Search Results: Titles starting with C from Priscilla Juvelis

[Paris: GLM]: Cahiers G.L.M., 1956. Trade edition. 4to. Handsomely bound in 3/4 maroon morocco, teg, title and date in gilt on spine, fine. Four consecutive issues of this important literary journal with contributions by Rene Char, Jacques Prevert, and graphic contributions by Miro, Villon and Giacometti.

Paris: Rene Juillard, 1954. First Edition, inscribed by the author, noted French actor and mime artist (Les Enfants du Paradis) and director (Claudel's Le Soulier de satin for the Comedie-Francaise), Jean-Louis Barrault, on the titlepage of "Premiere Annee Premier Cahier" (Volume 1, No. 1), "pour ____, JL Barrault, and signed again on the titlepage of Volume 1 No. 5, "J-L Barrault. Page size: 5-5/16 x 7-5/16 inches; 127pp. in each of the three numbers. Bound: 3/4 bordeauz morocco, teg, original wrappers bound in, near fine. Includes occasional illustrations, both full-page and in the text, mostly comprising designs for theatrical productions, several reproduced after original drawings by such artists as Balthus, Maurice Brianchon, and Andre Masson. In 1947, Jean-Louis Barrault, an actor and producer, and his wife, Madeleine Renaud, a well-known actress, founded a troupe which performed for several years at the Theatre Marigny in Paris. They also issued a periodical, the three numbers of which… Read More

[Beltsville, MD: Hand Papermaking, Inc, 2008. Artist portfolio, one of 150 copies, consisting of 14 original pieces of art in the form of a single sheet of hand-made paper with painting and/or lettering on or lettering in the paper. These 14 pieces are the collaboration of papermaker and calligrapher and are housed in white folders printed with the names of the collaborators in black. The folders measure 8-1/2 x 11 inches. Also included is book with a commissioned essay by Lettering Arts Review editor, Rose Folsom, entitled "Foreground Meets Background: The Collaboration of Calligraphy and Papermaking" (6pp.) and artist's statements from the 28 participants (31pp). The text was printed by Todd Allan Printing on Cougar Opaque Text paper in Garamond types. The Canson blue wrappers were letterpress printed by Steve Miller. The image on the wrapper and title page was pulled from the work entitled MOVEMENT by Katie MacGregor and Nancy Leavitt. The 14 original pieces of art and the accompanying text are… Read More

Boston, 1892. Canceled check drawn on the North National Bank by Henry R. Blackwell drawn to the order of "Mrs. Lucy Stone" and endorsed by her at reverse in black ink Lucy Stone. Size: 2-7/8" x 7-7/8", white paper printed in dark blue. Two punch holes, else fine. Lucy Stone (1818-1893) feminist, abolitionist and suffragist, had as a young woman decided against marriage; she would " 'call no man my master' " [NAW]. Henry Blackwell, seven years her junior, set out to persuade her that marriage need not be a constraint but a partnership. After marriage, Lucy chose to keep her maiden name, prefixing it with a "Mrs." to denote her marital status and thus added the phrase "Lucy Stoner" to the language to mean a married woman retaining her given name. Henry Blackwell kept faith with his wife; throughout her life he worked to enable her to pursue the cause of women's rights. His financial and moral support made her long-time editorship of the WOMEN'S JOURNAL possible. Written at the end of her life, the… Read More

Buenos Aires: Ediciones Dos Amigos, 1982. Copy no. 5, one of 30 copies on Richard de Bas paper, from a total issue of 48: 30 on Richard de Bas paper, 15 on Velin d'Arches paper, and 3 on Japanese paper reserved for the artist. Page size: 13-1/8 inches x 10 inches; 24pp. Bound: loose in original gray wrappers printed in black with original illustration by the poet / artist, Ricardo Molinari which is repeated on the title page in purple and another Molinari drawing is reproduced on the colophon page. Molinari's poem is elegantly hand set and printed letterpress. Next to Borges and Leopoldo Marechal, Molinari (1898-1996) is considered one of the Argentine's great 20th century poets.

