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Bodleian Library, Oxford, first edition, 1951, 1951
Printed wrappers, 8vo, 7 pp + 24 full-page plates. "Gold-tooled bookbindings are those in which the leather or vellum is decorated by impressingpatterns with a hot tool on gold leaf, a technique which,probably derived from the Moors, appears to have been in use inAragon in the first half of the fifteenth century and to have beenintroduced into Italy through Ferdinand of Aragon, King ofNaples. By 1480 gold-tooling was fully developed in Italy, for bythen Italian bookbinders were producing gold-tooled bindings forMattbias Corvinus, King of Hungary, who had married a daughterof Ferdinand of Aragon, and by the end of the century Italian toolsand designs were being used and imitated in France. Italianbinders held their pre-eminence in gold-tooling until about 1535when Parisian binders began the great series of bindings made forJean Grolier.Thereafter France far outstripped allother countries in western Europe and, with rare intervals, hasmaintained this supremacy ever since. Gold-tooling came to England during the reign of Henry VIII from France and Italy, butno distinctively English style was evolved until the seventeenth century. The bindings reproduced in this booklet have been chosen toillustrate some of the many styles of gold-tooling current in Europeup to the eighteenth century, but the choice has been restricted,with one exception, to those bindings which have not previouslybeen published." - from the introduction. Rear wrapper creased and with a short tear, otherwise Good. Artikel-Nr.: ABE-04851.
Bodleian Library, Oxford, first edition, 1951, 1951
Printed wrappers, 8vo, 7 pp + 24 full-page plates. "Gold-tooled bookbindings are those in which the leather or vellum is decorated by impressingpatterns with a hot tool on gold leaf, a technique which,probably derived from the Moors, appears to have been in use inAragon in the first half of the fifteenth century and to have beenintroduced into Italy through Ferdinand of Aragon, King ofNaples. By 1480 gold-tooling was fully developed in Italy, for bythen Italian bookbinders were producing gold-tooled bindings forMattbias Corvinus, King of Hungary, who had married a daughterof Ferdinand of Aragon, and by the end of the century Italian toolsand designs were being used and imitated in France. Italianbinders held their pre-eminence in gold-tooling until about 1535when Parisian binders began the great series of bindings made forJean Grolier.Thereafter France far outstripped allother countries in western Europe and, with rare intervals, hasmaintained this supremacy ever since. Gold-tooling came to England during the reign of Henry VIII from France and Italy, butno distinctively English style was evolved until the seventeenth century. The bindings reproduced in this booklet have been chosen toillustrate some of the many styles of gold-tooling current in Europeup to the eighteenth century, but the choice has been restricted,with one exception, to those bindings which have not previouslybeen published." - from the introduction. Wrappers a little darkened, Good. Artikel-Nr.: ABE-35306.
Bodleian Library, Oxford, first edition, 1951, 1951
Printed wrappers, 8vo, 7 pp + 24 full-page plates. "Gold-tooled bookbindings are those in which the leather or vellum is decorated by impressingpatterns with a hot tool on gold leaf, a technique which,probably derived from the Moors, appears to have been in use inAragon in the first half of the fifteenth century and to have beenintroduced into Italy through Ferdinand of Aragon, King ofNaples. By 1480 gold-tooling was fully developed in Italy, for bythen Italian bookbinders were producing gold-tooled bindings forMattbias Corvinus, King of Hungary, who had married a daughterof Ferdinand of Aragon, and by the end of the century Italian toolsand designs were being used and imitated in France. Italianbinders held their pre-eminence in gold-tooling until about 1535when Parisian binders began the great series of bindings made forJean Grolier.Thereafter France far outstripped allother countries in western Europe and, with rare intervals, hasmaintained this supremacy ever since. Gold-tooling came to England during the reign of Henry VIII from France and Italy, butno distinctively English style was evolved until the seventeenth century. The bindings reproduced in this booklet have been chosen toillustrate some of the many styles of gold-tooling current in Europeup to the eighteenth century, but the choice has been restricted,with one exception, to those bindings which have not previouslybeen published." - from the introduction. Wrappers slightly darkened, Good. Artikel-Nr.: ABE-35309.
