pride prejudice di jane austen, Copia autografata (8 risultati)

Soft Cover. Condizione: Very Good. No Jacket. Signed by Grahame-Smith.

Hardcover. Condizione: Fine. Limited Edition. A beautiful illustrated edition from The Easton Press, SIGNED by illustrator Angela Rizza. Limited edition of 1,200, of which this is #178. Oversized volume is bound in black leather, with gold foil-stamping on the boards and spine. All edges gilt, ribbon bound in. Tissue guard over frontispiece, Certificate of Authenticity, signed by publisher and illustrator laid in. Matching slipcase. Book and case are fine. Signed by Illustrator(s).

Jane Austen, PRIDE AND PREJUDICE.Custom Clamshell Case Only. (NO BOOK INCLUDED) London: [1894, Book Date] Excellent Custom Clamshell Case [Not A Book] For The First British Edition. Elegant Deep Green leather. Custom Gilt-Stamped Titles to spine. Embossed multi-layered, [sculpted] design on the side graphically inspired from the iconic design of the Peacock. Finished in rich Black velour on the interior. A superb and unique protective clamshell case for the first edition. When you place your order: Please confirm the actual size of your first edition as sizes may vary with age or if the edition is covered in Mylar. The text can be altered to add "signed" or other special requests. Custom Craft available upon request. Book definitely NOT included. Material and size can be adapted for your special first edition.

Hardcover. Helen Sewell (illustratore). Octavo (5-7/8" x 9-1/8") bound in full embossed brown sheepskin leather. Designed and printed by D. B. Updike at The Merrymount Press. Preface by Frank Swinnerton. Illustrated with line drawings by Helen Sewell. Copy #1267 of 1500 SIGNED by the artist on the colophon page. Mild rubbing to spine tips and along spine edges; very small, neatly repaired chip to the top of the spine. Near Fine in a Near Fine slipcase.

LEATHER BOUND GREEN. HUGH THOMPSON (illustratore). LIMITED ED. FIRST ILLUSTRATED Thompson Edition WITH 160 LINE DRAWINGS, Printed on copyright page: One of 275 Large Paper copies for Britain, with another 25 done for America. After title page is a facsimile inscription : " To J. Comyns Carr, In acknowledgment of all I owe to his friendship and advice, these illustrations are gratefully inscribed. Hugh Thomson." THUS THIS IS ONE OF 275 COPIES. The top fore edge gold gilt. 476 Pages (8 X 10 INCHES) Decorated title page, frontispiece, and large illustrations, 160 line drawings in all (printed on special China paper and laid down) by Hugh Thomson printed on Unbleached Arnold paper, and gilt lettering on 5 RIBBED GREEN LEATHER SPINE. THIS COPY HAS A GREEN LEATHER BINDING IS SIGNED BY HAVING a small identification stamp in gold gilt G P PUNTAM'S SON on the front leather inner board bottom. Rear leather inner board at bottom stamped in gold gilt The Knickerbocker Press. . I assume this copy which measures 7.25 x 10.25 inches and the Ruskin copies all have measured 5 x 7.5 inches OUR COPY MAY BE THE AMERICAN Market lovely copy of this scarce limited OVERSIZE 5 RIBBED GREEN LEATHER HARDBACK issue of the first Hugh Thomson edition. Bottom 1/4 inch of spine chewed to the point of missing. Triangular 3/4 inch section of leather missing from bottom front left cover . more images upon request. I HAVE FAILED IN MY RESEARCH TO FIND DOCUMENTATION OF THE DIFFERENCE BETWEEN THE AMERICAN AND BRITISH EDITION THUS THIS IS ONE OF 275 COPIES ( 250 FOR BRITIAN, WITH ANOTHER 25 DONE FOR AMERICA. On 7/21/2012 10:10 PM, A Danny Jacks emailed me " America have two publishers listed on the title page with NO ADDRESS. They have printed on the title page as follows: "New York: Macmillan & Co., London: George Allen." PLEASE REQUEST MORE IMAGES IF NEEDED. DATE PUBLISHED: 1894 EDITION: LIMITED ED 476 good THE FAMOUS PEACOCK EDITION.

