Hay Jacques (35 results)

Condition: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Condition: very_good. Book has little sign of wear or use.

Condition: New.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- gut erhalten. || Original copper engraving from 1714. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- gut erhalten. || Original copper engraving from 1714. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- gut erhalten. || Original copper engraving from 1714. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- teils leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- partly slightly stained, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- gut erhalten. || Original copper engraving from 1714. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

[unpaginated]; 24 x 22.5 cm.; sewn bound; other special feature[s]; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed Exhibition catalogue published in conjunction with show of privately held works and works from the New Realism exhibition, held at the Neue Galerie der Stadt Aachen, Germany, July 1972. Book features thick-board covers with lenticular / holographic image of works by Duane Hanson bolted onto front. Parallel texts in German and English, including interview between Peter Ludwig and Wolfgang Becker. Includes biographies and exhibition chronologies. Artists include Eva Aeppli, Hans Peter Alvermann, John de Andrea, Arakawa, Allan D'Arcangelo, Richard Artschwager, Dieter Asmus, Jo Baer, William Bailey, Robert Bechtle, Saskia de Boer, Christian Boltanski, K.P. Brehmer, Peter Brüning, Rafael Canogar, Mario Ceroli, Dan Christensen, Christo, John Clem Clarke, Chuck Close, Ron Cooper, Alan Cote, George Deem, , Rolf-Gunter Dienst, Donald Eddy, Erro, Wojciech Fangor, Robert Filliou, Gérard Gasiorowski, Juan Genoves, Franz Gertsch, Piero Gilardi, Domenico Gnoli, Ralph Goings, Robert Graham, Gotthard Graubner, Sante Graziani, Nancy Stevenson Graves, Renato Guttuso, Ira Joel Haber, Duane Hanson, Jann Haworth, Paul Harris, Michael Heizer, Alex Hay, David Hockney, Robert Indiana, Alfred Jensen, Allan Jones, Howard Kanovitz, Alex Katz, Ellsworth Kelly, Konrad Klapheck, Alfred Leslie, Barry Le Va, Roy Lichtenstein, Richard Long, Lee Lozano, Walter De Maria, Richard McLean, Rune Mields, Jacques Monory, Nicholas Monro, Malcolm Morley, Robert Morris, Peter Nagel, Bruce Nauman, Lowell Nesbitt, Siegfried Neuenhausen, Ansgar Nierhoff, Pino Pascali, Pavlos, Philip Pearlstein, Walter Pichler, Michelangelo Pistoletto, Tom Phillips, Mel Ramos, Robert Rauschenberg, Gerhard Richter, Klaus Rinke, Dieter Rot [aka Dieter Roth], Dieter Rot [aka Dieter Roth], George Segal, Richard Serra, Leon Polk Smith, Robert Smithson, Keith Sonnier, Bernard Schultze, Lawrence Stafford, Lewis Stein, Curt Stenvert, Nikolaus Störtenbecker, Sidney Tillim, Joe Tilson, Cy Twombly, Dietmar Ullrich, Bernar Venet, Jan Voss, Wolf Vostell, John Walker, Andy Warhol, Robert Watts, Tom Wesselmann, Stefan Wewerka, Doug Wheeler, Lambert Maria Wintersberger, Peter Young, Jim Dine, Alain Jacquet, Jasper Johns, Kenneth Noland, Martial Raysse, James Rosenquist, Dieter Rot [aka Dieter Roth], and John Salt. Fair / Good. Tearing of spine edges measuring 4 cm. and 6.3 cm. with additional rubbing. Light rubbing and scuffing of lenticular covers. Yellowing and dusting of text block edge.1.8 cm. dog-ear to endpaper and light bumping of top right corner of pages. Contents otherwise clean and unmarked. Due to size and weight of this publication additional shipping charges will be required for international orders.

PAP. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- gut erhalten. || Original copper engraving from 1714. -- in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Original Kupferstich von 1714. -- Blatt-Maße: ca. 46 x 30 cm; Platte: ca. 34 x 22,5 cm. -- im Außenrand leicht fleckig, sonst gut erhalten. || Original copper engraving from 1714. -- slightly stained on the outer margin, otherwise in good condition. || // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Französisch.