[Bryn Mawr, PA]: Bryn Mawr College, 1912. First Edition. 8vo; 137pp; original blue gilt-stamped cloth with title on front panel and spine, a bit rubbed on bottom of spine, some minor soiling to covers, ink ownership inscription and date on inside front pastedown, pages a bit age-toned, about very good. Carola Woerishoffer (1885-1911), social work and philanthropist was born to a wealthy New York family. From her father who died the year after her birth, she inherited well over a million dollars. She attended Bryn Mawr determined to pursue a career in social work. Immediately upon graduation she joined the board of manages of Greenwich House, a neighborhood settlement founded by Mary Simkhovitch. Preferring that her good works remain anonymous, she worked for four months, fifteen hours a day, as a laundress in a dozen different establishments observing the deplorable conditions reporting them to the Consumer's League of New York City. She joined the New York Women's Trade Union League and backed the… Read More

Paris: Les Impressions Aude, 1953. One of 1500 on Libert, from a total issue of 1550; handsomely rebound in 3/4maroon morocco and marbled boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers bound in, fine. This volume is part of a series entitled "Le Vrai Visage de Paris." Illustrated with eight reproductions hors-texte after various contemporary artists; plus numerous headpieces, ornaments, and tailpieces by Jose Piquer, a cover design by Valentine Hugo, and a double-page, handdrawn map of Paris, the cover and map printed in blue. The text is a manuscript facsimile.

Paris: Editions Emile-Paul Freres, 1940. First French edition. With initials and small woodcut vignettes by Daragnes printed in pink. Quarto, as issued in printed paper boards decorated with a rainbow-colored floral design, also by Betz. Joints cracked, spine and edges worn, good.

Paris: Editions Emile-Paul Freres, 1951. One of 4000 on velin blanc Montevrain, designed and illustrated by Daragnes. Handsomely bound in 3/4 red morocco and marbled paste-paper boards, spine with gilt lettering, marbled endpapers, t.e.g, uncut. Original wrappers and backstrip, printed in red and black, bound in, near fine.

Paris: Edins Pierre Lafitte, 1938. One of 1800 copies on velin from a total edition of 2575. 8vo. Bound by LePretre: 3/4 red morocco and paste-paper boards with gilt and blind-stamped sunburst radiating over upper and lower covers, spine smooth, title gilt, top edge gilt (stamped on front blank Lepretre). Original covers bound in, near fine. Illustrated with fourteen plates hors-texte by Mariette Lydis (1890-1970), with bandeaux and culs-de-lampe by Sylvain Sauvage(1888-1948), who in the mid-twenties became his own publisher and made a name for himself as an illustrator and decorator of considerable style. Chantecler, Rostand's play in four acts in verse, was performed for the first time in the Theatre de la Port Saint-Martin on February 7, 1910.

Paris: Garnier Freres Bourdilliat et Cie, 1860. New Edition of the first three volumes with the first edition of the 4th volume all four volumes bound in 2. Lg. 8vo; handsomely bound in contemporary 1/2 red morocco and marbled boards, spine paneled, gilt decorated, title gilt, some rubbing to extremities, hinges of Vol. II starting, generally very good. Each volume illustrated with engraved frontispiece (etching). Each song with 2 pp. explanatory text plus 4 pp. of engraved lyrics surrounded by engraved vignettes plus 2 pp. engraved musical score. Vol. I - Chants Guerriers et Patriotiques Chansons Bachiques Vol. II - Chansons et Chansonnettes Chansons Burlesques et Satiriques Vol. III - Chansons Choisies Romanies, Rondes et Complaintes Vol. IV - Chansons Populaires des Provinces de France Noels, Chansons de Mai, Ballades, Chansons de Metiers, Chansons de Mariees. Volume IV with Notice par Champfleury, Accompagnement de Piano de J. B. Wekerlin. Illustrations par MM. Bida, Bracquemond, Catennacci,… Read More

Paris: L'Edition d'Art, H. Piazza, 1959. One of 1675 numbered copies on velin chiffon des Papeteries Navarre from a total edition of 1950. 8vo, handsomely bound in 3/4 dark green morocco and paste-paper boards, spine paneled, title gilt, top edge gilt, original covers bound in, fine. Cover illustration plus 16 color reproductions after watercolors of Paris boulevards and quartiers by J.-M. Le Tournier.

Easthampton, MA: Cheloniidae Press, 1987. Unique copy of artist's book, this copy with 7 original finished drawings for each of the sea turtles pictured in the edition book which consisted of 41 copies, 26 of which were lettered copies which this copy is, the book with seven hand-colored etchings, all on Rives BFK and handmade Japanese Moriki paper, each etching signed by the artist, who has also signed the drawings and the colophon. Bound: loose as issued, housed in cloth portfolio made by Claudia Cohen, with tray cases by Peter Geraty and Linda Lembke. Page size: 10.5 x 15 inches, 44pp. The seven species of the order Cheloniidae pictured in this study are: Green Turtle, the Hawksbill Turtle, the Loggerhead Turtle, the Leathery Turtle, the Leatherback Turtle, the Atlantic Ridley, the Pacific Ridley and the Flatback Turtle. The text is handset and printed letterpress by Harold Patrick McGrath in Centaur and Arrighi by Mackenzie-Harris of San Francisco, CA with additional hand composition by Arthur… Read More