München F Bruckmann (), 1920
57 S. Mit lithograph. Titel u. 16 auf der Handpresse in den Text eingedruckten lithograph. Illustr. Gr.-8vo (ca. 26 x 21,5 cm). OHPgt. mit VDeckel-Illustr. Nr. 130 von 150 numerierten Exemplaren der Normalausgabe auf echt Bütten (GA 200), im Druckvermerk SIGNIERT von Max Slevogt. - Rümann 108 c. - Erste Ausgabe des Märchens, das der Kunsthistoriker Fritz (eigtl. Friedrich) Wichert (1878-1951), Direktor der Städtischen Kunsthalle Mannheim während des Ersten Weltkriegs für seine Kinder schrieb u. das Slevogt u.a. zu seinen "Zauberflöten"-Illustrationen inspirierte. - Rücken angestaubt, Deckel etwas gebräunt; gutes Exemplar. Artikel-Nr.: 65767.
(San Francisco), The Grabhorn Press, 1927., 1927
For the general style: U. Merkl, Buchmalerei in Bayern in der ersten Hälfte des 16. Jahrhunderts (1999). A finely rendered miniature showing great detail in bright colours, highlighted with gold, depicting the Arrest of Christ, most likely from a diminutive book of hours. Surrounded by a bustling throng of Roman soldiers carrying spears and wearing halberds, Christ appears calm just at the moment when a soldier takes him captive. An elder of the Jewish Temple stands directly behind him, dressed in red. To the right stands Simon Peter, sword raised, having cut off the ear of the High Priest's servant, Malchus, who sits nursing his bleeding ear in the lower left corner of the composition. An earlier episode, Christ's Agony in the Garden of Gethsemane, when he learns that one of his disciples will betray him, appears in the background at left. A genre scene, with men working the fields and crossing a river on a narrow plank bridge, occupies the middle ground to the left of the main scene, and the towers of a castle or city the middle ground to the right.The general style recalls the art of the last generation of Ghent-Bruges painters, especially that of the famed Simon Bening. Though the anonymous artist owes much of his style to Bening's model, he was most likely German. The acidic palette, bright yellow juxtaposed with blue and lime green, and the facial types (remarkably expressive, even at this tiny scale) recall Nürnberg painters in the circle of Glockendon. It is worth remembering that Bening himself collaborated with several Nürnberg painters whose presence in Flanders is thus confirmed.With some fine superficial cracks and an occasional tiny abrasion (mostly near the edges), but generally in good condition. A lovely miniature of Christ's arrest, rendered in remarkably fine detail. Artikel-Nr.: 82NHM8O8K9DU.
London: George G. Harrap & Co. Ltd., 1932, 1932
Octavo. Original full limp vellum, titles and decoration to front cover gilt, top edge gilt. Housed in a cream card slipcase with the original printed labels laid down. Mild soiling to vellum, the usual slight cockling to vellum and text block, minor foxing to endpapers. An excellent copy. Colour frontispiece, 3 similar plates, and black and white illustrations in the text. Signed limited edition, number 232 of 570 copies signed by the illustrator. Latimore & Haskell p. 67. Artikel-Nr.: 102241.
London: George G. Harrap & Co. Ltd, 1932, 1932
Octavo. Original limp vellum, titles and decoration to front cover gilt, illustrated endpapers, top edge gilt. Housed in the original slipcase. Mild soiling to vellum, particularly along base edge, cockling to vellum and pastedowns, a few unopened pages. 55 mm loss to bottom edge of slipcase. A very good copy. Colour frontispiece and 3 similar plates, illustrations in the text, all by Rackham. Signed limited edition, number 114 of 570 copies signed by the artist, of which 550 were for sale. Hudson p. 172; Latimore & Haskell p. 67; Riall p. 176. Artikel-Nr.: 123239.
London: George G. Harrap & Co Ltd, 1932, 1932
Octavo. Original limp vellum, titles to front cover gilt, top edge gilt, others untrimmed, pictorial endpapers. With the original slipcase (with hand-numbered spine label). Housed in a custom made green quarter morocco, fleece-lined solander box. Endpapers cockled, vellum a little puckered at corners (both having occurred during the binding process: a common trait with this book). An excellent copy. Colour frontispiece and 3 colour plates, black and white illustrations in the text, by Rackham. Deluxe edition, number 318 of 570 copies signed by the artist. With a delightful original pen-and-ink and watercolour drawing by Rackham (signed and dated "Arthur Rackham 1932") on the limitation leaf, depicting the twelve year old Gluck opening the window to Southwest Wind, Esquire. Latimore & Haskell pp. 67-68; Riall p. 176. Artikel-Nr.: 113250.