Folio. (21 x 13 1/2 inches). Cars's edition. [2] [I]-[XVI] [1-210] 228 pp. 114 ff. 102 hand-colored engraved plates extensively heightened with gold and mica chips, numbered 1-100, 2 unnumbered, and 3 are double-page. The engravings are by Bernard Baron (1696-1762), Charles-Nicolas Cochin (1688-1754), Jacques de Franssieres (fl.1670-1730), Claude Du Bosc (1682-1745), Jean-Baptise Haussard (c.1680-1749), Pierre de Rochefort (1673-1728), Gerard Scotin the Older (1643-1715) and Younger (c.1698-1755), and Philippe Simmoneau (c.1685-1753), after Jean-Baptiste Van Mour. Title, Preface, Anecdotes de l'Ambassade, Explication des Figures, Music Sheet, 102 hand-colored engravings. Quarter green morocco with tips, straight-grain paper boards with gilt roll-tooled borders, spine in seven gilt-ruled compartments with title in second compartment and gilt device of a lyre in the rest, edges uncut A beautiful example of the expanded edition, uncut with all the plates finely colored and many luxuriously heightened with gold and mica chips, of Le Hay, de Ferriol, and Van Mour's landmark Turqurie work depicting the costume of the Ottoman Empire. The greatest color-plate book of the Ottoman Empire, the Recueil has 99 typological portraits and 3 scenes of Ottoman life at the dawn of the Tulip Era after paintings by Jean-Baptiste Van Mour. Van Mour was a Flemish-French painter who studied with Jacques-Albert Gérin (d.1702) and lived in Constantinople from the early-1700s until his death in 1737. One hundred of Van Mour's highly successful paintings were commissioned by the Marquis Charles de Ferriol between 1699 and 1709, while de Ferriol was the French ambassador to the Porte. De Ferriol represented Louis XIV in the Ottoman Empire at Hungary and Constantinople from 1692-1711 during the rule of Sultan Ahmed III. De Ferriol then worked with the artist and publisher Jacques Le Hay to have a roster of well-regarded printmakers execute engravings after Van Mour's paintings, and to publish the resulting collection. The project was so well-received that Van Mour was granted the unique post of "Peintre Ordinaire du Roi en Levant" in 1725. The plates after Van Mour depict Ottomans in the costumes of the Turkish court, nobility, and military, as well as of the distinctive regional, religious, and ethnic identities found in the diverse Empire. These include portraits of the Chief Eunuch; a Turkish man cutting his arm to prove his love for his mistress; Turkish women playing a form of backgammon; Dervishes whirling; an Albanian soldier; and a merchant in a bazaar feeding six cats. Van Mour's paintings, and the plates which were derived from them, show Constantinople as a cosmopolitan cultural center where Muslims and non-Muslims unite in shared Ottoman pleasures. Armenians, Franks, Greeks, and Persians drink coffee, make music, and dance together. The diverse peoples depicted here include Greeks (10); Armenians (5); Barbary Coast (4); Jews (3); Wallachians (3); Albanians (2); Hungarians (2); Bulgarians (2); Persians (2); Indians (2); Crimean Tartars (1); Arabs (1); and Moors (1). The Recueil enjoyed widespread popularity and dissemination and became the "basic prototype for Levantine costume plates." [Atabey] It was in part responsible for the vogue for Turquerie, or European images of Turkish Ottoman life, a form of exoticism popular in the Rococo period, which prefigured the Orientalist craze which would come to dominate much of European painting in the 1800s. The Recueil's use as a sourcebook by artists and publishers of other European texts was rampant. The work was translated into at least five languages, including the German edition printed at Nuremberg in 1719-21, and Italian and Spanish pirated editions. The plates were used by Thomas Jeffreys in his Collection of the Dresses of Different Nations in 1757 and by Viero in his Raccolta, published in Venice in 1783. Most copies were issued uncolored, and these are still the majority of copies seen today. A few were sold with hand-coloring and an even smaller number were extensively embellished with gold and mica chips to simulate the jewels in the buckles and finery of the many Ottoman portraits. The present uncut copy is extensively embellished and its coloring is especially attractive. This example of the second edition edited by Cars contains the Recueil, the Explication, and the additional leaf titled "Anecdotes de l'Ambassade de M. de Ferriol." Usually, the title page to this edition carries the name of "L. Cars" together with that of Basan, but the present copy, and that from the Atabey collection, have the name of Basan alone. Atabey 429-430. Blackmer 591. Boppe, Les Peintres du Bosphore au XVIIIe Siècle, passim. Brunet III, 947-948. Cohen and De Ricci 619-620. Colas 1819-20. Graesse IV, 150. Lipperheide 1413-4. O'Quinn, Engaging the Ottoman Empire, p.93. Vinet 2335.