Cambridge: Cambridge University Press, 1909. First edition. Page size: 9-3/4 x 7-1/4 inches; i-xxxi, 201pp; 7pp. folded facsimile. Bound: original blue wrappers printed in black, white sticker showing price of 12'6 net at bottom of front cover, stamp on back cover "Revised prices on application," minor wear to covers and trace of age toning to page edges, a handful of small pencil notes in text, but generally very good+. In English with Greek translation by Dr. Nestle opposite the Syriac. Dr. Agnes Smith Lewis (PhD., LL.D., D.D., Litt.D.) and her sister Dr. Margaret Dunlop Gibson (LL.D., D.D., Litt.D.) were born in Ayrshire, Scotland, in 1843, the twin daughters of a wealthy solicitor. Upon the death of their father, the heiresses went to Greece in 1866. Agnes devoted herself to learning Greek; she later learned Syriac, Arabic and Hebrew (among other languages). In 1890, both sisters now widowed, traveled to St. Catherine's Monastery at Mt. Sinai where they discovered a version of the Old Syriac… Read More

Paris: Au Moulin de Pen Mur, 1946. One of 100 numbered copies on pur chiffon du Moulin de Pen Mur, laid paper (Watermark: paraphe), from a total edition of 2350. Handsomely bound in 3/4 red morocco and pastepaper boards, spine paneled, decorated with floral inlays, title gilt, top edge gilt, matching slipcase, original covers bound in, near fine. COLAS BREUGNON by Romain Rolland (1868-1944) was published first in 1919. Illustrated by Andre Collot with frontispiece in color and four woodengravings hors-texte that are handcolored and 22 in-texte, including headpieces and culs-de-lampe printed in black. In addition, this copy has the publisher's prospectus bound in after the extra suite.

Nice: L'Image Litteraire, 1946. One of 70 numbered copies on Marais white wove paper from a total edition of 450. 8vo. Handsomely bound in 3/4 blue morocco and paste-paper boards, spine paneled, gilt decorated with maroon rosette morocco inlays, title gil top edge gilt, original covers bound in, a bit of rubbing else fine. Illustrated by Charles Picart le Doux with nine pictorial illustrations hors-texte and 21 headpieces in chiaroscuro style, wood engravings with stipple effect with generous use of the roulette. Picart le Doux was a decorator and like Lurcat was engaged in the modern revival of tapestry design. These pictorial illstrations are like blurred sketches for the theatre or ballet with figures in romantic gestures or attitudinized silhouettes.

Paris: Leon Pichon, 1919. One of 350 on Arches from a total issue of 426. Illustrated with 11 in-texte wood engravings in black and white plus numerous ornaments and culs-de-lampe by Maxime Dethomas. 8vo; handsomely bound in 3/4 blue crushed morocco, marble pastepaper boards, gilt fillets, smooth spine, author and title and date in gilt, gilt decorations with red morocco lozenge onlays, top edge gilt, original wrapper bound in, fine.

Paris: Emile Hazan & Cie Editeurs, 1929. One of 1000 on Lafuma, from a total issue of 1083; 29pp; handsomely rebound in 1/2 black morocco and ivory lacquered paper boards, the morocco embossed with a grid of tiny squares, spine gilt, t.e.g., original wrappers and backstrip bound in, morocco-tipped slipcase. Illustrated with frontispiece photographic author-portrait and three other photographs hors-texte, plus three reproductions hors-texte after pen and ink drawings, two with gouache also, by Andre Dignimont. Text slightly browned, else fine.

Paris: Mercure de France, 1920. Unique copy on Lafuma, with the original art by C. Fayot, from a total issue of 2263; handsomely rebound in 3/4 black morocco and ivory lacquered paper boards, spine with gilt lettering, t.e.g., original wrappers and backstrip bound in, fine. This copy contains the original art for this edition, including 11 original charcoal and gouache drawings hors-texte, a cover design, all signed by the artist C. Fayot. Each of the ten plates proper is preceded by a stencil drawing in pencil on tracing paper, accompanied by the page number and in one case a quotation indication which passage it depicts. This copy was probably the maquette for a planned edition to be illustrated with engravings.

Paris: Les Editions G. Cres et cie, 1926. One of 1000 copies on Rives from a total issue of 1025. Illlustrated with wood engravings in-texte by Robert Lanz and a frontispiece etching by Paul Baudier who also cut the blocks. 8vo; handsomely bound in 1/2 green morocco, marble pastepaper boards, five raised bands on spine, author and title gilt, top edge gilt, original wrapper bound in, near fine.