nonpareil london (10 risultati)

Soft. Condizione: Very Good. Second Non Pareil Edition first published in 2005. . Volume 3 Essays, Journalism & Letters.

Soft. Condizione: Very Good. Second Non Pareil Edition first published in 2000. . Volume 2 Essays, Journalism & Letters. Some light dusting to top closed page edges.

Hardcover. Softcovers Bound in. Condizione: Like New. First Edition. 128 pages, 197 plates, more than a dozen in color. 295 x 210 mm. Original wrappers bound in maroon hardcover buckram with gilt lettering on spine.

paper wrappers. 1st edition. Original illustrated paper wrappers, folio, 128 pages. Multiple illustrations on ever page, many in color. 31 cm. Supplement to Ruben's massiver Jewish Iconography (Revised 1981), which includes a long list of important artists, traditions and works. Reviewing an earlier edition of Jewish Iconography (subsumed into the 1981 production), Alfred Werner noted, "These historically as well as artistically invaluable prints might never been collected and catalogued but for Alfred Rubens.he began to ferret them out of bookstores, printshops, and the dusty corners of Europe and the United States, his hobby then turning into a life-work," the publications "he compiled are painstakingly accurate catalogues raisonnés of his own collection, plus a number of items to be found in the Jewish Theological Seminary of New York and elsewhere.A Jewish Iconography ranges over all of Europe from Amsterdam to Constantinople, and even includes material from Alexandria, Cairo, Damascus, and Jerusalem. And also the number of illustrations is much greater, offering a more valuable and imposing panorama. .A Jewish Iconography is more than catalogue. In part, for one thing, its alphabetical listing of the portraits of Jewish personalities constitutes a kind of Jewish biographical dictionary. Most of the likenesses are of people from Continental Europe; these include Lassalle, the Mendelssohns, Jacob Meyerbeer, Joseph Suess Oppenheimer, the Rothschilds, Sabbatai Zevi, and Spinoza. Among the Americans we find Mordecai Manuel Noah. Secondly, the book.has an intrinsic artistic appeal thanks to its many woodcuts, engravings, etchings, and lithographs. Many of the artists represented in it are unimportant, but there are at least a few samples of work by such outstanding men as Chodowiecki (Germany); Dalle Piani (Italy); the Cruikshanks, Hogarth, and Rowlandson in England; Picart, Ruysdael, and the great Rembrandt in Holland. Of the Jewish artists, the most significant are Moritz Daniel Oppenheim, Edouard Moise, and Simeon Solomon. Quite a few of the tradecards, watch papers, and ornamental bill-heads are the work of generally anonymous Jewish engraversâ "engraving, like embroidering, being an art in which the pre-Emancipation Jews excelled and having an ultimately Oriental origin. Thirdly, the volume is a form of Kulturgeschichte in its depiction, both in the reproductions and in the texts describing prints not reproduced, of bygone customs and costumes. Mr. Rubens devotes a good deal of space to artistically inferior but historically fascinating little prints, many of them caricatures, that enjoyed an enormous vogue, especially in the 18th century. The general populace did not then read newspapers, many people were barely literate, and it remained for cartoonists, political and otherwise, to give an account of the most sensational, most picturesque, though not necessarily most edifying characters and episodes of the day. Thus there are more pictures of mountebanks and scoundrels, adventurers and crackpots, than of saintly men and women. These cheap and generally crude prints, which were sold in the streets for a few pennies, offer an exciting social history covering the period, in England, from Henry VIII to Queen Victoria. We are taken to Constantinople, where in 1528 a Jew, after being converted to Christianity, is martyred by the Turks; to North Africa, where Jews were forced to wear a distinctive dress long after their co-religionists shed it in other parts of the world; to the Crimea, with the distinctive synagogues and burial grounds of the Karaite sect; to Bordeaux, where Jews cried their wares through the streets, "Vieux habits, vieux galons!" or "Quelque chose à vendre!" In Frankfort-on-Main, the plundering of the ghetto follows the riots instigated by Fettmilch, the Haman of 1614; in Hamburg, the publication of Dr. Jenner's revolutionary work on vaccination prompts a hostile cartoonist to lampoon the English physician and his German translator as despicable Jews because Hamburg's Jewry welcomed vaccination.But the general reader will pay most attention to the illustrations. and rightly so. Most mirror the spirit of the Baroque Age, others reflect Rococo and Neo-Classical styles. In quality, they range from crude folk art to great graphic work, such as the engraving made after Guérin's charming portrait of Fanny von Arnstein, or the etching of an Algerian Jewess made by Guérin's most famous pupil, Eugène Delacroix. Nor are the quite unpretentious tradecardsâ "one of a Jewish optician and mathematical instrument maker to His Royal Highness, the Duke of Gloucester, and to His Grace, the Duke of Wellington; another of a "slopman" (purveyor of cheap readymade clothing) to his Royal Highness, Prince William Henryâ "devoid of charm. And the story of Jewish emancipation cannot be expressed more dramatically than by the juxtaposition of the offensive wood engraving of â Jobst Mellern,' a 16th-century dweller of the Prague ghetto, barefoot, in a cloak bearing the "Jew badge," and the delicate stipple engraving of that elegant 19th-century American gentleman, Major Mordecai Manuel Noah" (In Commentary, August 1955). SUBJECT(S): Jews -- Portraits -- Catalogs. Judaism -- Customs and practices -- Pictorial works -- Catalogs. Jews in art -- Engraving -- Private collections -- England -- Juifs -- Judai sme -- Coutumes et pratiques -- Ouvrages illustre s -- Catalogues. Juifs dans l'art - Art -- Private collections. OCLC: 8595174. Ex-library with marks on endpapers and title page. Spine label, wear to wrappers, clean inside. Good Condition. (ART-20-26).

