style william (22 Ergebnisse)

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

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

Softcovers. Zustand: Good. First Edition. 1905. First edition. [ii], 140pp. and a photographic portrait of McGonagall. William Topaz McGonagall (1825-1902) was a Scottish poet. He gained notoriety as an extremely bad poet who exhibited no recognition of, or concern for, his peers' opinions of his work. This book is fictional autobiography of McGonagall, written in his own style. The book is bound in the original thin card covers with titling and an illustration on the front cover. The book is in good condition with expected signs of age and use. The covers have shelf wear with soiling and some staining and pieces are missing from the top front corner and bottom front and rear corners. The original spine has been replaced by a previous with a strip of brown paper that also covers about 1/2" of the front and rear covers. There a nicks and small pieces missing from the edge of the covers and a tear of about 1/2" on the bottom edge of the rear cover. The contents are secure and clean apart form a few small marks and moderate foxing to the endpapers and first and last few pages, including the title-page. There is light curling to the corners of the pages and some of them are dog-eared. There is no inscription. The book is in an old home-made but removeable plastic cover.

Hardcover. Zustand: Very Good. 2nd Edition. Xxix, 162 Pp. Full Straight-Grained Green Morocco, Tooled Sides And Back, Gilt, Gilt Edges And Turns, An Exceptionally Fine And Elaborate Binding In The Style Of Roger Payne. Old Auction Record Tipped In, With Further Auction Notes Below. Large, Elaborate Engraved Bookplate Of Charles Walker Andrews (1861-1946), Noted Bibliophile, Member Of The Grolier Club. Inscription, Circa 1801, On Top Of Title Page, From Two Females, To Miss Maria Brownejohn, Perhaps Their Teacher.

Hard Cover. Zustand: Good. First Edition. Hardback, full calf. 29.5 x 19.5cm. [xx], 483pp, [36]. Printed in black letter. Spine relaid and label replaced. A firm binding. A few contemporary marginal annotations. Stamps from previous owner's a firm of solictors, on the front end-papers. Earlier ownership details on title page. A little browning and marginal marking but generally clean.

Hardcover. Zustand: Very Good. First edition. Folio. [20], 1-483, [37] pp. Eighteenth-century calf with black borders on the boards, boards top and bottom edges with a gold fillet, spine in six compartments with a black leather label lettered in gold, gold rules on the spine. Completing the title page: "Most of which time the late Lord Chief Justice Roll gave the rule there. With necessary tables for the ready finding out and making use of the matters contained in the whole book. And an addition of the number rolls to most of the remarkable cases. W & M Law Library, "Narrationes Modernae, or, Modern Reports Begun in the Now Upper Bench Court at Westminster". A lawyer's reports on decisions handed down by two judges during the middle of the seventeenth century in England. An informative legal and historical record of the court during the Commonwealth. Rubbing to the leather on the joints and to the corners. A nineteenth-century bookplate on the front pastedown, a few ink underlines.

Leather. Zustand: Poor. None (illustrator). First edition. The very scarce first edition of this mid seventeenth century legal work from William Style, best known for authoring this work, and working as a barrister at Inner Temple. In this work, Style discusses the practice of common-law, the proceedings of the upper-bench, and criminal and civil matters. Style authored this work while Sir Henry Rolle served as Chief Justice of the King's BenchESTC Citation No. R33821. Pages 286 and 287 mispaginated, as called for.With the register [2], B3, A4 [8], a4, D4, B8, C7, D-Z8, 2A4. While the first part of the register does not match that provided by the ESTC, catch-words correspond with one another, and this appears to be complete.Faint ink inscriptions to front and rear blanks.An exceptionally scarce first edition, offering first hand insight into the legal structure of England in the mid seventeenth century. In a calf binding. Lacking back strip. Boards detached. Significant rubbing to board perimeters. Closed tear to calf of rear board. Inscriptions to front and rear blanks. Text-block separated in twelve locations, with remaining gatherings working loose, and weakly held. Pages significantly age toned, with handling marks and residue throughout. Instances of minor worming throughout, occasionally affecting text. Tide marks to tail of first thirty pages. Poor. book.

