Search Results: Authors starting with G from Priscilla Juvelis

Paris: J. Hetzel, 1846. First Edition. Page size: 10-1/2" x 7". (I) lxxx, 363pp; (II) xxxii, 380pp; in two text volumes; numerous vignettes + 212 illustrations in two plate volumes; contemporary quarter deep blue-green morocco over marbled boards, title and volume in gilt on the spine, marbled endpapers. Minor rubbing to the extremities, limited abrading to the marbling, causing loss in a few small areas, boards exposed at the corners, 1" band of discoloration to the front board beginning at ½" from the top edge and descending 8" but pronounced only near the top, impression from the half-binding of another volume on the front board of Volume III, hinges beginning to show on Volumes I and II, occasional foxing and minor discoloration. Gordon Ray in The Art of the French Illustrated Book describes this title as „something of a potpourri". The texts are by well-known writers including Balzac, Gauthier, Musset, George Sand, and the publisher, Hetzel. Although there are historical, geographical and… Read More

Sketchbook, signed by the artist "Geer" with her monogram on the front pastedown; oblong 8vo; 6 x 8"; 38 leaves with drawings on 23 leaves them (balance blank); mostly pencil, some crayon, one watercolor of a sunset and its reflection in the sea; original canvas binding which is worn, lacking portions of spine, first signature loose. The drawings and watercolor are fresh and bright. Grace Woodbridge Geer (1854-1938) was a successful portrait painter and teacher. Her paintings are in a number of museums and collections specializing in art by women. A Bostonian, she studied at the Massachusetts Normal Art School and the Lowell Institute, and with Tarbell, Triscott, Tompkins, and Vonnoh. Primarily a portrait painter, she also produced landscapes and taught art. She was a member of the Copley Society, the National League of American Pen Women and the Artists Guild. The first and earliest drawing in this sketchbook is captioned „A warm day" and dated July 25, 1894; it depicts a woman in a chair with a… Read More

Paris: nrf: Edition d'Ispahan, 1932. One of 1060 on Arches from a total issue of 1128. Small folio, handsomely bound in 3/4 red morocco with paste-paper over boards, gilt fillets, spine panelled, title and author in gilt, top edge gilt, original wrapper bound in, fine. Illustrated with colored lithographs.

Paris: Librairie Stock, Delamain et Boutelleau, 1951. One of 2200 on velin chiffon du Marais,from a total issue of 2300 on Marais; 8vo; handsomely rebound in 3/4 maroon morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in. Partially unopened; upper right corner of front board bumped, else very good. Illustrated with an engraved frontispiece by Robert Cami and headpieces by Livia Dubreuil.

Paris: Nouvelle Revue Francaise, Gallimard, 1950. First Edition, one of 2500 on Alfama Marais from a total issue of 2660. 8vo; 334pp; publisher's binding in paper boards stamped front and back with silver dots and a symmetrical pattern in gold, spine with gold lettering, after design by Paul Bonet; 1/4 red morocco chemise, fine.

Paris: Neuchatel & Ides et Calendes, 1947. First Edition, one of 3500 copies on verge ivoire paper, from a total issue of 3624. 8vo, handsomely rebound in 3/4 bordeaux morocco with marbled pastepaper over boards, gilt fillets, four raised bands on spine, author and title in gilt on spine, teg, marbled pastepaper guards, original wrappers and spine bound in. This is the complete dramatic works of Gide, illustrated throughout with color lithographs in-texte by Maurice Brianchon. A handsome set of this major 20th century author's works.

Paris: Gallimard, 1948. One of 10,000 copies on alfa. Illustrated with 60 hors texte color reproductions after the best of the School of Paris artists, this two-volume set is bound by the publisher after a design by the master, Paul Bonet. The binding is ivory with gilt stamping, blue and green stamping, with a 1/2 morocco protective sleeve, fine.

Paris: Gallimard, 1952. First Edition, one of 10,000 on velin paper. Illustrated with 60 hors-texte color illustrations after Segonzac and others. Page size: 7 x 9 inches; 981pp. and 604pp. Handsomely bound by the publisher in cloth over boards stamted with a design by the master binder, Paul Bonet, ivory stamped with silver gilt, burgundy and salmon, spine smooth, author and title in gilt, 1/2 burgundy morocco and marbled paper chemise, both volumes near fine.

Paris: Marcel Sautier, Editeur, 1952. First Edition, one of 500 on velin de Lana from a total issue of 550 all on Lana. 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, fine.s.

Paris: [Editions G. Cres et Cie.] pour la Societe des Medecins Bibliophiles, 1925. One of 130 on Rives for the foreign subscribers to the Societe from a total issue of 275; 8vo; 244pp; handsomely rebound in 3/4 crushed purple morocco and marbled paper boards, spine with gilt lettering, t.e.g., original wrappers and spine bound in. Spine faded; text lightly foxed in places, else very good.

Paris: NRF, Librairie Gallimard, 1928. First edition, inscribed by Gide on the half-title to fellow author, Julien Green: "a Julien Green en temoignage de tres attentive affection, Andre Gide." This is a splendid association copy. Green, a novelist of American parentage who was born in Paris, was a member of the French Academy -- as was Gide. Green converted to Roman Catholicism in 1916 and was often described as a "Catholic novelist" -- a term he rejected. Still, his novels depict the anguish and despair that result from the conflict between man's spiritual and carnal desires. Gide's novels were banned by the Catholic Church. This title, LE RETOUR DU TCHAD, along with VOYAGE AU CONGO was severely critical of French colonization in Africa. 8vo; hansomely bound by H. Alix in 3/4 crushed chestnut brown morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, text browned, else fine.

