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Verlag: Library Press, 1971
Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Good. First Thus. A very good copy of this hardcover edition in a good jacket (binding has some fading to edges of purple cloth; jacket has some chips, wear, and cup rings).
Verlag: The Library Press, New York, 1971
Anbieter: Libreria Tara, Roma, RM, Italien
Grafica e Design Fine arts Graphic and Design in inglese in 4°, tela edit. con titoli al piatto e al dorso, manca sovrac., minima brunitura alla tela completamente illustrato in b.n. fuori catalogo.
Verlag: Alcove, 1971
Anbieter: Fantastic Book Discoveries, Cockeysville, MD, USA
Hardcover. Zustand: Good. Zustand des Schutzumschlags: Fair. jacket has some minor soiling to upper edge, no markings, 2-3 pounds, shipping outside the U.S may be above standard rates.
Verlag: Paris [Printed by Lacour for] J. Bry Ainé 1854, 1854
Anbieter: Buddenbrooks, Inc., Newburyport, MA, USA
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First Edition, First Issue, both pp. 89 and 97 with the red blots. Decorated on the rectos throughout with 500 illustrations by Gustave Doré cut onto woodblocks by Sotain. Folio, 278 x 195 mm., Contemporary French brown marbled paper over boards, the spine panel of cloth with the marbled paper overlaying, spine label with lettering and decoration in gilt, all original and as issued. 207, [1] pp. An unusually well preserved copy of a very rare book. Some rubbing to the marbled paper overlay at the hinges, some typical edgewear primarily from shelving, a bit of wear at the corners, the text-block clean and crisp as can possibly be expected, very little of the typical browning or spotting, hinges tight and strong, essentially a fine copy of this unusual work. FIRST EDITION, FIRST ISSUE OF A RARE BOOK. Heavily illustrated by Gustave Doré this is an unusual work, a political statement of sorts, issued at the time of the Crimean War and opposed to the actions of Russia both in the East and in the Crimean Peninsula and Black and Azov Sea Regions. The pages 89 and 97 refer to the reign of Ivan the Terrible and are blotched with red on both leaves as were the earliest impressions of the work. 'The work is unique in the history of nineteenth-century European graphic art and an exceptional project within Doré's artistic career. Illustrated with 500 wood engravings, it narrates the history of Russia from its origins to the contemporary Crimean war. This article examines the volume as a tour de force of technological innovation and graphic rhetoric that confronts the challenge of how to represent war and its violence. To appeal to a broad audience, the artist pioneered a caricatural, graphic sequential history that anticipates modern bande dessinée tackling twentieth-century warfare.' Journal of the Society of Dix-Neuviémistes, Volume 24, 2020 - Issue 1. 'Inspired by the "literature in prints" of Rodolphe Töpffer, this work multiplying innovations is today considered as one of the first French comics after those of Cham. The version published by Éditions 2024 in 2014, whose graphics were created by Benjamin Adam, is part of the "Heritage Selection" of the 2015 Angoulême Festival. The work was banned in Russia when it was published and later, in France as well after the Crimean War and during the negotiations to establish a peace. Doré was born in Strasbourg on 6 January 1832. By age 5 he was a prodigy artist, creating drawings that were mature beyond his years. Seven years later, he began carving in stone. At the age of 15, Doré began his career working as a caricaturist for the French paper Le journal pour rire. Wood-engraving was his primary method at this time. In the late 1840s and early 1850s, he made several text comics, like Les Travaux d'Hercule (1847), Trois artistes incompris et mécontents (1851), Les Dés-agréments d'un voyage d'agrément (1851) and L'Histoire de la Sainte Russie (1854). Doré subsequently went on to win commissions to depict scenes from books by Cervantes, Rabelais, Balzac, Milton, and Dante. He also illustrated "Gargantua et Pantagruel" in 1854 and was asked to illustrate the works of Lord Byron. This commission was followed by additional work for British publishers, including a new illustrated Bible. In the 1860s he illustrated a French edition of Cervantes's Don Quixote, and his depictions of the knight and his squire, Sancho Panza, became so famous that they influenced subsequent readers, artists, and stage and film directors' ideas of the physical "look" of the two characters. Doré also illustrated an oversized edition of Edgar Allan Poe's "The Raven", an endeavor that earned him 30,000 francs from publisher Harper & Brothers in 1883. The government of France made him a Knight of the Legion of Honour in 1861. Doré's illustrations for the Bible (1866) were a great success, and in 1867 Doré had a major exhibition of his work in London. This exhibition led to the foundation of the Doré Gallery in Bond Street, London. In 1869, Blanchard Jerrold, the son of Douglas William Jerrold, suggested that they work together to produce a comprehensive portrait of London. Jerrold had obtained the idea from The Microcosm of London produced by Rudolph Ackermann, William Pyne, and Thomas Rowlandson (published in three volumes from 1808 to 1810). Doré signed a five-year contract with the publishers Grant & Co that involved his staying in London for three months a year, and he received the vast sum of £10,000 a year for the project. Doré was celebrated for his paintings in his day, but his woodcuts and engravings, like those he did for Jerrold, are where he excelled as an artist with an individual vision. The completed book London: A Pilgrimage, with 180 wood engravings, was published in 1872. It enjoyed commercial and popular success, but the work was disliked by some contemporary British critics, as it appeared to focus on the poverty that existed in parts of London.' wiki.