Hardcover. Zustand: Very Good. First and only edition. 2̊ [20], 483, [37] pp. Includes index and with a list of "Books Printed or Sold by Will. Leak." to rear paste-down. In a contemporary full sheep, blind-ruled and titled direct. Re-backed and cornered and with sewn end-bands head and tail. Title page lined and with edges supported, and free endpapers sympathetic replacements. First few leaves with slight worming, not affecting text. William Style was one of the law reporters forced to cease publishing his law reports in Law French and he voices his criticism in the preface thus: "I have made these reports speak English, not that I believe they will be thereby more generally useful, for I have been always and yet am of opinion, that that part of the common law which is in English hath only occasioned the making of unquiet spirits contentiously knowing, and more apt to offend others than to defend themselves; but I have done it in obedience to authority, and to stop the mouths of such of this English age, who, though they be confessedly different in their minds and judgment, as the builders of Babel were in their language, yet do think it vain, if not impious, to speak or understand more than their own mother tongue." Reports printed in black letter. ESTC R7640. Wing S6099.

Two pages, 12mo, bifolium, aged but good condition. Text: "I have rec[eive]d the enclosed information from St Ives. I should be obliged to the Govt. if they would place at my Disposal this Office. | However do not let me stand if the way of any object of the Govt beyong requesting that they will not dispose of the employment in favour of any Cornish Connection [against?] my application, as it would be the means of [implying?] my [or any][?] with the [Boro[ough?]." See Image of second page. The unknown recioient has docketed the last page with the name of the writer, the date, a summary of the content, and the date of his reply (11th Feb.). Note: A fascinating Wikipedia entry includes the information that he was MP for St Ives in 1830, and a friend of Thomas Moore and Lord Byron. Also his "dissipation".

Zustand: Good. Acrylic on canvas, 22 x 29 cm; Framed, 29 x 37 cm.

Signed limited edition of Venus and Adonis, number 634 of 1,000 copies signed by the editor Sidney Lee. This facsimile of the first edition of 1593 is finely bound together with facsimiles of the first editions of Lucrece (1594), The Passionate Pilgrim (1599), and the Sonnets (1609). The facsimiles are taken from copies held at the Bodleian Library and the Christie Miller Library at Britwell. For each of the four works, Lee (1859-1926) provided a bibliography and "a full and learned introduction incorporating a detailed account of its publication history and a descriptive census of copies, as well as a full survey of literary sources and analogues" (ODNB). Such bindings are named in honour of the famous Regency miniaturist Richard Cosway. They were initially executed in the first decade of the 20th century by Rivière & Son for Henry Sotheran, with the miniatures by Carolin Billin Currie. The Bayntun bindery, which acquired Rivière in 1939, continued to bind books in this style until the late 20th century. 5 works bound in 1, quarto (245 x 193 mm). Later 20th-century blue crushed morocco by Bayntun-Rivière, spine lettered in gilt, gilt rose motif to compartments and framing boards, enclosing central inset hand-coloured miniature of Shakespeare under glass surrounded by gilt frame, wide turn-ins with gilt rules, roll, and corner piece, cream silk doublures and flyleaves, fore edge gilt. Housed in a blue cloth slipcase. A fine copy.

