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Published by The White Signature, 2015
ISBN 10: 0957590032ISBN 13: 9780957590038
Seller: WorldofBooks, Goring-By-Sea, WS, United Kingdom
Book
Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Published by The White Signature, 2015
ISBN 10: 0957590040ISBN 13: 9780957590045
Seller: WorldofBooks, Goring-By-Sea, WS, United Kingdom
Book
Paperback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Used offers from US$ 1.18
Published by White Pine Press Signature Editions, 1996, 1996
Seller: Longhouse, Publishers & Booksellers, Brattleboro, VT, U.S.A.
Broadside One of 50, 11 x 17. Quite attractive all around broadside with illustration. Beautifully balanced on the sheet. Ideal for mounting and framing.
Published by [ENGLISH: "Haaken Gulleson, sculptor", in Swedish. Illustrated in black & white. Gulleson was a Swedish painter and workshop leader in the early 16th century. His signature is found on six sculptures in southern Norrland. He has long been considered to be solely a sculptor, but recent research has seen him as a painter with a workshop. Stapled as issued, printed wrappers, fine.]
Seller: Hatt Rare Books ILAB & CINOA, Hägersten, Sweden
Klammerhft., dek. omslag. Gott skick. Stockholm, Statens historiska museum, 1968. 8:o. [48] s., inkl. 19 planschblad i svartvitt. Haaken Gulleson död efter 1520, var en svensk målare och verkstadsledare. Haaken Gulleson samverkade med flera idag till namnet okända skulptörer. Han bodde i byn Fläcka i Enångers socken och Gullesons signatur återfinns på sex skulpturer i södra Norrland. Haaken Gulleson har länge i litteraturen ansetts vara skulptör, men den senaste forskningen har sett honom som verkstadsledare och målare. I Haaken Gullesons verkstad utvecklades en speciell stil som blandade äldre, romanska stildrag med den samtida gotiken. Resultatet blev skulpturer av hög kvalitet. Den mest kända skulpturen av Haaken Gullesons verkstad är Anna själv tredje i Enångers gamla kyrka, signerad och daterad 1520. Andra kända skulpturer är en liten madonnabild i Bollnäs kyrka, en signerad madonnabild i Forsa kyrka och altarskåp i Njutångers kyrka, Bjuråkers kyrka och på Hälsinglands museum. Den tidigare i särklass mest uppmärksammade skulpturen, den större Bollnäsmadonnan, har på senare tid av forskningen avskrivits från Haaken Gullesons verksförteckning, vad gäller skulpturen, dock anses att skulpturen är målad av Haaken Gullesons verkstad. Platsen där han bodde och verkade finns ännu kvar i Fläcka by.
Published by [ENGLISH: - - - "Haaken Gulleson and his Workshop. A contribution to the Study of Late Medeival Sculpture of Northern Sweden", in Swedish. Richly illustrated in black & white. Gulleson was a Swedish painter and workshop leader in the early 16th century. His signature is found on six sculptures in southern Norrland. He has long been considered to be solely a sculptor, but recent research has seen him as a painter. Sewn as issued, printed wrappers, very fine.]
Seller: Hatt Rare Books ILAB & CINOA, Hägersten, Sweden
Häftad, tryckta omslag. Gott skick. Hudiksvall, Hälsinglands Fornminnessällskap, 1956. 8:o. 104 s. Rikt illustrerad. Med litteraturförteckning. Haaken Gulleson var en svensk målare och verkstadsledare i början av 1500-talet. Han bodde i byn Fläcka i Enångers socken och hans signatur återfinns på sex skulpturer i södra Norrland. Haaken Gulleson har länge ansetts vara skulptör, men den senaste forskningen har sett honom som verkstadsledare och målare. Haaken Gulleson står för vår enda individuella medeltidskonst. Den mest kända skulpturen av hans verkstad är Anna själv tredje i Enångers gamla kyrka, signerad och daterad 1520. Andra kända skulpturer är en liten madonnabild i Bollnäs kyrka, en signerad madonnabild i Forsa kyrka och altarskåp i Njutångers kyrka, Bjuråkers kyrka och på Hälsinglands museum. (Gammal hälsingekultur. Meddelanden från Hälsinglands Fornminnessällskap 1956.).