N. pl., 1865
With 4 pen-and-ink drawings and 52 coats of arms, some smaller drawings interspersed. 1 leaf, 23 leaves with contents, 13 blank leaves. 12mo. Contemp. calf, gilt fillets and gilt inner dentelles, all edges gilt (rebacked with old spine laid down). N. pl., 1865. Charming gift album of delicately painted coats of arms, arranged two to seven on a page. On first flyleaf, there is the handwritten dedication "Rosa Moilliet from her loving sister E. Sophie Moilliet September 11th, 1865", with the drawing of a dog and two fowls. On the first leaf, another drawing shows a fantasy coat of arms made for the dog, flanked by two gentlemen, with a gilt banderole "Cave Canem" and the picture of the same dog above; underneath the text "Granted for deeds of valour done on the first of September 1865", in a different hand. Most of the colorful coats of arms are identified above in brown ink, i.e. Barclay, Trussell, Beauchamp, the See of Canterbury, the See of Worcester, Douglas, etc. The painter of these and of the drawings in between them was more than an amateur, they are exquisite, in brilliant colors and gold. They are possibly earlier than the date of the dedication suggests. MANUSCRIPTS: GENERAL ; GENEALOGY - HERALDRY ; Artikel-Nr.: 32515-515.
Venice, Nicolaus Jenson, 1478
Gothic letter. 48 lines. 2 cols. 269 (of 404) unn. leaves. One 9-line historiated initial and 23 smaller illuminated initials in burnished gold and colors, most of them with borders. Each page with many initials supplied in red and blue and with penwork decoration in red and dull purple; guide letters. Folio (319 x 231 mm). Old leather-backed marbled boards. In half morocco drop-box. From the libraries of Sir Thomas Phillipps and Harrison D. Horblit, and Kraus cat. 156, no. IV. Printed on vellum in red and black. Venice, Nicolaus Jenson, (before 6 May) 1478. Editio princeps of the Breviarium Romanum, a book containing the divine office designed for use by the clergy, preceded only by a few editions for specific monastic orders. The present breviary is in a much larger size than the average, indicating that it was designed to rest on a lectern. It is cited as being one of Jenson's typographic masterpieces, and one of the few books in which he used the Gothic rotunda typeface. The printing on vellum, the extensive use of red and black ink, the illuminated initials with their burnished gold, and generously employed penwork decorations, all work together to give this production the appearance of a neat manuscript. Although incomplete (lacking 6 leaves of index and calendar at the beginning, leaves a2, d1, e1, 3, a5, and the 124 leaves of the Proprium de Sanctis of which 51 of these missing leaves are preserved at the Victoria and Albert Museum, London, pressmark 87.F.13) it is a noble example of Jenson's exquisite printing.- A few leaves mutilated, some with loss of text, some repaired with vellum strips. - GW 5101; H 3896*; BMC V, 179; Goff B-1112; Pell 2922; IGI 2114; BSB-Ink B-889; BAVT (Vatican) B-472; Van Praet I, no. 69; Bohatta, Liturg. Bibliogr., 398. RELIGION / THEOLOGY ; INCUNABLES ; Artikel-Nr.: 32741-1288.
Berlin, Bard Marquardt, . 16 x 12 cm. Originalpergament mit Schliessbinden. (8), 64 S. Mit Bilder auf dunkles Papier geklebt, Fotobeilagen und Faksimiles. Gedruckt in rot und schwarz. EA. Eine Binde fehlt (von 4). Etwas berieben. Bindung etwas lose.l Schöne Jugendstil-Ganzpergamentausgabe in Gold bestempelt. Artikel-Nr.: 270306.
