Search Results: Authors starting with F from Priscilla Juvelis

Paris: Editions de la Nouvelle Revue Francaise, 1931. One of 41 on Hollande Van Gelder from a total of 564; 4to, handsomely rebound in 3/4 rose morocco, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, joints rubbed else fine.

Paris: Editions de la Nouvelle Revue Francaise, 1928. One of 12 on Vieux Japon teinte, from a total issue of 607; 90pp; 4to; handsomely rebound in 3/4 dark green morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, near fine.

Lausanne-Bale: Editions Vineta, 1951. Copy on velin Bouffant, one of 3300 from a total issue of 3600; 4to; handsomely rebound in 3/4 claret morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original pictorial wrappers and backstrip bound in. A book-label or bookseller's ticket has been clumsily (and hence only partially) removed from a front fly-leaf, else fine. Illustrated with a frontispiece author-portrait reproduced after a crayon drawing and 15 photographs by Laure-Albin Guillot of various Paris locales, bound in at the rear.

Paris: Editions de la Nouvelle Revue Francaise, 1928. First Edition, one of 12 on Vieux Japon teinte from a total issue of 607; 4to; handsomely rebound in 3/4 dark green morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in. Very slight foxing here and there, else fine.

Paris: Editions de la Nouvelle Revue Francaise, 1929. First Edition, one of 12 on Vieux Japon teinte, from a total issue of 607: 4to; handsomely rebound in 3/4 dark green morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, near fine.

Paris: Editions de la Nouvelle Revue Francaise, 1928. First Edition, with original page of typescript by Fargue, hand corrected and signed, one of 12 on Vieux Japon teinte, from a total issue of 607. These 12 with an original typescript page by Fargue with his hand corrections in pencil (at least 17 words) and signed by him. 4to; 92pp; plus index, handsomely rebound in 3/4 dark green morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, near fine.

Paris: Editions de l'Astrolabe, 1947. First Edition, one of 150 on velin du Marais, from a total issue of 200 including 50 hors commerce, all on the same paper. 8vo, handsomely rebound in 3/4 plum morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, near fine. The twelve astrological devices that appear here as headpieces are taken from a calendar by Johannes Konigsberger (called Regiomontanus), published in Augsburg in 1539. The headpieces for the preface and postface are borrowed from a 17th- and a 16th-century book respectively.

[London, England]: EMH Arts [Eagle Gallery], 2001. Artist's book, one of 15 copies all on Velin Arches paper, each signed by the artist, Julia Farrer. Page size: 23-7/16 inches x 4-13/16 inches; 14 leaves printed and cut out. Bound: hand-sewn leporello style in original drab boards, housed in white linen sleeve and slipcase, all by Charles Gledhill, fine. Illustrated with original intaglio prints (hand-colored drypoints) by Julia Farrer, who also editioned the prints. The book has an architectural, pierced structure where a folded geometric image reflects and counterpoints a single poem. The text is printed letter press by Phil Abel at Hand & Eye Letterpress. Judith Thurman and Julia Farrer have collaborated to produce this homage to the memory of their friend, Kate Griffin. A visually stunning production from this collaboration of author and artist. Judith Thurman is the author of well-received biographies of Colette (SECRETS OF THE FLESH) and Isak Dinesen, as well as contributions to "The New… Read More

Paris: J. Lemonnyer, Libraire-editeur, 1883. First Thus, reprint of 18th century erotic poem. 8vo; handsomely rebound in 3/4 green morocco and marbled paper over boards, spine with gilt lettering, marbled endpapers, teg, original wrappers bound in,dampstains on margins of a few pages, occasional foxing, spine scuffed, about very good. Frontis with arms of Princesse de Lamballe, to whom the book dedicated, is printed in two states, black and sepia. The plates are after F. Leclerc in black and white.

Geneva: Pierre Cailler, 1956. First trade edition. 4to; handsomely bound in 3/4 dark green morocco and marbled paste-paper boards, spine with gilt lettering, marbled endpapers, t.e.g.; original pictorial wrappers, printed in gray, blue, and red, bound in, fine. Illustrated with 300 illustrations, both in the text and as full-page plates, 16 of the latter in color. These illustrations which were assembled by the publisher consist mostly of reproductions of various artists' work as well as numerous photographic portraits.This is the second volume of a survey of twentieth-century art and also the 38th of the collection "Peintres et sculpteurs d'hier et d'aujourd'hui.