Published by Published by S.R. Publishers Ltd, Wakefield, 1969 (reprint of 1898 original). Red cloth boards, gilt lettering to spine under mainly white dustwrapper. 9ins x 5.5ins, [viii], 283pp plus 9pp plates. Previous owners signature to front pastedown (under the flap of the dw). Dw creased to head of spine and a liitle browned. VG / G+., 1969
Published by S.R. Publishers Ltd, Wakefield, 1969 (reprint of 1898 original). Red cloth boards, gilt lettering to spine under mainly white dustwrapper. 9ins x 5.5ins, [viii], 283pp plus 9pp plates. Previous owners signature to front pastedown (under the flap of the dw). Dw creased to head of spine and a liitle browned. VG / G+.
Published by [ENGLISH: - - - Sewn as issued, pictorial wrappers in colour. Very fine. With Grate's signature to title. Poems illustrated with photographs in black & white.]
Seller: Hatt Rare Books ILAB & CINOA, Hägersten, Sweden
Häftad, dek. omslag i färg. Fint skick. Med Grates namnteckning på förtitelsidan. Lund, Bo Cavefors bokförlag, 1976. Liten 8:o. [36] s. Dikter och svartvita fotografier i förening.
Published by Grey Spider Press [for] White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Near Fine. Limited Edition. Single poem printed recto measuring 16 x 11 inches. The poem is printed in black; Hansen's collection of Chinese seals, or chops, are printed in red, along with their meanings printed in black. Lower left corner slightly bumped, now mellowed. Corners sharp, Signed by Hansen in his calligraphic style. Of an edition limited to 50 copies, this is hand-numbered copy number 6. A bright, presentable copy of the poet-translator's poem, an explication of his Chinese chops, vibrantly printed on Ingres-Fabriano paper by Chris Stern and Jules Remedios Faye at their renowned Grey Spider Press. Scarce. Broadside is now housed in a removable, clear, archival sleeve with acid-free backing.
Published by White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Near Fine. Limited Edition. Single poem printed recto on heavy stock measuring 11 x 22 inches. Monochromatic illustration by Wendy Mark. Top right corner bumped; slight striation at top left corner. Corners sharp, Signed by the poet and initialed by the artist, both in pencil. Of an edition limited to 50 copies, this is hand-numbered copy number 1. A bright, presentable copy of St. John's poem with his bold signature beneath his printed name. Artist and printmaker Wendy Mark is best known for her collaborations with poets: other than St. John, she's illustrated works by Charles Simic, Mark Strand, Paul Muldoon, et al. Scarce. Broadside is now housed in a removable, clear, archival sleeve with acid-free backing.
Published by Grey Spider Press [for] White Pine Press Signature Editions, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Near Fine. Limited Edition. Single poem printed recto, in red ink, on heavy stock measuring 10.5 x 15 inches. Hieroglyph-like imagery accompanies the free-form typography. With two light stains on either side of the colophon (please see photo). Corners sharp; withal, a bright copy. Signed by Brandi. Of an edition limited to 50 copies, this is hand-numbered copy 4. A bright, presentable copy of Brandi's poem, vibrantly printed by Chris Stern and Jules Remedios Faye at their renowned Grey Spider Press. Scarce. Broadside is now housed in a removable, clear, archival sleeve with acid-free backing.
Published by White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Near Fine. Akio Saito (illustrator). Limited Edition. Single poem printed recto on heavy stock measuring 9.25 x 13 inches. Broadside illustrated with Akio Saito pen-and-ink reproduction with his chop in red. With slight crimping at top edge. Corners sharp, Signed by Shiffert in full, along with her name in Japanese characters. Of an edition limited to 50 copies, this is hand-numbered copy 3. Shiffert's poetry is marked by her abiding affinity with nature and spartan imagery. She studied under Roethke at the University of Washington, and was then drawn, increasingly, to Japan and Japanese poetry. In 1963 she moved to Kyoto. Her poetry was published widely, along with her translations of Japanese poetry and a groundbreaking study of Buson. A bright, presentable copy of Shiffert's poem, now housed in a removable, clear archival sleeve with acid-free backing, Scarce.
