willmott robert aris editor (11 Ergebnisse)

Decorative Cloth. Zustand: Good. No Jacket. Second Edition. 299 numbered pp; HB. Pages: clean, ivory, textblock detaching from spine; front hinge sprung, rear hinge starting, a.e. tanned/dusty. Cover: dk green, black/gilt artwork + gilt titles front/spine; moderate shelfwear, extremities well worn through, head tattered.

Hardcover. Zustand: Good. Good hardcover. Front hinge cracked. Name inside front cover and on front endpaper. Pages browned, clean text. Corners worn and bent. Design inlaid on front cover. Fraying to edges of spine. Spine faded. Gold gilt on outer edges of pages.

Hardcover. Zustand: Very Good. No Jacket. In Very Good Condition With An Inscribed Date Of 1892 But Could Be As Early As 1865, No Copyright Date Given.Minor Foxing To Early Pages , Frontispiece Is Tissue Protected Though Other Plates Are Not. Blocked Poetry In Red Borders Throughout. Inscription On Ffep. Block Edges All Gilt. Rich Green Embossed Boards With Title And The Word Illustrated Blocked In Gilt Over An Ornate Pattern. Gilt Title Block On S[Pine Also . Beveled Boards With Gentle Bumping To Tips And Head And Tail. A Lovely Addition To The Book Shelf.

Zustand: Very Good. 3rd edition. Decorated cloth gilt, VG+. xvi+399pp, bevelled boards, all edges gilt, finely bound by Edmonds & Remnants to a design by John Sliegh with Sliegh's mongram at the base of the spine, occasional light foxing, cloth a little rubbed, a superior copy. A nicely produced poetical anthology, in a fine Victorian trade binding. 1265 grams.

Hardcover. Zustand: Good. 1859 edition leather bound with raised bars to spine rubbed edges + marbled end papers.

1865, Later Edition. (16mo) Very good. 445pp. Frontispiece, illus. Gilt decorated, green buckram - blind stamped - shows minor damage to head. A.e.g. Rear hinge tender. Illustrations by Corbould. Translated by Edward Fairfax.

Cloth. Zustand: Very Good. Myles Birket Foster; H. N. Humphreys (illustrator). A beautifully illustrated new edition of this collection of poetry from Oliver Goldsmith. New edition. Illustrated with a colour frontispiece and numerous colour vignettes throughout. A collection of poetry by novelist and poet, Oliver Goldsmith, who is best known for works such as 'The Deserted Village', 'The Traveller' and 'The Hermit', all of which appear in this collection. Edited by Robert Aris Willmott, an English cleric and author. Illustrated by Myles Birket Foster, a British illustrator, watercolourist and engraver, and Henry Noel Humphreys, a British illustrator, naturalist, entomologist, and numismatist. In the original red cloth binding with gilt. Externally, smart with light rubbing to the extremities and fading to the spine. Small splits in the cloth to the head and tail of the spine with the odd small mark to the boards. Internally, firmly bound. Pages are very bright with the odd small spot or handling mark. Very Good. book.

New edition. Illustrated with One Hundred Engravings, Drawn bt Eminent Artists, and Engraved by the Brothers Dalziel. 20.5cms x 15cms x 3cms. All edges gilt. Pp.384, 100 engraved illustrations, prize message to front free endpaper, small bookseller's label (H & C.Treacher, Bristol) to inside front board. Brown bevelled gilt decorated boards, spine sunned, wear to top and tail of spine and corner tips. G+.

Leather. Zustand: Good. Birket Foster; H. N. Humphreys (illustrator). First edition. A first edition of this collection of the poetry of Oliver Goldsmith with illustrations, a presentation copy inscribed by the editor. First edition. Inscribed by the editor to the front free endpaper in presentation to a Miss Harman, dated December 14th 1858. Illustrated throughout with forty engravings, many of which are in colour. A collection of the poetry of Oliver Goldsmith, an Anglo-Irish poet, novelist, playwright, and hack writer who produced literary works in a variety of genres, and is regarded among the most versatile writers of the Georgian era. With titles such as: The Traveller, The Hermit, and The Gift to Iris, amongst others. Edited by Robert Aris Willmott, an English cleric and author. Illustrated by Myles Birket Foster, a British illustrator, watercolourist and engraver, and Henry Noel Humphreys, a British illustrator, naturalist, entomologist, and numismatist. Bound by Edmonds & Remnants. In the original tooled crushed morocco binding. Externally, smart with rubbing to the extremities and light fading to the spine. The odd small mark to the boards. Internally, generally firmly bound due to gutta-percha binding, with some pages to the centre loosening and page 73/74 detached but present. Pages are very bright with the odd small spot. Light spotting to the first and last few pages with light age toning to the endpapers. Bound by Edmonds & Remnants. Good. signed by author. book.

Full Cranberry Morocco. Zustand: Light edge and Corner Wear. Zustand des Schutzumschlags: No Dust Jacket. First British Edition. Raised bands on spine, gilt panels. Intricate cover designs in gilt.Spine is a bit darkened, All edges gilt. Illustrated by Holman Hunt, J.D. Watson, J. Wolf and others. Engraved by the Brothers Dalziel. Light foxing on some pages, not affecting text or illustrations. Wide margins. A very nice example of Victorian bindings.

Finely bound example of Willmott's compilation of the great nineteenth century poets. Octavo, bound in full pebbled morocco with gilt titles and tooling to the spine in six compartments within raised gilt bands, central gilt emblem and fleuron cornerpieces within triple gilt ruling to the front and rear panels, gilt turn-ins and inner dentelles, marbled endpapers, all edges gilt, decorated with a concealed fore-edge painting of a maritime scene, illustrated with one hundred and thirty engravings. In very good condition. The term 'fore-edge painting' can refer to any painted decoration on the fore-edges of the leaves of a book, such as was not uncommon in the 15th and early 16th centuries, particularly in Italy. The term is most commonly used, however, for an English technique quite widely practiced in the second half of the 17th century in London and Edinburgh, and popularized in the 18th century by John Brindley and, in particular, Edwards of Halifax, whereby the fore-edge of the book, very slightly fanned out and then held fast, is decorated with painted views, or conversation pieces. The edges are then squared up and gilded in the ordinary way, so that the painting remains concealed while the book is closed: fan out the edges and it reappears. The technique was practiced by a few other English binders in the late 18th and 19th centuries, and a certain number of undoubted examples survive.