Zustand: Near Fine. First edition. First issue with the suppressed woodcut of the Marquis of Steyne on page 336, with "Mr. Pitt" for "Sir Pitt" on page 453, and the rustic heading on page one. Octavo (8 5/16 x 5 1/8 inches; 210 x 130 mm.). xvi, 624 pp, with thirty-eight black and white steel engraved plates with tissue guards and one hundred and fifty woodcuts in the text by Thackeray. Expert paper repair to pages [xv] and xvi. Plates generally a little toned, still a near fine and very desirable copy of this classic. Bound c. 1920 by [Sangorski & Sutcliffe] stamped signed "Bound for Harry F. Marks. London" on lower turn-in. Full crimson crushed levant morocco over beveled boards, covers elaborately bordered in gilt, decorative gilt corner-pieces, each with a gilt triple flower design inlaid with green morocco petals. Spine with five raised bands, elaborately tooled in a similar floral design with four large flowers with tan morocco inlays, lettered in gilt in compartments. Inside front cover with large rectangular dark blue morocco inlaid panel, decorative gilt corner-pieces surrounding an oval gilt frame with a very fine hand-painted portrait miniature set under glass of the young Thackeray - possibly by Miss C.B. Currie. Double gilt-ruled board edges, highly decorative gilt turn-ins, blue watered silk endleaves (with a small chip at the fore-edge of the front leaf), all edges gilt. Minimal rubbing to joints (front joint touched up) otherwise near fine. Housed in a felt-lined red cloth clamshell case, spine with leather label, lettered in gilt. Considered by its author to be a novel without a hero, Vanity Fair follows the path of the social climbing Becky Sharp as she seeks to improve her position within the British social strata set around the time the Napoleonic Wars. One of literature's most important early iterations of the female anti-hero, Miss Sharp helped to expose the truth that women were not merely domesticated angels but could be just as ambitious and driven as their male counterparts; and her foil Amelia reveals that even an apparent paragon of femininity was imperfect. A contemporary Victorian reviewer noted "Thakeray's theory of characterization proceeds generally on the assumption that the acts of men and women are directed not by principle but by instincts.There is not a person in the book who excites the reader's respect, and not one who fails to excite his interest. The morbid quickness of the author's perceptions of the selfish element, even in his few amiable characters, is a constant source of surprise. The novel not only has no hero, but implies the non-existence of heroism" (Contemporary Atlantic Monthly review). It was first published as in 19-part monthly serial from 1847 to 1848 with illustrations by Thackeray, and in 1848 published in book form with the subtitle "A Novel Without a Hero." A literary tour de force, transformed into a popular film starring Reese Witherspoon. Harry F. Marks, was a renowned early twentieth century New York City bookman and the Black Sun Press' distributor in America. Marks had many books specially bound for his clientele by Sangorski & Sutcliffe. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novel-when two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this technique-each developing their own desirable take on the aesthetic-referred to as "Cosway style." Grolier, 100 English, 87. Van Duzer 231. Wolff 6699. Near Fine.

235 x 164 mm. (9 1/4 x 6 1/2"). 84 pp., [1] leaf. ELEGANT CONTEMPORARY DARK BLUE MOROCCO, EXTRAVAGANTLY GILT, IN THE STYLE OF THE DOVES BINDERY, gilt, covers with strapwork frame, daisy cornerpieces, two medallions at center in an intricate Celtic knot design, raised bands, spine compartments with guilloche tooling, gilt lettering, turn-ins ruled in gilt with strapwork loops at corners, all edges gilt and gauffered with rows of dots. Three fine capitals engraved by Noel Rooke and Eric Gill after Edward Johnston. Printed in red and black. Tidcombe DP-18; Tomkinson, p.56; Gill 307. For the binding: Tidcombe, "The Doves Bindery," Appendix III, pp. 458-65. Mild offsetting from turn-ins (as uaual), one opening with barely perceptible horizontal darkening along tail margin, but A BRIGHT AND BEAUTIFUL COPY INSIDE AND OUT. This Doves Press version of Shakespeare's Sonnets is based on the text of the first edition of 1609 and is printed in celebration of the 300th anniverary of their first appearance. The volume is a very pleasing example of the "Book Beautiful" as envisioned by press founders T. J. Cobden-Sanderson and Emery Walker: a desirable text rendered with reserved elegance and exquisite taste in Walker's stately Doves type. Cobden-Sanderson was a perfectionist, and finding that he had inadvertently printed an extraneous comma in the first sonnet, he covered over by hand every extra comma in every copy, using an early form of correction fluid. The correction is just visible in our volume (after the word "aboundance"). The engraving Gill did on the initials here is among the very earliest of his recorded work. Our binding is not signed, but was clearly inspired by Doves Bindery examples. The navy crushed morocco, the elaborate but tasteful design, and the precise tooling are all characteristic of Doves work. While the tools and pattern do not match any of those in Tidcombe's comprehensive study of the bindery, the open petals in the cornerpieces are similar to Doves tools, just as the use of strapwork is common in Cobden-Sanderson bindings. Tidcombe documents counterfeit Doves bindings in her book, and notes several common features. Like ours, all of the fake bindings are on Doves Press books and all are bound in dark blue morocco. But they differ from our binding in that they all use a stamp-signed Doves Bindery signature. She considers unsigned bindings in the Doves style copies, rather than forgeries. All that being said, it seems possible that our binding was created by an artisan who had studied with Cobden-Sanderson and who was much influenced by his bindings. ONE OF 250 COPIES ON PAPER (and 15 copies on vellum).