Published by White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Fine. Joan Lyons (illustrator). Limited Edition. Single poem printed recto on heavy stock measuring 11 x 14.75 inches. Broadside illustrated with a Joan Lyons montage presenting South Seas imagery. Corners sharp, Signed by both Alvarez and Lyons in full. Of an edition limited to 50 copies, this is hand-numbered copy 4. An autobiographical poem by the Dominican-American poet-author, using the lightly-clad Tahitian women in a Gauguin print, hanging in her grandmother's dining room, as the catalyst for rumination on the potential futures for women, among other themes. A bright, presentable copy of Alvarez's poem, handsomely printed. Now housed in a removable, clear archival sleeve with acid-free backing. Scarce.
Published by White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Near Fine. Lois Eby (illustrator). Limited Edition. Single poem printed recto on heavy stock measuring 11 x 17 inches. Monochromatic brushwork illustration by Lois Eby. Slight bump to lower right corner, now mellowed. Corners sharp, Signed by the poet and the artist, both in pen. Of an edition limited to 50 copies, this is hand-numbered copy number 2. Occasionally David Budbill (1940-2016) wrote under the pen name Judevine Mountain or even East Judevine Mountain, the former being self-described as "a hermit poet and crank who lives in a remote mountainous area of northern Vermont." A bright, presentable copy of his poem with Budbill's signature as Judevine beneath the printed name. Artist Lois Eby, who was married to Budbill, contributed the calligraphic flourish that frames the poem. Scarce. Broadside is now housed in a removable, clear, archival sleeve with acid-free backing. .
Published by Printed by Mowbray and Co, Oxford, 1896, 1st edition. Half leather binding with white cloth boards. Gilt lettering to front cover. 8.25ins x 6.75ins, [viii], 164pp. Free endpapers browned. Previous owners signature to front pastedown. Also an old antique shop sticker (with price of one pound, one shilling). Top front corner worn, otherwise a VG copy of a scarce work in the original form., 1896
First Edition
Printed by Mowbray and Co, Oxford, 1896, 1st edition. Half leather binding with white cloth boards. Gilt lettering to front cover. 8.25ins x 6.75ins, [viii], 164pp. Free endpapers browned. Previous owners signature to front pastedown. Also an old antique shop sticker (with price of one pound, one shilling). Top front corner worn, otherwise a VG copy of a scarce work in the original form.
Published by White Pine Press Signature Editions, NP, 1996
Seller: Long Brothers Fine & Rare Books, ABAA, Seattle, WA, U.S.A.
Art / Print / Poster First Edition Signed
Single Sheet Printed Recto. Condition: Fine. Kazuaki Tanahashi (illustrator). Limited Edition. Single poem printed recto on heavy stock measuring 16.5 x 20 inches. Broadside illustrated with Kazuaki Tanahashi brushwork. Corners sharp, Signed by both Hirshfield (in full) and Tanahashi (as "Kaz") in pencil, with the latter adding "1996". Of an edition limited to 50 copies, this is hand-numbered copy 3. A spare nature-poem that evokes a Buddhistic worldview, exquisitely enhanced by Tanahashi's abstract wash. Hirshfield, a chancellor emerita of the Academy of American Poets, has published nine or ten poetry collections and two collections of essays. Master calligrapher Tanahashi studied under Shunryu Suzuki. A pioneer of the one-stroke genre, that may well be the technique presented here: A bold work in which the action of the stroke continues to convey that dynamism. A bright, presentable copy of Hirshfield's poem, handsomely printed. Scarce. .
