George Abrams Collection by Sothebys (20 results)

237 S. 16 Bl. Quart. 27,5 x21,5 cm. Orig.- Leinen. Bitte beachten Sie: Bei Sendungen mehrerer Bände, z.B. Gesamtausgaben u.a. ins Ausland (mehr als 2 kg) können sich die Versandkosten entsprechend des Gewichts erhöhen.

hardcover. Condition: Good. Very Good text, solid binding, some minor rubbing to titles. US orders shipped via US Mail. International orders shipped via DHL. Additional postage may be required on oversize books and sets. NO prison orders.

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Near Fine. List of prices realized laid in.…

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Covers duststained, edges a little spotted, otherwise Very Good.…

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Fine.…

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Very Good.…

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Several top corners folded over as bookmarks. Two or three ink annotations. Otherwise Very Good.…

hardcover. Condition: New book. No dust jacket.

Cloth, paper cover illustration, 4to, 31 cm, unpaginated, profusely illustrated (including many coloured plates). 238 lots. "It is remarkable that a collector of not excessive means should have been able, over a relatively brief period, to have formed so fine and wide-ranging a collection of fifteenth- and sixteenth-century printed books, including so many volumes that from general freshness of condition and from quality of rubrication and decoration, would stand out in any of the world's major collections. The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface (with a beautiful accompanying italic) in which this catalogue is printed. Mr. Abrams' book collecting began with modern fine printing. Some fifteen years ago his focus shifted back in time to what may be considered the perennial source of the modern typographic movements: the earliest examples of European printing. Those who regularly handle early printed books are continuously if subliminally reminded of what William Morris was perhaps the first collector to grasp clearly: that many of the earliest printed books are not merely remarkable productions for their time; they are, in fact, highly successful solutions to a multitude of design problems, of a kind that the modern graphic artist or typographer encounters daily in only slightly variant forms. They are, or can be, important teaching tools, examples not to be copied, but absorbed. As exempla of excellence, the best printing of the fifteenth- and sixteenth-centuries is all the more effective for its lack of fuss, its willingness to let the result speak for itself." - from the introduction. Fine.…

Hardcover. Condition: Fine condition. Dust Jacket Condition: No dust jacket, as issued. First Edition. London: Sotheby's, 1989. A beautiful copy that appears unread. Fine condition. NOT a library discard. Sharp corners. NO owner's name or bookplate. Pages are crisp, clean and unmarked -- apparently never read. 1989. First Edition. Unpaginated (but approx. 300 pages?]. Auction catalogue for the sale held on 16th & 17th November, 1989. For 129 incunabula and 109 16th century books, this auction catalogue gives unusually full, annotated descriptions including collation, provenance, and reference citations. Descriptions of the 15th century books are by Paul Needham, who states in the preface, "The Abrams collection of early printing reveals in many ways that it was formed by a calligrapher and graphic designer of distinction - a recent example of his work being Abrams Venetian, the unusually readable and graceful typeface in which this catalogue is printed." Beautifully illustrated with 148 color plates, 188 monochrome reproductions and 75 rubbings of binders' ornaments. Published @ £35. Bound in the original gilt-stamped maroon cloth, with a color illustraion mounted on the front cover. Oversize Hardcover. 8.5" wide by 12" tall. This large heavy book will require extra postage for Priority and International shipments, but only the standard charge for media mail. . First Edition. Oversize Hardcover. Fine condition/No dust jacket, as issued. Illus. by NOT a library discard. Unpaged (1,130 priced enrties]. Great Packaging, Fast Shipping. NOT a library discard (illustrator).…

1st edition. Near fine copy in the original gilt-blocked, decorated cloth. Spine bands and panel edges very slightly dust-toned as with age. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 237 unnumbered leaves, 3 unnumbered leaves of plates : facsimiles (some color and folded) ; 31 cm. Notes; Catalogue for a sale held at Sotheby's, 16-17 November, 1989. Subjects; Abrams, George. Incunabula as Topic. Rare Books. Art collections, auctions. Auctions. Sotheby's auctioneers. 1 Kg. …

1st edition. Fine copy in the original gilt-blocked cloth. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 237 unnumbered leaves, 3 unnumbered leaves of plates : facsimiles (some color and folded) ; 31 cm. Subjects; Abrams, George. Incunabula as Topic. Rare Books. 1 Kg.…

Ca. (250)pp. 237 illus. (partly color). 4to. Cloth. Price list loosely inserted.

1st edition. Near fine copy in the original gilt-blocked, decorated cloth. Spine bands and panel edges very slightly dust-toned as with age. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 237 unnumbered leaves, 3 unnumbered leaves of plates : facsimiles (some color and folded) ; 31 cm. Notes; Catalogue for a sale held at Sotheby's, 16-17 November, 1989. Subjects; Abrams, George. Incunabula as Topic. Rare Books. Art collections, auctions. Auctions. Sotheby's auctioneers. 1 Kg. …

1st edition. Fine copy in the original gilt-blocked cloth. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 237 unnumbered leaves, 3 unnumbered leaves of plates : facsimiles (some color and folded) ; 31 cm. Subjects; Abrams, George. Incunabula as Topic. Rare Books. 1 Kg.…

Hardcover. Condition: Very Good. 4to (30.5 cm), 260 pp. Publisher's cloth gilt, illustration tipped in on the front board (binding slightly rubbed, top corners scuffed, blind collector's stamp on the front free endpaper). A price list is loosely inserted. This auction catalog documents a sale conducted in London on Thursday, 16th, and Friday, 17th November 1989. It comprises 238 entries, featuring incunabula and early printed books, including notable works such as Boccaccio's De claris mulieribus, Ulm, Johann Zainer, 1473 (GBP 286,000), Saint Augustine's De civitate Dei, Rome, Sweynheym and Pannartz, 1468 (GBP 88,000), and Cicero's Tusculanae questiones, Venice, Nicolaus Jenson, 1472 (GBP 93,500). The preface is written by Paul Needham, and rubbings of binding tools are appended.…

Hardcover. Condition: Very Good. 1st Edition. 4° - 238 Lots - Excellent Color & b/w Plates. Auction catalogu, with description of 130 Incunabula and 108 16th century books. Original cloth gilt with pictorial Plate. Very good condition.

hardcover. Condition: Very Good. Most of our very good books have only minor imperfections such as shelf wear consistent with a new book that's sat on a bookshop shelf for a year or two. Occasionally we may miss other minor imperfections as we have to grade books at speed. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive, furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order (at least not without checking with us first, although we don't always have time to check). We aim to dispatch prompty, the service used will depend on order value and book size. We can ship to most countries, see our shipping policies. Payment is via Abe only.…

4to, listing 238 lots, numerous colour & b/w illus., orig. cloth gilt with pictorial panel to upper cover. A fine copy. It is remarkable that a collector of not excessive means should have been able, over a relatively short period, to have formed so fine and wide-ranging a collection of fifteenth and sixteenth century printed books.…

Hardcover/Pappeinband. Condition: Gut. 238 S. Buch im guten Zustand, mit zahlreichen Abb., Sprache: Deutsch Gewicht in Gramm: 2100.