Paris: Editions Albert Guillot, 1951. One of 30 on Hollande Van Gelder Zonen, with an extra suite in color of the woodengravings interleaved in the text, although not called for in the colophon, from a total issue of 330+. 4to; handsomely rebound in 3/4 red morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in. Illustrated with 32 woodengravings in color, plus an extra suite, intexte and hors-texte, engraved by Gerard Angiolini after Chapelain-Midy, beautifully letterpress printed by Coulouma.

Paris: Editions de la Pleiade, 1926. First Trade Edition, one of 2,500 copies on velin du Marais, from a total issue of 2650; 8vo; 88pp; handsomely rebound in 3/4 brown morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, fine. The first edition was printed privately in a limited numer in 1922; the present edition was the first to be available to the public.

Paris: Bernard Grasset, 1956. One of 1000 on velin de Rives, handsomely rebound in 3/4 brown leather and marbled paste-paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original blue wrappers, printed in black and red, bound in; spine faded and lower edges of boards scuffed, else a very good copy. Illustrated with eight full-page reproductions after pencil drawings by the author.

Paris: Editions de la Nouvelle Revue Francaise, 1927. First Edition, one of 500 on velin simili cuve des papeteries Navarre from a total issue of 636; 8vo; 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. Frontispiece author portrait by Jean Lurcat, engraved on wood by G. Aubert.

Paris: Chez Emile Paul Freres, 1923. First Edition, one of 900 copies on papier verge Blanchet-Kleber, from a total edition of 1000, each hand numbered. Page size: 5-1/4 x 7-1/2 inches; 37pp; + Justification de Tirage. Woodengraving vignette of Eiffel Tower on titlepage by Daragnes. Unique binding in the style of Pierre Legrain: full red morocco with onlays of two deeper shades of red morocco in wave pattern narrowing on spine and expanding at edges of front and back covers, author and title in gilt on spine, pastepaper guards, original yellow wrappers with original woodengraving in bordeaux and black of Eiffel Tower bound in, binding somewhat worn and scuffed at spine ends with split starting at lower front hinge. Although the binding is not signed, the style is similar to that of Pierre Legrain. Printed by Imprimerie Louis Kaldor.

Paris: Editions Emile-Paul Freres, 1928. One of 200 on Hollande from a total issue of 225. Handsomely bound in brown and tan morocco with four large raised bands on spine, top edge gilt, original wrappers bound in, spine sunned, bottom edge scuffed, joints a bit rubeed. The text was printed by Coulouma and the engravings were pulled by Atelier de la Roserie.

Vashon, WA: Foolsgold Studio, 2007. One of 60 copies, 50 of which are for sale, all signed and numbered by the artist / author, Donald Glaister, each book on pages of painted stiffened fabric on which dimensional constructions are mounted, text printed on Zerkall Frankfurt paper. Page size: 15-1/4 x 9-1/4 inches; 40pp. Bound by Donald Glaister: quarter leather made of Nigerian goatskin with wood veneers and cloth over boards, housed in drop spine box made at Book Lab II. The artist tells us that this new book is inspired by hand-made wooden sailboats, citing their custom craftsmanship, exotic materials and a balance of wild adventure and the need to survive it all. The result, he adds, is a happy combination of these elements resulting in a beautiful contradiction: a craft that is serenely graceful yet brutally sound. His book is an homage to the material and spiritual grace of these boats and to sailing. The text is a two-part poem with studies of the materials used to make sail boats, the spirit of… Read More

Cleveland, OH: Foolsgold Studio, 2002. One of 60 copies, each signed and numbered by the artist / author, Donald Glaister; 10 of which HC, all on 10 mil aluminum. Page size: 14 x 12"; 28pp. Bound: quarter leather grey Nigerian goatskin with aluminum onlays on front and back. The aluminum pages are set on paper hinges for ease of opening. Endpapers of coarse black textured paper. The book is housed in a felt-lined aluminum box. There are portraits of the Brooklyn Bridge which are painted with acrylics on sanded aluminum as well as collages suggesting the construction of the bridge which are also on sanded aluminum and painted, with wire aluminum tape, laminated polyester film and sand all attached to the pages. The type is Avant Garde and is silkscreen printed. Selected for inclusion in Wellesley College exhibition and catalogue RESONANCE AND RESPONSE (2005). The Brooklyn Bridge has, since its opening in 1883, inspired many writers and artists: Hart Crane and Walker Evans perhaps the most famous of… Read More

Vashon, WA: Foolsgold Studio, 2016. Artist's book, one of 10 copies, from a total edition of 12 for sale, 10 regular, 2 deluxe (Sold Out), pages on polyester film and various metals and binders board, each copy signed by the artist, Donald Glaister, on the colophon. Page size 14 x 12 inches; 32pp. Bound by the artist: textured and painted paper over boards, hand-sewn with each page on tabs to allow complete opening of each page spread, black morocco spine, with sanded aluminum insets on front and back panels; title indicated by three parallel cut-outs in the aluminum inset on front panel suggesting a counting system, housed in custom-made black cloth clamshell box. The text is letterpress printed in Filosofia in various point sizes, on aluminum and polyester sheets done from photopolymer plates by Jessica Spring at Springtide Press. The drawn images are silkscreen printed on aluminum and individually painted by the artist, Donald Glaister, who designed and produced the edition, assisted by Gabby… Read More