Adams B1802; Darlow & Moule, 8952; Voet 668. Plantin's lovely little miniature edition of the New Testament in the ancient Syriac language, probably published in this pocket-sized format for the convenience of students and other scholars. Plantin's son-in-law Franciscus Raphelengius, who had begun to establish his reputation as an orientalist when he helped prepare the Polyglot, added an appendix to this edition, giving unpublished variant readings from an important Cologne manuscript. The New Testament relates stories that would have first been told (and in some cases probably also written down) in Aramaic, the vernacular language of Palestine in Jesus's time. Syriac, another dialect of Aramaic, served as the vernacular language of much of the Middle East. The Syriac text therefore provides valuable clues to the Aramaic sources of the New Testament.In very good condition. A lovely little Syriac New Testament, well printed by Plantin. Artikel-Nr.: GCAEF267SQ0H.
Lippert'sche Buchhandlung (Max Niemeyer), Halle a.d. S., 1877
Halbpergament / Half Vellum. LII, 124 Seiten; Privateinband: Halbpergament mit Rückentitel in Gold, marmoriertes Überzugspapier und Vorsätze; Papier gebräunt - sonst gutes Exemplar; Kein Schutzumschlag. Guter Zustand. Artikel-Nr.: 019584.
S. Fischer Verlag, Berlin, 1906
Halbpergament / Half Vellum. 205 Seiten; Halbpergamenteinband mit Rückentitel und Deckelillustration in Gold, Kopfgoldschnitt; Goldfarbe leicht verblaßt, oberer Schnitt leicht angestaubt - sonst gutes Exemplar; Kein Schutzumschlag. Guter Zustand. Artikel-Nr.: 015580.
Hollstein (Dutch & Flemish) XXI, Aeg. Sadeler 392; Landwehr, Emblem books Low Countries 799; Praz, p. 518; STCN (5 copies). First edition printed in the Netherlands and first edition printed from the present plates, of an influential collection of emblems on the Eucharist, the Holy Cross, the popes and the worldly rulers of various nations.The present emblems cover a remarkable variety of subjects, both animate and inanimate, and are here crisply printed from the excellent plates newly made for the present edition. The work no doubt served many emblem artists as a model, and it was frequently reprinted both in Germany and in the Netherlands. With an index of the names of the princes and clergy represented, and an index of the emblematic mottos.With the edges of the frontispiece slightly tattered, not affecting the engraving, and an occasional very minor smudge, but still in very good condition. Artikel-Nr.: 6788.
Cf. Thieme & Becker XVI, pp. 208-209. A matching set of four lovely and delicate watercolour drawings, each depicting a young lady in a fancy German costume, drawn and painted on vellum by the Augsburg artist Catharina Sperling Heckel (1699-1741). She learned painting and drawing from her father, the Augsburg goldsmith Michael Heckel, engraving from Johann Ulrich Kraus, and married the engraver Hieronymus Sperling (1695-1777) in 1725. It is not clear whether she made these drawings shortly before or shortly after her marriage. She is best known for her ca. 1728 miniature portrait of Charles Edward Stuart (Bonnie Prince Charlie), the young pretender to the English throne. She never recovered from the birth of her first child in 1741, dying within a few weeks. Each drawing shows a young German lady wearing a long gown and a cap or bonnet, but one also carries a hat. The four drawings differ in the style of the gowns and other elements.In very good condition. With a few small chips in the paint of the frame. Lovely watercolour costume drawings of four young German ladies, perhaps from a court wedding in the free Imperial city of Augsburg. Artikel-Nr.: 9AHF2VYD4ZB1.