Soft Cover. 1st Edition. 29.5 x 21 cm., 128 pp. The pictures are mostly b/w, with 13 in colour. Maroon card covers with gilt and white lettering on the spine and front, and with a colour portrait on the front. CONDITION. VG+. The pages are clean and tight. The edges of the covers are lightly rubbed. No marks of ownership.

Soft cover. Condizione: Very Good. No Jacket. 128 pages, 197 plates, 16 in color, covers are lightly rubbed and edge worn, small crease to lower front corner.

LIMITED EDITION OF 650 COPIES: COPY #47. RARE large volume dedicated to Jewish art, its themes and motifs. It consists of an extensive lexicon of important artists, traditions and works, with numerous miniature b&w photographs and reproductions. The book was compiled by the renowned curator and collector of Jewish art, Alfred Rubens. 305x215mm. XXXI+277 pages. Red cloth Hardcover laid in red cloth slipcase. Gilt emblem and frames on cover, gilt lettering on spine. Slipcase spine slightly stained. Slipcase edges slightly bumped. Spine edges slightly bumped. [SUMMARY]: This rare and invaluable guide to Jewish art is otherwise in very good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs. The book is in : English.

hardback. Revised edition [First edition was 1954]. Original red publisher's cloth with gilt in slipcase, folio (Large) xxxi, 277 pages. Multiple illustrations on ever page. 31 cm. Limited ed. of 650 numbered copies; this is no. 21, inscribed by the author. Massive work with over 2400 entries on Jewish art, its themes and motifs. The book includes a long list of important artists, traditions and works, with numerous small black and white photos and facsimiles. ISBN: 0902068091; 9780902068094. Combines the author's: A Jewish iconography (1954) and Anglo-Jewish portraits (1935). Includes bibliographical references and indexes. Reviewing an earlier edition of Jewish Iconography (subsumed into this 1981 production), Alfred Werner noted, "These historically as well as artistically invaluable prints might never been collected and catalogued but for Alfred Rubens.he began to ferret them out of bookstores, printshops, and the dusty corners of Europe and the United States, his hobby then turning into a life-work," the publications "he compiled are painstakingly accurate catalogues raisonnés of his own collection, plus a number of items to be found in the Jewish Theological Seminary of New York and elsewhere.A Jewish Iconography ranges over all of Europe from Amsterdam to Constantinople, and even includes material from Alexandria, Cairo, Damascus, and Jerusalem. And also the number of illustrations is much greater, offering a more valuable and imposing panorama. .A Jewish Iconography is more than catalogue. In part, for one thing, its alphabetical listing of the portraits of Jewish personalities constitutes a kind of Jewish biographical dictionary. Most of the likenesses are of people from Continental Europe; these include Lassalle, the Mendelssohns, Jacob Meyerbeer, Joseph Suess Oppenheimer, the Rothschilds, Sabbatai Zevi, and Spinoza. Among the Americans we find Mordecai Manuel Noah. Secondly, the book.has an intrinsic artistic appeal thanks to its many woodcuts, engravings, etchings, and lithographs. Many of the artists represented in it are unimportant, but there are at least a few samples of work by such outstanding men as Chodowiecki (Germany); Dalle Piani (Italy); the Cruikshanks, Hogarth, and Rowlandson in England; Picart, Ruysdael, and the great Rembrandt in Holland. Of the Jewish artists, the most significant are Moritz Daniel Oppenheim, Edouard Moise, and Simeon Solomon. Quite a few of the tradecards, watch papers, and ornamental bill-heads are the work of generally anonymous Jewish engraversâ "engraving, like embroidering, being an art in which the pre-Emancipation Jews excelled and having an ultimately Oriental origin. Thirdly, the volume is a form of Kulturgeschichte in its depiction, both in the reproductions and in the texts describing prints not reproduced, of bygone customs and costumes. Mr. Rubens devotes a good deal of space to artistically inferior but historically fascinating little prints, many of them caricatures, that enjoyed an enormous vogue, especially in the 18th century. The general populace did not then read newspapers, many people were barely literate, and it remained for cartoonists, political and otherwise, to give an account of the most sensational, most picturesque, though not necessarily most edifying characters and episodes of the day. Thus there are more pictures of mountebanks and scoundrels, adventurers and crackpots, than of saintly men and women. These cheap and generally crude prints, which were sold in the streets for a few pennies, offer an exciting social history covering the period, in England, from Henry VIII to Queen Victoria. We are taken to Constantinople, where in 1528 a Jew, after being converted to Christianity, is martyred by the Turks; to North Africa, where Jews were forced to wear a distinctive dress long after their co-religionists shed it in other parts of the world; to the Crimea, with the distinctive synagogues and burial grounds of the Karaite sect; to Bordeaux, where Jews cried their wares through the streets, "Vieux habits, vieux galons!" or "Quelque chose à vendre!" In Frankfort-on-Main, the plundering of the ghetto follows the riots instigated by Fettmilch, the Haman of 1614; in Hamburg, the publication of Dr. Jenner's revolutionary work on vaccination prompts a hostile cartoonist to lampoon the English physician and his German translator as despicable Jews because Hamburg's Jewry welcomed vaccination.But the general reader will pay most attention to the illustrations. and rightly so. Most mirror the spirit of the Baroque Age, others reflect Rococo and Neo-Classical styles. In quality, they range from crude folk art to great graphic work, such as the engraving made after Guérin's charming portrait of Fanny von Arnstein, or the etching of an Algerian Jewess made by Guérin's most famous pupil, Eugène Delacroix. Nor are the quite unpretentious tradecardsâ "one of a Jewish optician and mathematical instrument maker to His Royal Highness, the Duke of Gloucester, and to His Grace, the Duke of Wellington; another of a "slopman" (purveyor of cheap readymade clothing) to his Royal Highness, Prince William Henryâ "devoid of charm. And the story of Jewish emancipation cannot be expressed more dramatically than by the juxtaposition of the offensive wood engraving of â Jobst Mellern,' a 16th-century dweller of the Prague ghetto, barefoot, in a cloak bearing the "Jew badge," and the delicate stipple engraving of that elegant 19th-century American gentleman, Major Mordecai Manuel Noah" (In Commentary, August 1955). SUBJECT(S): Jews -- Portraits -- Catalogs. Judaism -- Customs and practices -- Pictorial works -- Catalogs. Jews in art -- Engraving -- Private collections -- England -- Juifs -- Judai sme -- Coutumes et pratiques -- Ouvrages illustre s -- Catalogues. Juifs dans l'art - Art -- Private collections. OCLC: 7468470. Ex-library with marks on endpapers and title page. Spine label removed from slipcase, slight discoloration to base of spine and rear.