A new edition, 5 volumes complete, each edited and with an introduction by a noted academic of the day, all first printings. From the library of David Lodge, who contributed his expertise and insight to Emma, being well placed to do so having edited a casebook of essays on the subject three years earlier in 1968. These are Lodge's complimentary and working copies of the set, signed by him in black ink to the front endpaper of the final volume, Northanger Abbey and Persuasion, with compliments slips from Oxford University Press and the University of Birmingham loosely inserted into Mansfield Park, and with occasional pencil notes and highlighting to the texts of four of the five volumes, the exception being Mansfield Park. The books are firmly bound in red cloth, lettered and decorated in gilt and green to the spines, the extremities are slightly bumped and rubbed. The text blocks are slightly toned and marked. The dust jackets are all unclipped, they are lightly toned and rubbed with minor marks, the spines are quite uniformly slightly sunned (Emma a little less so than the rest), and there are small nicks and closed tears to the edges, more so to those that Lodge has consulted most frequently. An excellent set of association copies. One of the two main protagonists in perhaps Lodge's most famous novel, Changing Places, which he was writing during this period, Morris Zapp is a world expert on Austen, who Lodge describes working on: "a series of commentaries on Jane Austen which would work through the whole canon, one novel at a time, saying absolutely everything that could possibly be said about them. [] The object of the exercise [] was not to enhance others' enjoyment and understanding of Jane Austen, still less to honour the novelist herself, but to put a definitive stop to the production of any further garbage on the subject. [] the specialist, who, looking up Zapp, would find that the book, article or thesis he had been planning had already been anticipated and, more likely than not, invalidated. After Zapp, the rest would be silence.". Complete jacketed sets of this scholarly edition of Austen are quite uncommon, and it is pleasing to see an academic who contributed to the edition engaging not only with his own volume but also with the rest.

Condizione: Fine. New Jersey? ca. 1940. Collection of six original pen drawings signed and captioned in pencil, all uniformly framed (drawings: 20x11.5cm; frames: 29.5x23cm.). Light yellowing of stock else Fine, not examined out of frames. The collection includes: 1. The probability of a rainy season 2. Such very superior dancing 3. Wickham's affection for Lydia 4. Mr. Bingley is come 5. Earnest conversation 6. Improvements on the harp An exceptional collection of original illustrations by the Caldecott Honor-winning artist Helen Sewell (1896-1957), who gained recognition eight years earlier for providing the illustrations to Laura Ingalls Wilder's "Little House in the Big Woods" (1932) as well as the seven ensuing Little House books. Orphaned at a young age, Sewell was raised by her aunt and uncle in Brooklyn, New York, and at the age of twelve was the youngest pupil at the Pratt Institute where she studied under the avant-garde painter and sculptor Alexander Archipenko. In part thanks to the fame from illustrating Wilder's popular series, Sewell was chosen to illustrate the Limited Editions Club editions of Jane Austen's novels "Pride and Prejudice" (1940) and "Sense and Sensibility" (1957), as well as the Poems of Emily Dickinson (1952). "It is not idle whimsy to say that Helen Sewell is Jane Austen in new incarnation.To give them a proper emotional spirit, she made these drawings in the style of the steel engravings which were used as illustrations for the books of Jane Austen's time.Every one of the fifty drawings made by Sewell is a devilish imitation of a nineteenth century steel engraving. In every one of them, there are literally thousands of pen lines.to make these pictures she had to have the wit of the devil and the charm of an archbishop" (from "The Heritage Club Sandglass," no. 3m, accompanying the Heritage Club reprint of "Pride and Prejudice"). See also the Britannica article on Sewell's life.

Condizione: Near Fine. First Edition Thus. First Charles Brock illustrated edition, signed and dated in black ink by Charles E. Brock with an original drawing of Elizabeth Bennet and Mr. Darcy in cameo on the front free endpaper. Bound in publisher's original burgundy cloth with boards ornately patterned in blind, with gilt titles to spine and upper board. Near Fine with slight fading to spine, bookplate of William Heighway to front pastedown, some foxing to textblock edge and endsheets, small tear to corner of tissue guard. A beautiful copy, signed and with a wonderful original illustration by Brock.