(Bad Kissingen?), 1745
With 4 full-page miniatures in ink and watercolor (the first sign. "Ioseph Omaus fecit. Kissingen") after fols. 1,9,24 and 31. Text in a calligraphic Gothic script, headings in red throughout, double rule page-borders. 20-24 lines. Calligraphical title sign. "E.W.", 48 unn. leaves (46v-48v blank, except for page-borders). 8vo (170 x 105 mm). Contemporary red morocco. In a contemp. pull-off leather case. (Bad Kissingen?), 1745. An appealing Bavarian Baroque manuscript prayer book on vellum, for private devotional use, illustrated with four ink and watercolor paintings by a local artist. The text contains prayers in German for morning and evening, various parts of the Mass, confessions, communion, and daily Offices, followed by the Litany of Loreto (reflecting the primacy of the Virgin in Bavaria); also included are prayers to St. Catherine, St. Barbara, St. Ignatius and St. Thomas Aquinas. The miniatures are painted in green, red, pink, blue, orange and yellow; the artist used a very fine brush for faces and hair, and employed pretty stippling techniques for clouds, clothing, sky, etc. Subjects: 1) Jesus being nailed to the cross by a carpenter, on a platform with Jacob's ladder, flanked by rose plants, quotations from the gospel of St. Mark and Genesis above and below in red ink; 2) St. Goar in heaven, on clouds with two cherubim, below him, framed by scrolls and leafy ornaments, two scenes from his life, as a hermit on the Rhine, and being cleared of the charge of sorcery by King Sigebert I of Austrasia; 3) Mary Magdalene, weeping in a verdant wilderness, holding the skull, supported by angels, cherubim watching above; 4) an angel in the heavens carrying a shield bearing the emblems of the Passion, the lamb (Christ) seated beneath attendant cherubim in clouds.- Binding: This charming manuscript is housed in its original slipcase and contemporary decorative red goatskin gilt. Sides gold tooled with border of festoons, windmill or petal tools at corner, central wreath oval with ribbon tie at tops and two hanging festoons at bottom, spine with gilt sun or flower tools in paneled compartments, green calf title label lettered "Katholisches Gebethbuch", gilt edges, marbled endpapers, pair of paper flyleaves. Slipcase: Original two-part pull-off case of mottled brown sheep, backstrip gold-tooled to match the binding, rust paper title label lined with blue decorative paper. - Occasional smudging, repaired short tear to Magdalene illumination, small abrasions to first miniature affecting face of the "carpenter", a few leaves a bit darkened; scuffing to joints, otherwise a very nice copy. MANUSCRIPTS: GENERAL ; Artikel-Nr.: 32926-1257.
Eugen Diederischs Verlag, Jena, 1920
Halbpergament / Half Vellum. 86 Seiten; Dieses Buch wurde in 300 numerierten Exemplaren in der Müllerschen Hofbuchdruckerei zu Karlsruhe gedruckt - hier die Nummer 224; im Druckvermerk von Hans Thoma signiert; schöner Halbpergamenteinband mit Rückentitel in Gold und Buchdeckel mit Kleisterpapierbezug, Farbkopfschnitt; Papier leicht gebräunt - sonst gutes Exemplar; Kein Schutzumschlag. 300 Exemplare. Vom Autor Signiert. Guter Zustand. Artikel-Nr.: 021554.
Bibl. Belg. III, pp. 614-618; Hiler, pp. 182; Praz, p. 307; B.A.M. Ramakers, De Const Getoond (2001). First issue of the first and only edition of an extraordinary record of texts, music and imagery from the greatest Dutch rhetoricians' contest, held in Haarlem in October 1606, and a masterpiece of the book arts in the opening years of the Dutch golden age: "the most extensive and most impressive in its genre" (Ramakers). The magnificent views of the processions show about 250 people, most dressed as allegorical, historical or religious figures, many in fantastic costumes. The chambers of rhetoric also put a great deal of artistic effort into the design and execution of their coats of arms, all shown here. The "rederyker kamers" were rather broader than the usual translation "chambers of rhetoric" suggests, concerning themselves not only with rhetoric but also with poetry, song, art and especially drama. The present book gives an unparalleled view of the work of these societies. With a water stain in the head margin throughout, often only faintly visible, and a couple pages foxed; the plates are printed on somewhat thin paper and are folded several times because of their size causing a couple false folds and creases, and an occasional minor tear along a fold; the water stain in the head margin occasionally touching the image, one plate with some smudges, and curiously in the plate of the procession of the chamber of Amsterdam the letterpress poem in the foot margin below the letterpress caption has been removed and replaced with blank paper. Still generally in good condition. Recased, as noted, with a couple small restorations to the top of the spine. A landmark book for drama, music, poetry, costumes, artistic heraldry, rhetoricians and book production at the dawn of the Dutch golden age. Artikel-Nr.: H97FLEVPD62A.