Published by Paris, Maisonneuve et Cie, Éditeurs; Avec les types Orientaux de La Revue Orientale et Américaine, chez Madame Veuve Bouchard-Huzard; 1874, 1876 and 1878. --- Foretitlepage, Titlepage; Pages (49*: 'Première Séance, . . .') - 583 (+1 p.: 'Placement des Planches #1-#57'). / Foretitlep., Titlep.; 4 confusingly* numbered p. (5), 6-32, 33-47, 48; pages (5)-532. / Foretitlep., Titlep.; p. (5)-68, (I)-CXCIV [=1-194]. - Brown mid-20th century library-cloth bindings with white shelf-signatures at upper spines and trace of removed lib.-labels at lower spines., 1878
Seller: C O - L I B R I , Bremen - Berlin ; Deutschland / Germany ., Berlin, Germany
8vo.(ca. 21 x 14 x 10 cm; ca. 2,4 kg.). *** FIRST EDITIONS, 3 VOLUMES COMPLETE; WITH 59 OF 62** PARTLY FOLDED, MULTI- OR DOUBLEPAGE-, LITHOGRAPHED AND/OR COLOURED PICTORIAL AND TYPOGRAPHIC PLATES. INITIALLY DEVOTED TO JAPANESE STUDIES, THE CONGRESS PROJECT WAS QUICKLY EXTENDED TO OTHER FIELDS OF ORIENTAL STUDIES in the face of the growing interest of the world scholarly community (Egyptian, Assyriological, Semitic, Indian, Iranian and Dravidian, Neo-Hellenic and Armenian studies, Tartar, Indochinese and Oceanian); the 1st 'Congress' at the Sorbonne in Paris from September 1 to 11, 1873, attracted over 1.000 registrants from more than twenty countries who, for the most part, knew each other only through the circulation of their works; the second 'Congress' took place in London just one year later. . . CONTENT: 1) 'Découvertés d'Antiquité préhistoriques dans la Province de Kawatsi, (Japon)'; 2) 'Antiquité de la Province de Kawati[!]'; 3)-6) 'Ancien Miroir[s] japonais'; 7) 'Les Couleurs des Japonais; 8) 'Monnaies japonaises'; 9)-37) Monnaies d'Or; 38) 'Aiguière, conservée dans la Pagode Hau-ryô zi'; 39) 'Aigière d'Argent de la Collection Seillière'; 40) 'Inscription du temple de Ha-se'; 41) 'La grande Déesse Ten-Syau-Dai-Zin (fac-similed'un dessin original japonais)', [42]) 'Les trois types japonais', 43) 'Carte du pays de Tesiho', 44)-46) 'Ethnographie kourilienne, types Aïno 3 pl. de tirages photoglyptiques ovales montés sur papier'(missing!)', 47) 'Les Trois Soirées de la Poésie japonaise'', 48) 'Poésies du Man-yó-siu [Man yo shu]', [49]) 'Problème des beaux-fils', 50)-51) 'La plante Ai (Indigo des Japonais)', 52) 'Fossiles japonais', 53) 'Texte japonais (style épistolaire)', 54) 'Vocabulaire comparé des langues finno-japonaises', 55) 'Esquisse de la carte préhistorique de l'Asie', 56)-57) 'Instruments en pierre des sauvages de l'Océanie', 58) 'Fragment du Rituel de Nebkat', [59]) 'Inscription Suisienne de Koul-Firaoun', 60) 'Inscription Carthaginoise de Sulci', 61) 'Stèle de Saba (Inscription Himyarite), Arabie', 62) 'Manuscrit arménien de la Bibliothèque Nationale'. - *) THE PAGINATION OF VOLUME I AND VOLUME II STARTS CONFUSINGLY, but is explained in the footnote of pages (5)-6/32 [1 sheet!] in volume II: ''La liste des membres et souscripteurs de la Première Session . . . a pris un tel accroissement, . . ., que les trois feuilles [=48 pages] que nous avions reservées en tête du premier volume pour la publication de cette liste, se sont trouvées trop étroites pour la contenir. Nous nous sommes donc vus dans la nécessité de la renvoyer à la fin du troisième volume.''[=''The list of members and subscribers of the First Session. . . took such an increase, . . ., that the three sheets [=48 pages] that we had reserved at the beginning of the first volume for the publication of this list, were found to be too narrow to contain it. We therefore saw ourselves in the need to send it back to the end of the third volume.''] Therefore Volume I starts with page #49 and it seems to be nothing but a reference to that number of 48 ommitted pages that the very first 4 pages of volume II - with a general introduction to the edition incl. the footnote mentioned above - are numbered ('5'), '6-32', '33-47' and '48'. The text of volume II then starts with page (5). Although the introduction states the number ''67 planches'' the list of 62 is definitely complete and confirmed by the indexes (the amount of '67' may result of a singlewise counting of multipage plates which are counted as one in the plates' index. - The verso of all 3 titlepage wear old round library-stamps of the 'Institut für vorderasiat[ische] Altertumskunde Berlin' and younger official deletion-stamps, the same marks appear on page (5) in volume II. --- **) BESIDE THE MISSING PLATES 44-46 THE SET IS COMPLETE AND IN BEST CONDITION.
