Rogers bruce designer (14 Ergebnisse)

Hardcover. First edition. 71 pages. 22 x 15 cm. Uncut, iIntroduction by Gari Melchers. References. A well-known painter and director of Fine Arts of the Carnegie Institute, Mr. Beatty presents a convincing and lucid treatise on the fundamental principles of art. Limited edition, one of 950. WARDE 163. Orig. navy cloth with brown cloth spine. Front cover and backstrip lettering in gilt. Fine.…

Hardcover. Zustand: Fair. No Jacket. Dust jacket missing. Cover and binding are worn but intact. A reading copy in fair condition. Text is clear of markings. Binding is loose, all intact. Secure packaging for safe delivery.

Hardcover. 157 pages. Uncut with rubricated title page. Limited edition, copy 315 of 510. WARDE 168. Lovely copy. Orig. black cloth. Fine in nicked very good slipcase.

Hardcover. 180 pages. 21 x 14.5 cm. With an Introduction written for this edition by Edith Wharton. This edition designed by Bruce Rogers. Limited edition, one of 2000 copies. WHARTON 165. Sharp, bright copy, rubbing to backstrip extremities. Owner inscription free front endpaper. Orig. brown cloth and beige boards, paper spine label. Very good.…

Hardcover. Zustand: Near Fine. 1st Edition. One of 475 (500) copies designed by Bruce Rogers and printed in Italian Old Style on BR wove paper with occasional use of type ornaments for decoration. Quarter scarlet buckram with printed spine label, mustard paper-covered boards. A very good to fine copy. `Sturge Moore's Roderigo of Bivar is another endeavour to convey the character of the text by choosing an antique type. Setting it in an antique manner, all lines flush at the left, with liberal use of capitals and a few appropriate type ornaments, gave to it something of a Spanish flavor, which the red and yellow of the covers accentuated'. (Bruce Rogers).…

First edition thus. 75 leaves. 8vo.[22 cm.]. Printed at the Riverside Press for Houghton Mifflin. Designed by Bruce Rogers American typographer and book designer (1870-1957). Limited edition of 440 copies of which this is 331. Printed on verso only. Cloth chipped and worn at head and heel of spine else a very good clean copy. A nice production. Blind-ruled brown cloth over brown paper covered boards. Paper label.…

Hardcover. 75 pages printed recto only. 22 x 16.5 cm. Limited edition, copy 121 of 450 copies printed by the Riverside Press. WARDE 101. Uncut, bright, very fresh copy. Backstrip darkened at center. Orig. brown cloth, tan cloth spine. Near fine in worn slipcase lacking back panel. Rogers, Bruce (illustrator).…

Zustand: Near fine. First Edition. Signed limited first Rackham edition, one of 2020 copies signed by fine press book designer Bruce Rogers. The distinctly English atmosphere of this classic bucolic tale notwithstanding, this edition was first published in the United States and not published in England until 1950. Only two years before this edition, Updike called Rogers "the most exquisitely sensitive designer of books that this country, or perhaps any country, possesses." The stories of timid Mole, practical Rat, wise Badger, and intemperate Mr. Toad remain excellent bedtime reading. A beautiful gift edition. 11.25'' x 8''. Original quarter tan cloth, orange patterned boards. In original green slipcase. Top edge gilt, other edges uncut. Illustrated by Rackham with 16 magnificent mounted color plates. 245, [1] pages. Signed by Rogers on limitation page at rear. Book slightest toning to spine, else fine; slipcase repaired at joints. Signed.…

Hardcover. Zustand: Near Fine. xxii, [2], 941, [2] pp.; thick folio (19.25 x 14 in.), red Legal Buckram cloth, gilt spine title, t.e.g.; fore- and bottom edges untrimmed; slipcase (possibly a later custom slipcase). Set in Frederic Goudy's Deepdene Italic, Forum and Old Style types. One of 975 copies printed by A. Colish on off-white paper made by the Worthy Paper Association containing 75 percent white linen rag content; bound by the Russell-Rutter Company. Decorated with headbands, tailpieces and initials throughout; title page bordered with type ornaments or flowers. "These, together with the type selected, are intended to give a slightly oriental flavor to the volume, indicative of the Syriac and Hebrew sources of the text on which the King James translators based their classic version" (William Targ, in "The Making of the Bruce Rogers World Bible," pp. 10-11, quoting Bruce Rogers in the prospectus). Each cover of this massive volume is gilt stamped with a design by Rogers showing the symbolic eagle associated with the pulpit; the upper cover eagle is surrounded by four Old Testament signs, while that on the lower cover is surrounded by the symbols of the Four Apostles. The second lectern Bible designed by Rogers, and with its publication, "he has perhaps achieved his crowning masterpiece . for this work is a major contribution to the glory of American art" (ibid.," p. [20]). A remarkably well-preserved, near fine copy, its contents clean and bright, its covers with only a few scattered and faint short scratch marks; slipcase is unevenly sunned (not affecting the book) with light wear at one edge and some scratches on one side.…

