

, 182 pages with 14 introductory pages First Edition , front gutter open, rear gutter cracked, one inch piece missing from head of spine, half inch piece missing from tail of spine, corners scuffed, covers slightly rubbed, spine label chipped, front free endpaper very loose, neat previous owner's name to first blank, a nice copy despite some damage, tighly bound with clean contents , full light brown calf, blind stamped margins to covers, five raised bands with gilt decorations to compartments, gilt title to black spine label, gauffered edges with gilt, marbled endpapers with decoration to leather Octavo Hardback ISBN.…

Hardcover. Zustand: Very Good. Rebound in quarter leather with raised bands, marble effect boards, new end papers, all edges gilt, some age spotting at start of book, otherwise a tight & square copy, photos available on request.

Hardcover. Zustand: Good. No Dust Jacket. First American Edition. Xvi, 319 pp. A 12 mo in 3/4 calf with brown marbled boards. Boards are scuffed, leather corners rubbed, front board detached, spine cover lifting at the bottom half, spine gilt still quite attractive. Interior clean and unmarked, a trace of humiditing staining in the top edge. Attractive marbled edges. Scarce copy of the first US edition of this reexamination of the Apocalypse by the Anglican Irish author and divine. ; 12mo 7" - 7½" tall; 319 pages.…

Hardcover. 8vo. pp. viii, 500, lii. engraved frontis. portrait. 19th century half calf, gilt back (rubbed). First Edition.

Hardcover. Zustand: Good. First edition. 6 volumes bound in 3. London: F.G. Moon, 1842-1849. First edition. Folio (23 13/16" x 16 7/8", 605mm x 429mm): [full collation available upon request]. With 250 plates in toto, of which six are title-pages, 2 are maps, 1 is a portrait of Roberts, and 120 are half-page. Bound in half red morocco over red pebbled buckram boards. On the spine, 5 raised bands. Author and title gilt to the second panel, number gilt to the fourth. All edges of the text-block gilt. Boards rubbed at the extremities. Significant dampstain to the real board of volume I. Tailband of volume I lifting. Foxed throughout, with sporadic dampstaining and soiling. Repair to the top edge of plate "Sabaste, Ancient Sumaria" in volume I. Tear to the lower edge of pp. 5/6 in volume IV. Repaired tear extrending from the fore-edge to the title-page of volume V. Volume VI with persistent water damage. Top edge of "Cairo, Looking West" infilled with card. Library label to the heel of each spine. David Roberts (1796-1864) was the first professional artist of the West to visit and document the Near East without a patron, connection to a military expedition, or missionary motives. In his youth, Roberts had apprenticed as a house painter in his hometown of Edinburgh, and, with proven technical skill, he secured a contract with a traveling circus as a theatrical scene painter. Throughout his decade in the trade, Roberts simultaneously exhibited his landscape, architectural, and historical paintings throughout Europe was able to support himself as a full-time fine artist by 1829. After a stint in Spain, Roberts refocused his interest on the Eastern Mediterranean and North Africa and set sail for Alexandria in 1838. For eleven months, Roberts traveled up the Nile River, across deserts and mountains, through Egypt and the Holy Land, to arrive in Jerusalem on Easter 1839. Roberts recorded his impressions of landscapes, temples, ruins, and people in three sketchbooks and more than 272 watercolors. As he says in his preface for The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, "I may not have done them justice, but few artists of my standing could afford more time, and I daresay few could have produced more in the same number of days." As the first British artist to sketch the monuments of Ancient Egypt, Roberts was well aware of the stir his drawings would create in London. According to John Ruskin's Praeterita, Roberts's drawings "were the first studies ever made conscientiously by an English painter, not to exhibit his own skill, but to give true portraiture of scenes of historical and religious interest." The colossal subjects and broad vistas were ideally suited to Roberts's background in the theatre, and his depictions were dutifully transferred to the stone by Louis Haghe. Haghe was recognized as the most prolific lithographer of his time; he had moved to England to establish himself as specialist of the hand-tinted lithograph, and his sensitive handling of the levigators and abrasives imparts a delicate range of tonality and preserved the spontaneous quality of Roberts's original images. Of the prints, Ruskin notes that "they are faithful and laborious beyond any outlines from nature I have ever seen." Originally published in 41 parts over 7 years in large folio, the set was available to subscribers in a deluxe hand-colored format mounted on card, proofs in portfolio, and a single-tint option (as in the present example). A testament to the publication's staying power, the quarto edition was released in 1855, and, with plates reduced by photography, the set maintains the grandeur of the previous decade's folios. To the present-day, Robert's Holy Land endures as one of the most desirable and coveted travel and plate books in the history of fine printing. Cataloged by G.R. Murdock.…