Published by Printed by T. Bensley, Bolt Court, London for J.White, at Horace's Head, Fleet St, 1801, 1st edition. Contempory (or near contemprary) half leather binding with marbled boards. 12.5ins x 10ins, l, [6pp], 302pp plus frontis and 39 sepia printed plates. Previous owners signature to verso of frontis.There are old repairs to the verso of the frontis, pps 9/10 and 59/60. There is a small amount of loss to the margin of plate 4. Lightly foxed throughout. Marbled boards rubbed. Bottom corners very worn. Hinges re-inforced with fabric. A complete and attractive copy of this scarce first edition. VG., 1801
First Edition
Printed by T. Bensley, Bolt Court, London for J.White, at Horace's Head, Fleet St, 1801, 1st edition. Contempory (or near contemprary) half leather binding with marbled boards. 12.5ins x 10ins, l, [6pp], 302pp plus frontis and 39 sepia printed plates. Previous owners signature to verso of frontis.There are old repairs to the verso of the frontis, pps 9/10 and 59/60. There is a small amount of loss to the margin of plate 4. Lightly foxed throughout. Marbled boards rubbed. Bottom corners very worn. Hinges re-inforced with fabric. A complete and attractive copy of this scarce first edition. VG.
Published by Large 4°: [10] title hand-written in pencil, 3 mounted black and white photos, 1 mounted postcard, circa 200 signatures in different colours, 1 mounted original postal stamp, 1 wax seal, 1 paper seal, 15 mounted unused postal lables, 2 mounted newspaper; originally bound with a string (Very Good, slighty stained, wrappers with small tears
Book
Genève, Switzerland: 1914-191 A unique documentation of original photographs, autographs, different stamps, tickets and seals, all referring to the International Prisoners-of-War Agency, originally hand-bound together, has been made by the members of the Red Cross of Genève for four years, during WWI. This unique collection, originally bound together with a string, includes originally mounted photographs with autographs and stamps by the leading figures of the International Prisoners-of-War Agency in Genève, about 200 signatures of the members of the organisation, mixed with numberless official stamps, regarding post, packages and transportation, as well as samples of original stickers and other official material. The three black and white photos showcase among others Gustave Ador (1845 1928), the third president of the International Committee of the Red Cross, and Adolphe Chenevière, (18551917) Swiss novelist, short story writer, and literary scholar. All the phots are accompanied with original autographs and three official staum also includes a pasted down contemporary postcard, showing the Agency for Prisoners of War, surrounded by flags of the Swiss cantons, a mounted newspaper article announcing the death of Adolphe Chenevière, (18551917) and the reception of the Federal Council Gustave Ador, who was elected by Parliament to be the Swiss President for 1919, but retired from the Federal Executive at the end of his year of office. Signed are about 200 Red Cross envoyeurs and officials, in different pens, sometimes accompanied with dates. The signatures are mixed with various stamps in English, German and French, related to the prison camps in countries such as Turkey, Belgium, Russia, France, Germany, Austria, and others. The unused mounted labels were used for the prisoner post. The International Prisoners-of-War Agency (IPWA) in Genève (Agence internationale des prisonniers de guerre (AIPG)) was founded at the beginning of WWI, in 1914, as an office of International Committee of the Red Cross (ICRC). On October 15t914, oneeks after the beginning of WWI, the first central office for prisoners of war was established on the initiative of Gustave Ador. The agency required lists of names of all the prisoners of war and soon it became the central office for the POW post, statistics, medical help and supply. It was soon receiving up to 16,500 letters per day and housed 1,200 volunteers. The headquarters were at the Musée Rath in Genève. The office reopened its headquarters during W.