Hardcover. Zustand: Fine. Hardcover. One of 390 copies, initialed by Stanley Morison, the British typographer and historian of printing, at the end of the preface. This magnificent book is among the most famous examples of 20th century fine printing, and one of the finest volumes designed and produced under the supervision of Bruce Rogers. Fra Luca Bartolomeo de Pacioli (sometimes Paciolo) (1445 - 1517) was an Italian mathematician, educator, and Franciscan friar. He wrote one of the earliest compendia of mathematical knowledge to be reproduced on a printing press. He popularized the system of double accounting for keeping financial records and is often known as the father of modern accounting. He was a close friend of Leonardo da Vinci. The text is drawn from the Franciscan friar's larger text De Divina Porportione. The Grolier Club had previously published Albrecht Dürer's and Geofroy Tory's alphabets in editions designed by Bruce Rogers in 1916 and 1927. This beautiful work is included in A Century for a Century as Number 34 in its celebration fine printing in the 20th century. Although the book was printed at the University Press in Cambridge, England for The Grolier Club, it was very much the project of Bruce Rogers. It was noted by John Dreyfus, the esteemed book designer and historian of printing, that this book by Rogers was unsurpassed for its format, paper, inks and presswork being in such impeccable harmony. Joseph Blumenthal, the American printer, typographer, and book historian called the title page of the book as one of true grandeur, unique in the whole history of the printed word. Bound in vellum backed brown and cream patterned paste paper covered boards with gilt titling to the spine and gilt top edge. Printed in red and black on Batchelor's handmade paper and illustrated throughout with Pacioli's alphabet. Frontispiece of Fra Luca De Pacioli printed by Emery Walker Ltd. Illustrations, frontispiece, and title page are protected with tissue guards. With the bookplate of Julia Parker Wightman (1909-1994). She was a prominent American bibliophile and collector, and one of the first women to be admitted to The Grolier Club. Her collection was bequeathed to the Morgan Library. A fine copy lacking the glassine cover and slipcase. Measures 8.25 x 12.25 inches. 100 pages plus preface and index. PRI/102924.…

First edition. 58 pages in text. Folio, 36.5 x 28 cm. Limited edition, copy 6 of 50 designed by Bruce Rogers, printed on Japan vellum: the first work produced by Rogers for the Riverside Press. One hundred and eight photogravures from the original designs. Lettered tissue guards, title printed in red and black with English and Italian text. Alexander met John Ruskin through a family friend; impressed by her spirituality he purchased her manuscripts, and in 1885 published her work, Roadside Songs. After Ruskin's death she published this work. Interior contents very fresh, clean and bright. Covers mottled with stains. WARDE & HASS 6. Orig. full vellum in fleur de Lys gilt designs. Aeg, Very good.…

Hardcover. XXXIV pages. Folio, 45 x 29 cm. Limited edition, copy 205 of 220. This 11th century epic poem (chanson de geste) based on Roland and the battle of Roncevaux Pass is the oldest surviving major work of French literature. Known as one of Rogers' favorite books, a superb example of his elusive style, printed in two columns, illustrated with seven stained glass window designs colored by hand. The type fonts are a lettre batarde and Civilite types imported from France, the title page printed in red and black with panel design of thistles against a blue background. Brian Stillwell and Whitehead Library (Antrim, Northern Ireland) color bookplates front cover pastedown. Small birthday inscription free front endpaper dated 1930. Interior contents very fresh and clean. Quarter vellum, fleur-de-lis decorated boards, vellum tips. Fine.…

Cloth. Zustand: Very Good. A very solid copy of the magnificent 1949 Bruce Rogers-designed Holy Bible. Printed by A. Colish ("from designs by Bruce Rogers"), only 975 copies issued. A thick, suitably imposing elephant folio, elegant in its dark-red cloth and beautiful gilt-designed panels. Tightly-bound and VG, with mild darkening along the panel edges and light scuffing at the rear panel. Top-edge gilt, 942 thick-rag, double-columned pgs. Internally immaculate, with no writing or markings of any kind. Also includes a clean, Near Fine example of the companion volume, "The Making of the Bruce Rogers World Bible", written by William Targ ands also published by World. …

No. 95 OF 300 COPIES. 232 x 145 mm. (9 1/4 x 5 3/4"). 3 p.l., 159, [1] pp. Edited by William Augustus Brown. Original light brown buckram-backed black paper boards. Printed in red and black. Kelly 2. See also Blumenthal, pp. 63-73. Extremities slightly rubbed, spine with faint mottling, light offset to front flyleaf and half title (from something formerly laid in), otherwise excellent, the text printed on very bright, very fresh paper, with deep impressions of the type. The work of one of America's greatest book designers, this is the attractive Riverside Press edition of FitzGerald's lush and lilting translation of a celebrated 11th century classic collection of evocative short verses. A work that appealed strongly to Victorian sensibilities, the "Rubáiyát," first printed anonymously in 1859, became immensely popular and went through a great many editions. The present connoisseur's edition was designed by Bruce Rogers and printed damp, with deep impressions of the type. The Indiana-born Rogers (1870-1957) was one of the leaders of the American typographic renaissance in the early 20th century. According to Blumenthal, "his greatness lay in the felicity of his brilliant manipulation of type and ornament, in his command of all the basic processes and their consummation in beautiful books--noble books that can be read with pleasure and owned with pride--not objets d'art to be stored behind glass." The present edition is no exception, with its restrained but attractive typography and thick, creamy paper.…