Alden & Landis 603/88; Borba de Moraes, pp. 640-641 ("very rare"); Sabin 57901; STCN (5 copies); Tiele, Bibl. 835; WorldCat (3 copies, incl. 2 the same); cf. Howgego, to 1800, G25. Rare first edition of the account of one of the most famous and one of the earliest Dutch voyages to South America, written by the captain of the smallest of the 2 ships that made up the expedition, Hendrick Ottsen. The 2 ships were called De Gulden Werelt and De Silveren Werelt ("The Golden World" and "The Silver World"), and they were fitted out by Admiral Laurens Bicker (1563-1606) and Pieter Gerritsz Ruytenburch for the purpose of trading with Guinea on the West coast of Africa and the Rio de la Plata in South America, with Bicker himself as the commander of the expedition and Cornelis van Heemskerk (1573-1618?), the brother of the famous Jacob van Heemskerk, as the "commies" (merchant) on De Silveren Werelt. It is the first printed account of a Dutch voyage to South America, and proved to be very important for later voyages, as the account includes a nautical chart and an extensive description of the harbour and city of Buenos Aires, founded only 20 years earlier, which is, as such, "one of the earliest descriptions of Buenos Aires" (Howgego).Although the first plate is numbered "2", the second plate (unnumbered) was apparently intended as plate 1. Plate 4, showing 2 natives of Rio de la Plata, is a sophistication (without number or caption), printed either from the heavily reworked original copper plate or from a copy engraved at a later date. It is printed on 18th-century paper, watermarked with a crowned "GR" (for George I, crowned Prince-Elector of Hanover 1708 and King of England 1714), vaguely similar to Heawood 3150, 3154, 3697, 3702 and 3715 (dated 1724-1776). Imprint on title-page shaved. Further in good condition and attractively bound. Artikel-Nr.: 23440.
Antwerpen, Ros Beiaard, 1974, 1974
Xenien-Verlag [c.1925]., 1925
Cosmopoli 1885, 1885
Leipzig, Kurt Wolff Verlag, 1914. 29 x 19 cm. Original vellum with coat of arms in gold and silver on blue. 236 p. Top gilt. Printed in 300 numbered copies with the blackletter type ascribed to Henric Lettersnider from the type collection of Joh. Enschedé & Zonen. Slightly soiled.l Noble, splendorous edition (in French) of the poetry written by Charles d'Orléans during his long years in British prisons (1415-1440) after the Battle of Agincourt. This book was printed only a few months before outbreak of the Great War. Artikel-Nr.: 259135.
G. Ricordi e C. [PN 117404], Milano, 1924
Large octavo. Full contemporary vellum with highly decorative borders stamped in gilt, titling gilt to spine and upper, patterned endpapers. [i] (half-title), [i] (copyright notice), 1f. (frontispiece), 1f. (title), 1f. (cast list), 1f. (scene description), 116 pp. Publisher's blindstamp (date indecipherable) to lower margins of initial leaves.First Edition of the third version. Hopkinson 9C. Schickling p. 344, 85.E.3Bound with Puccini's other one-act operas:- Suor Angelica Libretto di Giovacchino Forzano. Canto e Pianoforte (A) Lire 20.-. Aumento Compreso. [Piano-vocal score]. Milano: G. Ricordi e C. [PN 117406], [ca. 1924]. Large octavo. [i] (half-title), [i] (copyright notice), 1f. (frontispiece), 1f. (title), 1f. (cast list), 1f. (description of scenes), 98 pp. Publisher's blindstamp dated March 1924 ("3.24") to lower margins of initial leaves. Probable third version. Cf. Hopkinson 10B(c). Cf. Schickling p. 355-357, 87.E.2, 87.E.3.- Gianni Schicchi Libretto di Giovacchino Forzano. Canto e Pianoforte (A) Lire 20.