Hardcover. Condizione: Good to near fine condition. Limited Revised Edition. Folio. xxxi (i), 277, 128pp. Original gilt-stamped green goatskin with gilt publisher's device and frame on cover, gilt lettering, publisher's device and ruling on spine, housed in green goatskin clamshell box with gilt lettering and ruling and velvet lining inside. Decorative endpapers. #203 of 53 copies of Nos. 151-203 in green goatskin binding with half-title signed by Alfred Rubens. Contains printed paper label with exact numeration of the three bindings pasted to limitation page. Pictorial title page printed in red and black lettering with publisher's device. The supplementary volume is bound in at rear. An additional 128 page supplementary volume in pictorial red wrappers with gilt and white lettering on front cover and spine laid in. Extensive lexicon of important Jewish artists, traditions and works, illustrated throughout with 2467 miniature b/w photographic reproductions, referencing the numbers of the two previous publications in margins. The two previous publications from 1935 and 1954 contain 503 numbered entries in The Anglo-Jewish Portraits and the title A Jewish Iconography 1244 entries. The book was compiled by Alfred Rubens, the renowned curator and collector of Jewish art. The supplementary volumes, bound in and the additional copy, also profusely illustrated with b/w and color photographic reproductions. Clamshell box with some wear along edges and joints at spine, as well as some abbrasions. Inteior of box with some light wear. Additional paperback copy with minor rubbing and creasing to wrappers. Bound volume with a few minor scratches to covers. Clamshell box in overall good, softcover volume and bound volume in very good+ condition overall.

Fine Full Leather. Condizione: Near Fine. Limited/Numbered. Revised edition.London, Nonpareil, 1981.277+128pp. 4to.Original full leather.ONE OF ONLY 53 COPIES bound in full green goatskin with the 1982 supplement bound in, together with an additional supplement booklet also present all fit in an original green leather box. (The entire regular edition of this book was of only 260 copies) .Richly illustrated. Numbered and signed by the author. Very fine. A rare and much sought after standard work in the ultimate bibliophile edition. A superb work in superb condition. (Surface Shipping worldwide included). Signed by Author(s).