New York: Prestel, 1995. Catalog for exhibitions at the Royal Academy of Arts in London and the Pierpont Morgan Library. Illustrated throughout in color. 272pp. Short 4to, glossy pictorial wrappers. (New York: Prestel, 1995). A near fine copy. With contributions by Jonathan J.G. Alexander, Lilian Armstrong, Giordana Mariani Canova, Federica Toniolo, William M. Voelkle, and Roger S. Wieck.
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New York: Braziller, 1967. Facsimile reproduction of the original illuminated Lorsch Gospels, some in color plates. 24 page gray paperbound pamphlet with historical text laid-in. Thick folio, vellum-backed red cloth, slipcase. New York: Braziller, 1967. Limited edition -- number 38 of 1000 copies printed. A fine, unread copy in a very good(+) slipcase. Two parts of the Lorsch Gospels from the Biblioteca Documentara Batthyaneum in Alba Julia, Rumania, and the Biblioteca Apostolica Vaticana in Rome.
Ithaca: Cornell University Press, 1982. Replete with 60 color plates, and over 200 black and white illustrations. 304 pages. Thick 4to, beige cloth, d.w. Ithaca: Cornell University Press, 1982. First edition. A fine copy in a near fine dust wrapper, lacking the plain cardboard slipcase. Includes the Bible of late antiquity, Carolingian, Mozarabic, Franco-Saxon, Anglo-Saxon and Ottonian examples, and a catalogue of descriptive information on 150 important Bibles.
Venice: Armenian Publishing House of San Lazzaro, 1990. Illustrated at rear with 85 large color plates. 127 pages of text in English & Italian on facing pages. Thick 4to, black cloth with inset pictorial label, cloth slipcase. Venice: Armenian Publishing House of San Lazzaro, 1990. Small bump at head, slightly effecting pages; lengthy gift inscription in neat Armenian cursive on half title, still a near fine copy of this rather scarce title. Printed on the occasion of the second Centenary.....
Milan: Pratesi, 1982. 2 volumes. Introduction, critical text, translation and commentary by Cesare Grassi. Essays by Marco Ciatti e Aldo Petri. . Illustrated. 141pp., 4to, gilt decorated leather, board slipcase; ink inscription front free endaper of volume 2. Milan: Pratesi, (1982). A near fine copy. Volume 2 is a beautifully produced facsimile of the Regia Carmina.
Cambridge: Cambridge University Press, 1954. Color frontispiece, and 72 b/w plates each with multiple views. 140pp. 4to, natural cloth, chipped d.w. Cambridge: University Press, 1954. First edition. Small ownership signature, along with a bookplate of art historian Meyer Schapiro. A near fine copy in a very good dust wrapper.
Munich: Riehn & Reusch, 1922. With a 28pp foreword and introduction by Georg Leidinger. Illustrated with 58 beautifully printed color plates, accented in gilt and protected with tissue. Folio, bound in full vellum (intentionally aged to simulate a more ancient volume). Munchen: Riehn & Reusch, 1922. Limited edition of 150 copies, this one without a number. Covers slightly bowed, otherwise a fine copy, internally spotless. Contains Durer's imaginative marginal drawings from the Prayer Book of Maximilian I (dated 1515), later.....
Geneva: Skira, 1957. Translated by Stuart Gilbert. Illustrated with 101 mounted plates, 98 color. 241pp. Square 4to, green cloth, d.w.; dust wrapper worn and torn. (Geneva: Skira, 1957). First edition. A very good (+) copy in a poor dust wrapper. The Great Centuries of Painting. Survey of mosaics, mural painting and book illumination.
New York: George Sas at The Marble Hill Press, 1968. 2 reproductions of 15th century woodcuts. 2 pages of text followed by 5 pages of charts, thin 4to, printed wrappers, string tied. New York: George Sas at The Marble Hill Press, (1968). A fine copy. One of 100 copies privately printed from hand-set Jessen types on Strathmore papers.
Leipzig. 51pp. of color facsimiles, several text illustrations. Thin folio, original blue cloth, spine worn at head and tail, corners bumped. Leipzig, (ca 1882). Very good (+). Number 254 of 400 numbered copies on Buttenpapier, signed by the author. Vol. I of the series Albrecht Durer's Federzeichnungen und Holzschnittwerk, containing the fine imaginative marginal drawings in the Prayer-Book of Maximilian I (1515). The Prayer Book exemplifies Durer's "decorative" style, and his 45 drawings in colored ink were later augmented by.....