-. Aumento Compreso. [Piano-vocal score]. Milano: G. Ricordi e C. [PN 117408], [ca. 1924]. Large octavo. [i] (half-title), [i] (copyright notice), 1f. (frontispiece), 1f. (title), 1f. (secondary half-title), 1f. (cast list), 1f. (scene description), 179, [i] (blank) pp. Publisher's blindstamp, dated January 1924 ("1.24") to lower margins of initial leaves. Title page not recorded in Hopkinson, but similar to 11B(a), the first separate Italian edition of the second version. Schickling pp. 363-64, 88.E.2.Each score with a frontispiece photograph of Puccini by Platinotipia Bertieri in Torino-Mentone with facsimile autograph signature and handstamps of C. Ceccherini & C. in Florence to preliminary leaves.Boards warped and slightly soiled. Frontispiece of Il Tabarro detached; occasional creasing to blank inner margins. A very attractive set overall. A singer's copy, with the parts of Giorgetta (Il Tabarro), Suor Angelica (Suor Angelica), and Lauretta (Gianni Schicci) underlined in red crayon, with some annotations and directions.Il Trittico is the collective title given to Puccini's three one-act operas Il Tabarro, Suor Angelica, and Gianni Schicci. This triple-bill was premiered at the Metropolitan Opera in New York on December 14, 1918. "The aesthetic unity of Il trittico is an indispensable premise to its formal unity because the structure of each opera is determined by the need to provide a coherence to the entire evening. Puccini succeeded in compressing the dramatic material, but faced the new problem of drawing together three different genres in one project: the 'dramatic', the 'sentimental' and the 'buffo' (in the broad sense of the word). He knew how to achieve an organic unity by using suitably varied tinte. The expressive violence of Il tabarro is startling; the delicate music and the nature of the drama in Suor Angelica are moving; and Gianni Schicchi is very amusing, even if the macabre element tarnishes the laughter." Gabriella Biagi Ravenni and Michele Girardi in Grove Music Online. Artikel-Nr.: 26631.
London: Henry Frowde, 1909, 1909
Octavo (184 × 121 mm). Quarter vellum, green cloth sides, titles lettered in gilt to black label to spine, floral decoration in gilt to spine. Gift inscription to front free endpaper, small split to lower front gutter, spine a little marked and darkened, a very good copy. A handsomely bound copy of this title first published in 1861, "an anthology so successful that, as J. W. Mackail wrote in the Dictionary of National Biography, 'it remains one of those rare instances in which a critical work has substantive imaginative value, and entitles its author to rank among creative artists'" (ODNB). The anthology includes lyrics and songs from Wordsworth, Keats, Shelley, Byron, and Tennyson, who originally suggested the project to Palgrave. Artikel-Nr.: 102942.
Idion, München, 1980
Buch. Hardcover. 2° 18 Bll. Facsimile, ohne Begleitheft. Original-(Ganz)-Pergamenteinband mit goldgeprägtem Rückentitel auf Holzdeckeln, full vellum-bound / full parchment, mit 3 Schließen in Form von Pergamentlaschen (durch Knebel zu schließen), im Original-Pappschuber. Sprache: Französisch, Nummer 30 von 950 (gesamt 1005) nummerierten Exemplaren. Pappschuber lichtrandig, die Ecken des Pappschubers am Rücken beschädigt (aber noch geschlossen), Buch selbst im Bestzustand, meisterhafter Einband in Pergament mit der besonderen Vorrichtigung zum Verschließen des Buches mittels dreier Laschen, die wie herkömmliche Schließen vom hinteren Buchdeckel zum vorderen geklappt werden, dort aber überlappen und mittels kleiner Knebel (wie Stifte, weißliches Naturmaterial) verschlossen werden 3520 Gramm. Artikel-Nr.: 140522727.
Amsterdam, S.L. van Looy, 1906. Original (light) honey-coloured full vellum with brown and pale blue decorations and lettering (batik) combined with lines and dots blocked in gold (signed by T[heo] N[ieuwenhuis]). All edges gilt. (10), 144 p. One of only 50 deluxe copies on mould-made paper by Van Gelder. First edition. Tiny dents around the H of Hofker's name on upper cover.l Fantastic deluxe binding executed in batik after a design by Nieuwenhuis. This magnificent edition, one of the pinnacles of Dutch Art Nouveau bookbinding, was distributed among friends and admirers of Hofker (1864-1945), a contributor to the periodical De Nieuwe Gids and a friend of many 'Tachtigers'. Nieuwenhuis specially painted the owner's monogram on the lower cover of the copies that were sold. In this case it is probably 'JU' or 'UJ' (it is a bit vague), but no corresponding name is known. Braches, Nieuwe Kunst Documentatie (31.05.11) cf. 1488:11 (13). A copy of the ordinary edition is added for comparison. It is much smaller, modestly bound in blue cloth, without portrait and with different initials and vignettes. Artikel-Nr.: 258030.