Freedman Barnett Illustrator (11 results)

Condition: Very Good. 3rd impression. Cloth, VG. 234pp, illustrated title & 7 further lithographic illustrations by Freedman, two ownership signatures, no slipcase. The stories are : Out of the Deep - The House - Revenant - The Green Room - Bad Company - The Quincunx - An Anniversary. 525 grams.

Hardcover. Condition: Near Fine. Very Good Slipcase. Heritage 1948 Near Fine/Very Good Slipcase HARDCOVER. Pictorial cloth with red cloth spine is faded with gold lettering and gold verticle lines. Illustraed end papers, color illustrated throughout. 331 pages. Pamphlet by Sandglass laid inside covers the Artist (Barnett Freedman) who illustrated this volume and others. Slip case reinforced with clear library tape. HEAVY ITEM. No Exp.…

Hardcover. Condition: Very Good. Dust Jacket Condition: No Jacket, as issued. LIMITED EDITION. 8vo. Limited edition, 1 of 1,500 copies. SIGNED by Barnett Freedman on the limitation page at the rear of the second volume. Two volumes with top edge gilt, housed in a slipcase. Noticeable scuffing to spines, faint scraping to boards. Some bumping and creasing to spine ends and corners of boards. Bookplate to front pastedown of first volume. Considerable bumping, creasing, and chipping to edges and corners of slipcase. One side of top panel of slipcase completely detatched. VG : THE SET in G slipcase. Illustrator.…

Hardcover. Condition: Very Good. LIMITED EDITION. (1936). 8vo. 2 vols. LIMITED NUMBERED EDITION one of 1500 copies SIGNED by Freedman. Previous owner ex libris to front pastedowns. Slight toning to textblock edges with rubbing to gilded top edges. Discoloration to spines of rubbed and marked cloth covered boards with bumping to forecorners. Discoloration to edges of rubbed and soiled slipcase with bumping, wear, exposure, and slight cracking to corners. Peeling to corners and cracked top edge of slipcase closed end. VG in G slipcase. Illustrator.…

Leatherbound. Condition: Like New. LIKE NEW! Unread. Leatherbound. xxx, 331 pages : illustrations ; 24 cm. . . . . . Easton Press editions are renowned for their craftsmanship and collector appeal. These books feature genuine leather bindings, 22-karat gold stamped designs, raised hubbed spines, silk moire endpapers, and sewn (not glued) signatures for durability. The use of archival-quality acid-neutral paper and gold-gilded page edges ensures both aesthetic beauty and preservation over time. …

Condition: A very good copy. Edition : limited edition # 303 of 1500, contemporary full cloth, flat spine with black label., Size : large 8vo, 16 colour lithographs., Volume : 2, Volume 1. P. half-title, blank, title, printer?s imprint, v-xix, blank, half-title, blank, 1-375, (1); Volume 2. half-title, blank, title, printer?s imprint, v-xi, blank, half-title, blank, 1-380, (1), blank, (1). …

Soft cover. Condition: Near Fine. 1st Edition. First and only printing. Thin folio, 20cm x 30cm, pp16. String bound in card wraps with French flaps. Illustrated with eight three-colour lithographs by Barnet Freedman (1901-1958) which were commissioned by Crawford Advertising Agency in 1938 but were not used until 1949, due to the interruption of WW2. Inscribed in pencil to the verso of the ffep: "To Nan & Dave with love from Barnett". In Near Fine condition. Highly desireable, especially with the illustrator's inscription. Inscribed by Author(s).…

Following several rejections from various publishers for The Professor, Charlotte Brontë concentrated her attention on Jane Eyre, finishing her 'fair copy' on March 16th and delivering the manuscript to Smith, Elder & Co. on 19th August 1847. She made it clear to the publisher that she would not revise again; 'I know I should only further injure what may be already defective. Perhaps too the first part of "Jane Eyre" may suit the public taste better than you anticipate - for it is true and Truth has a severe charm of its own. Had I told all [underlined - author's emphasis] the truth, I might indeed have made it far more exquisitely painful.' (Smith I: 539/40). However, it was published to immediate critical and commercial favour. First UK edition thus; tall 8vo (230 x 145 mm); 16 colour lithographs, text in Monotype Baskerville, Introduction by John T. Winterich, a few minor, light spots on occasion, offsetting to endpapers from binding, otherwise near-fine; modern full red morocco, double-lined gilt-panelled border to back, spine in 6 compartments lettered in gilt, marbled endpapers, gilt dentelles, all edges gilt, very light signs of wear to extremities, some fading to spine, otherwise a very handsome copy; [xx], 429pp, [3]pp.…

Soft cover. Condition: Fine. Small folio, 16 pp. Plain card wraps in fabric faced pictorial dustjacket. 8 full-page lithographs. A trade promotional publication, describing traditional British cheeses. Inscribed on the inside of the front cover "To my friend Cyril from Barnett Sept 10th 1948." Fine, slight bump to top of spine. Signed by Illustrator(s). …

Seventh impression of this popular work, containing many of the best poems and prose works about love written over many centuries, with most major writers in the English language represented. Coloured frontispiece, title vignette and black-and-white illustrations by Barnett Freedman. 8vo., finely bound for Hatchard's in half gilt ruled tan morocco, lettered and panelled in gilt on spine, top edges gilt. Bookplate, neat ink name, otherwise a very good copy in a handsome binding.…

Limited edition of 1500 numbered copies signed and with thumb print by Barnett Freedman. 8vo., six volumes, in original decorative boards by Barnett Freedman. A very good set. Barnett Freedman was a British painter, commercial designer, book illustrator, typographer, and lithographer. In 1936 Freedman illustrated George Borrow's Lavengro for the Limited Editions Club of New York. By this time Freedman's lithography had entered a new phase, where the unique qualities of the medium were taken into a new dimension with the artist's rainbow palette. He developed a technique whereby the black and white illustrations printed by line block simulated lithography, bringing a unity to the book. George Macy, owner of the book club, admired Freedman's work to such an extent that he was subsequently commissioned to illustrate Henry IV Part One, for the Limited Editions Club multi-volume Shakespeare. Tolstoy's War and Peace (1938) and Anna Karenina (1951) are recognised as two of the finest examples of twentieth century book design and have ensured Freedman a place in the history of book production.…