Hardcover. Condition: Good. Folio 19 x 13 1/2 inches, full period calf, spine repaired. 2 parts in one volume. Engraved title, (iv) pages and 102 FINE ENGRAVED PLATES (3 double page) plus one engraved sheet of music. 2nd title page to Explication and 26 pages of descriptive text. One leaf of text repaired in the blank margin. Complete. Fine dark impressions of these iconic costumes plates of the peoples and customs of the Levant in the eighteenth century. The females and males being equally represented. A good copy. Commissioned by Charles de Ferriol French ambassador to the Porte between 1699 and 1709, Le Hay's work was widely appreciated and became the template for future prints of regional costumes of this area. The Levant - a large area of the Eastern Mediterranean including Turkey and the Greek Islands. Reference Atabey 430; Blackmer 591: Colas 1819-1820.

Folio (49 x 33 cm approx.), engraved throughout, comprising: title with preface by Cars on verso, 'Anecdotes' (pp.I-II), 'Explication des figures' (pp.III-XIV), leaf of music (printed recto only), and 102 engraved plates (3 double-page), all with fine contemporary hand-colouring, 30 plates heightened with gold and mica; full contemporary French red morocco, boards & spine richly tooled in gilt, with superb floriated endpapers; some restoration to extremities of spine; a particularly fine example. An exceptional example. Most copies were issued uncoloured. Few were sold with hand-colouring and a smaller number were issued heightened with gold and mica. Very few copies, however, have as many engravings heightened with mica as the present one. This important work forms the 'basic prototype for Levantine costume plates' (Atabey). The most luxurious edition, with hand-coloured plates, many enhanced with gold and mica, arguably the finest colour plate costume book of the Ottoman Empire. In addition to the sixty or so plates depicting Turkish Court, noble, military and other costumes, the work illustrates the regional, religious or national costume of several other parts of the Turkish Empire. These include Greeks (10); Albanians (2); Jews (3); Hungarians (2); Wallachians (3); Bulgarians (2); Crimean Tartars (1); Armenians (5); Persians (2); Indians (2); Arabs (1); Barbary Coast (4); and Moors (1). The plates for this work were commissioned by Charles de Ferriol (1652-1722), the French Ambassador to the Porte between 1699 and 1709. The plates were engraved after drawings by the Flemish artist J.B. van Mour, who lived and worked in Istanbul for many years during the first part of the eighteenth century. It has been suggested that van Mour came to Istanbul with the entourage of Ferriol in 1699. When the paintings were complete, Ferriol helped Le Hay to publish the present prints of the pictures. Le Hay's work was an instant success and the plates quickly became the principal source of turqueries for artists and publishers throughout Europe. In recognition of van Mour's talents, he was granted the unique post of 'Peintre ordinaire du Roi en Levant' in 1725. Van Mour's paintings (and the plates that derive from them) show Istanbul as a cosmopolitan place with Muslims and non-Muslims uniting in shared 'Ottoman' pleasures. Armenians, Franks, Greeks and Persians are shown drinking coffee, playing mankeh (a version of backgammon), or making music. Koç 105; Atabey 430 (uncoloured); Brunet 947-48; Blackmer 591; Colas 1819-20.