New York: Charles Scribner's Sons, 1904. First Edition, first printing, inscribed by the author on the ffe, "To Mr. & Mrs. R. U. Johnson / with kindest regards / from Annie Fields. / Christmas 1894." 8vo; 216pp; brown gilt-stamped cloth, boards a bit bowed, tips and spine ends a bit rubbed, ex-libris of Robert Underwood Johnson on front pastedown, but generally very good+. Annie Fields (1834-1915), is cited in most references as an author, biographer, diarist, and literary hostess, wife of publisher James T. Fields and, later, companion to Sarah Orne Jewett. However, with the publication of HOW TO HELP THE POOR and her corresponding act of founding the Associated Charities of Boston and serving as its first director (1879-1894) and vice-president (1894-1906), she defined for herself an important place in the American history as a founder and key leader in the American social welfare movement. Robert Underwood Johnson (1853-1937), poet and editor, born in Washington, D.C. was raised and educated in… Read More

New York: The Viking Press, 1947. First Edition. 8vo; green wove cloth stamped in blind on front cover and lettered in gold on spine, pictorial dust jacket by Leo Manson, book very good with bottom of spine a little ruffled, jacket lightly used with some wear to spine ends, bottom edge with sprinkling of brown dots, ink name and date on inside front pastedown (covered by jacket flap). The author's first and only novel. Though her reputation lies in her writing on gastronomy and travel, M.F.K. Fisher is remarkable, whatever the genre, for her eye for the salient detail which illuminates character.

New York: Vincent FitzGerald & Co, 1997. One of 50 copies, all on Fabriano Artistico paper, each signed by the artist on the colophon. Page size: 4-7/8 inches x 4-7/8 inches; 31 individual leaves (cards) including "Joker" and 2 "Wild Cards," titlepage, and colophon. Bound: housed in red cloth clamshell box by BookLab with title printed in silver gilt on front cover, new. The calligraphy is by Jerry Kelly who has printed it letterpress at Kelly / Winterton Press. There are 59 etchings of body parts - some hand watercolored - by Susan Weil from her drawings that were blind-drawn on copper, a technique that Weil has used for more than 50 years. The double-sided cards can be shuffled and dealt in any pattern, which contributes to the humorous possibilities in the title pun. Further, the cards can be re-arranged by simply turning them over, creating a new figure. The simple line etchings become incredibly complicated upon closer inspection. Playful and sly, touching and always imaginative, Ms. Weil gives… Read More

New York: Vincent FitzGerald & Company, 1990. One of 40 copies, printed by Dan Keleher at Wild Carrot on paper made by Paul Wong at Dieu Donne. Housed in box made by David Bourbeau at The Thistle Bindery in peach and blue pastepaper, interior printed with musical notation of song cycle. Calligraphy by Jerry Kelly, Cassette by the noted Bolcom and Morris laid into the box, fine.

New York: Vincent FitzGerald & Company, 1983. One of an edition of 150 on Hosho paper, signed in pencil by author and illustrator, printed at the Wild Carrot Letterpress employing Palatino type. The title page calligraphy is the work of Jerry Kelly. The illustrations have been printed on Moriki paper at the Meriden Gravure Company. The edition is bound by Gerard Charriere and Carol Joyce. Page size 6 x 8 1/2". Bound: red linen with gray title label, title printed in silver, fine. Title page printed in red and black with publisher's monogram VFG. Illustrated with facsimiles of four drawings by Peter Thompson in pencil, pen and gray and green washes. Thompson's sensitive drawings are a wonderful complement to Rattray's memorable poetry.