Hardcover. Zustand: Very Good. 6 volumes bound in 3. London: Day & Son Lithographers to the Queen, 1855-1856. First quarto edition. Quarto (11 1/4" x 8 3/16", 287mm x 208mm): Volume I: binder's blank, [6] (dedication, blank, list of subjects, 3pp. history of Roberts's travels) 1 2-35 [4] (blank, 2pp. armorial ensign of Jerusalem, explanation of the title-page vignette). With a lithographed frontispiece, a lithographed title-page, and 42 tinted lithographs, each with an explanatory page of text. Volume II: [2] (list of subjects, blank) 1 2-3 [2] (blank, explanation of the title-page vignette). With a lithographed title-page and 42 tinted lithographs, each with an explanatory page of text. Volume III: [1] (list of subscribers) 1 2-3. With a lithographed title-page, 1 lithographed map, and 36 tinted lithographs, each with an explanatory page of text. Volume IV: [2] (list of subscribers, blank) 1 2-9 [1] (blank). With a lithographed title-page and 42 tinted lithographs, each with an explanatory page of text. Volume V: [2] (list of subjects, blank). With a lithographed title-page, 1 lithographed map, and 42 tinted lithographs, each with an explanatory page of text. Volume VI: [1] (list of subscribers). With a lithographed title-page and 37 tinted lithographs, each with an explanatory page of text. With 250 tinted lithographed plates in toto. Bound in lapis buckram boards with the armorial ensigns of Jerusalem gilt to the boards of each volume. On the spine, title gilt to second panel and regions described in the volume gilt to the fourth. All edges of the text-block gilt. Light rubbing to the extremities. Cracking to the hinges, skillfully repaired where necessary. Foxed and toned. Dampstaining to the upper fore-corner of the frontispiece and engraved title page. Gift inscription, "S. Abington Veesey / from her beloved Father / 1867" to the recto of the flyleaf in each volume. Conservator's ticket to the rear pastedown of volume I, completed in manuscript "Oct 1990." David Roberts (1796-1864) was the first professional artist of the West to visit and document the Near East without a patron, connection to a military expedition, or missionary motives. In his youth, Roberts had apprenticed as a house painter in his hometown of Edinburgh, and, with proven technical skill, he secured a contract with a traveling circus as a theatrical scene painter. Throughout his decade in the trade, Roberts simultaneously exhibited his landscape, architectural, and historical paintings throughout Europe was able to support himself as a full-time fine artist by 1829. After a stint in Spain, Roberts refocused his interest on the Eastern Mediterranean and North Africa and set sail for Alexandria in 1838. For eleven months, Roberts traveled up the Nile River, across deserts and mountains, through Egypt and the Holy Land, to arrive in Jerusalem on Easter 1839. Roberts recorded his impressions of landscapes, temples, ruins, and people in three sketchbooks and more than 272 watercolors. As he says in his preface for The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, "I may not have done them justice, but few artists of my standing could afford more time, and I daresay few could have produced more in the same number of days." As the first British artist to sketch the monuments of Ancient Egypt, Roberts was well aware of the stir his drawings would create in London. According to John Ruskin's Praeterita, Roberts's drawings "were the first studies ever made conscientiously by an English painter, not to exhibit his own skill, but to give true portraiture of scenes of historical and religious interest." The colossal subjects and broad vistas were ideally suited to Roberts's background in the theatre, and his depictions were dutifully transferred to the stone by Louis Haghe. Haghe was recognized as the most prolific lithographer of his time; he had moved to England to establish himself as specialist of the hand-tinted lithograph, and his sensitive handling of the levigators and abrasives impa. …