Folio. (19 3/4 x 13 inches). Engraved title, 102 engraved plates (comprising 100 numbered plates and 2 unnumbered, 3 double-page), one leaf of engraved music. Contemporary red morocco, covers ruled in gilt, spine in eight compartments with raised bands, black morocco lettering piece in the second compartment, the others with an overall repeat decoration in gilt, marbled endpapers (expert restoration to the joints) Provenance: Jacob Bouverie, 1st Viscount Folkestone (armorial bookplate on verso of the title) A beautiful copy bound in 18th-century red morocco of the greatest illustrated book of the Ottoman Empire, featuring portraits and scenes of Ottoman life and significantly influencing European perceptions of Ottoman culture and sparking the Turquerie vogue in Rococo art. The greatest illustrated book of the Ottoman Empire, the Recueil includes portraits and scenes of Ottoman life at the dawn of the Tulip Era after paintings by Jean-Baptiste Van Mour. Van Mour was a Flemish-French painter who studied with Jacques-Albert Gérin (d.1702) and lived in Constantinople from the early-1700s until his death in 1737. One hundred of Van Mour's highly successful paintings were commissioned by the Marquis Charles de Ferriol between 1699 and 1709, while de Ferriol was the French ambassador to the Porte. De Ferriol represented Louis XIV in the Ottoman Empire at Hungary and Constantinople from 1692-1711 during the rule of Sultan Ahmed III. De Ferriol then worked with the artist and publisher Jacques Le Hay to have a roster of well-regarded printmakers execute engravings after Van Mour's paintings, and to publish the resulting collection. The project was so well-received that Van Mour was granted the unique post of "Peintre Ordinaire du Roi en Levant" in 1725. In 1707, Ferriol commissioned Jean Baptiste van Mour to paint one hundred pictures of the Turkish court, nobility, and military, as well as of the distinctive regional, religious, and ethnic identities found in the diverse Empire. These include portraits of the Chief Eunuch; a Turkish man cutting his arm to prove his love for his mistress; Turkish women playing a form of backgammon; Dervishes whirling; an Albanian soldier; and a merchant in a bazaar feeding six cats. Van Mour's paintings, and the plates which were derived from them, show Constantinople as a cosmopolitan cultural center where Muslims and non-Muslims unite in shared Ottoman pleasures. Armenians, Franks, Greeks, and Persians drink coffee, make music, and dance together. The diverse peoples depicted here include Greeks (10); Armenians (5); Barbary Coast (4); Jews (3); Wallachians (3); Albanians (2); Hungarians (2); Bulgarians (2); Persians (2); Indians (2); Crimean Tartars (1); Arabs (1); and Moors (1). The Recueil enjoyed widespread popularity and dissemination and became the "basic prototype for Levantine costume plates." [Atabey] It was in part responsible for the vogue for Turquerie, or European images of Turkish Ottoman life, a form of exoticism popular in the Rococo period, which prefigured the Orientalist craze which would come to dominate much of European painting in the 1800s. The Recueil's use as a sourcebook by artists and publishers of other European texts was rampant. The work was translated into at least five languages, including the German edition printed at Nuremberg in 1719-21, and Italian and Spanish pirated editions. The plates were used by Thomas Jeffreys in his Collection of the Dresses of Different Nations in 1757 and by Viero in his Raccolta, published in Venice in 1783. Atabey 429; Blackmer 591; Colas 1819-20; Brunet III, 947-8; Cohen-de Ricci 392l; Lipperheide 413, 414.

Condition: New. Print on Demand.

Hardcover. Condition: Very Good. 1st Edition. Two-volume German edition of Wahreste und neueste Abbildung des Türckischen Hofes, printed in Nuremberg in 1719 and 1721. Charles Ferriol, French ambassador to the Ottoman Empire, oversaw the creation of this work based on portraits produced during his mission to Constantinople. Illustrated by Jacques Le Hay, the engravings document the outward presentation of court officials and ethnic representatives within the Ottoman world. The continuation volume issued in 1721 includes additional scenes and is introduced with its own title page. Volume I: [16], 112 pages. Volume II: [16], 102 pages (final leaf missing). Includes 118 engravings. Format: Octavo (8vo), two volumes. Very Good. Leather bindings show expected wear; some rubbing to edges and boards. Pages with minor foxing. Volume II lacks last page. Plates clean and well struck. #28988. PHOTOS AVAILABLE UPON REQUEST.

Condition: New. PRINT ON DEMAND.

Condition: New. Print on Demand.

Two vintage borderless photographs from the 1969 film, including one reference photograph and one studio still. Director Jacques Demy's first English language film, recently a subject of renewed interest in two different documentaries about the Laurel Canyon music scene of the late 1960s. A young, discontented man in a dead-end relationship learns his draft notice has arrived and he is due to report for Army duty the following week. While out trying to raise money to keep his car from being repossessed, he sees, and becomes obsessed with, the beautiful Lola, an older French model who works in a "model shop" posing for photographers. Set and shot on location in Laurel Canyon, Los Angeles. One 9.75 x 8 inches, one 10 x 8 inches. Very Good plus, one with light toning to the bottom edge, the other with a short closed tear to the left edge, repaired with paper tape on the verso. Twilight Time 327.