New York: Vincent FitzGerald & Company, 2000. Artist's book, signed, limited edition, one of 50 copies, all on Apta Verge Royal paper by Richard de Bas, hand-numbered and signed in pencil by the artist, T. Kurahara and the translator, Zahra Partovi. Page size: 9-1/2 inches x 6-1/2 inches; 27pp; + colophon, with four separate suites of etchings by T. Kurahara, each measuring 9-1/2 inches x 38 inches when unfolded (6 folded leaves). Each of the four suites is on paper etched on the reverse - one in gold, one in deep brown, one in lighter brown, and one in brick. These are laid into the bottom of the custom-made blue cloth clamshell box each of the inner trays lined with color-field etch in gold with brick line on brown and reddish-brown with brick line on red. The blue cloth over boards clamshell box is lettered in palladium gilt on the spine with the title. The book is bound in blue cloth by Zahra Partovi. The binding is a long stitch technique using only one piece of thread - a periwinkle blue,… Read More

New York: Vincent FitzGerald & Company, 1983. One of 50 copies only on BFK Rives, signed by Beard on the colophon. Page size: 7 1/2 x 10 1/2 inches. Bound: loose in original wrappers, as issued, in publisher's clamshell box of green cloth and silver kid spine designed as a classic column by Gerard Charriere and Carol Joyce, fine. First edition of this previously unpublished manuscript by Sitwell; the original manuscript notebook is in the collection of Paul W. Motter. Mark Beard has created six color lithographs, plus one five-page black and white lithograph, pulled on Arches paper, each signed and numbered by the artist, for this book. Originally from Salt Lake City, Utah, Beard has had exhibitions at the Studio of Lowell Nesbitt, the Ericson Gallery, Utah Museum of Fine Arts and has won awards from the Henry Doll Foundation in New York and the Utah Museum of Fine Arts. His work is represented in many distinguished collections, among them: Harvard University and Yale University, The Chase Manhattan… Read More

New York: Vincent FitzGerald & Co, 1997. One of 20 copies, all on Antique JB Green and Japanese Gampi paper, signed and numbered by the artist in pencil on each of the 5 etchings. The names of the subject of each portrait is etched in the plate itself. The authors are: Gertrude Stein, James Joyce, Franz Kafka and Virginia Woolf. The artist is, of course, Matisse. Each etching measures 12-1/4 inches x 17 inches, fine. The etchings were printed by Lothar Osterburg and Vincent FitzGerald. Susan Weil's aesthetic predecessors are portrayed in these blind-drawn etchings created around the same time as BLIND MAN'S BLUFF. She has captured the key element in the features of each.

New York: Vincent FitzGerald & Co, 1993. Portfolio of etchings, one of 25 copies, each signed and numbered by the artist Judith Turner on the reverse, all on BFK Rives paper and paper from Paul Wong, Dieu Donne Papermill. Page size: 30 inches by 15 inches; 6 leaves. Bound: loose in green paper portfolio with the title in silver gilt on front panel by BookLab. The titlepage printing was letterpress by Daniel Keleher at Wild Carrot Letterpress with calligraphy by Jerry Kelly. Marjorie Van Dyke and Vincent FitzGerald accomplished the printing of the etchings. Twenty-four photographic images by noted architectural photographer Judith Turner were selected by the artist and laid out in horizontally on five rectangular sheets of paper. They were photoetched and produced images with softer lines than photogravure. The artist has noted that this process helps conceal the deterioration of the sculptures. The etchings were printed with black ink and then using chine colle color was added by adhering thin sheets… Read More

New York: Vincent FitzGerald & Company, 1999. Artist's book, signed, limited edition, one of 50 copies all on hand-made paper by Paul Wong at Dieu Donne Papermill, hand-numbered and signed in pencil by the translator, Zahra Partovi and initialed by the artist, Aleksandar Duravcevic. Page size: 9-5/8 inches x 6-1/2 inches; 16 separate leaves, + 4 leaves with two overlays, lithograph and etching on each over lithograph. The etchings were accomplished by the artist at D2 Press and the lithographs by Kelly Driscoll at D2 Press. The text is set in Bauer Bodoni and Feliciano and printed letterpress by Daniel Keleher at Wild Carrot Letterpress. Bound by Zahra Partovi in leporello style fold-out with wood panels at each end, housed in custom-made black cloth clamshell box by Priscilla Spitler, Hands On Bookbinding, title printed on gray label on front of box in red and black, fine. The text is printed 3 times: in black, in blind, and in gray, on three different papers. The images are also repeated on 3… Read More