Prekrasnaya skazka nemeckogo pisatelya-romantika Vil'gel'ma Gaufa "Malen'kiy Muk" rasskazyvaet o chudesnyh priklyucheniyah mal'chika, kotoryy s pomoshch'yu volshebnyh tufel' i trosti sumel pobedit' svoyu neblagosklonnuyu sud'bu i dobit'sya udachi. Hodyachiy vostochnyy syuzhet pod perom Gaufa prevratilsya v zahvatyvayushchiy rasskaz, grustnyy i smeshnoy odnovremenno, bogatyy zhiteyskoy mudrost'yu i tonkimi nablyudeniyami nad chelovecheskim harakterom. Showing results by author "Wilhelm Hauff" in All Categories.
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English 1. Program Type. Audiobook The list of edition binders provided on the latter site is of particular utility, not least in gaining an understanding of the centrality of Leipzig to the German binding industry. For the purposes of the current exhibit "German" is taken as denoting entities defined by language rather than by politics. In the 19th century the German book trade was centered on Leipzig and its great annual fair, where publishers and booksellers celebrated the continued success of the Bourse and resolved issues affecting the trade.
The more than 30 more-or-less independent before unification German states, Austro-Hungary, and German Switzerland, all annually well represented at Leipzig, shared a common history in publishers' bindings as they do in language. And while there are great similarities between the work produced in these areas and that made in the Netherlands and in Scandinavia, bindings in both of the latter evolved quite differently in stylistic terms.
Like their counterparts elsewhere in Europe and in America, German binders exploited the possibilities of printed paper boards right from the beginning of the 19th century; in fact, they showed very early a taste for pictorial decoration, something that only became popular somewhat later in England and America. But the doing up of editions, or parts of editions, in cloth "in the English manner" as German publishers and binders tended to call the technique, seems to have caught on relatively late in the German-speaking world.
Although the technique was used no later than the early s, before about cloth casing seems to have been more the exception than the rule. All the more surprising, therefore, that the exhibit includes bindings from the s that make use of one or more secondary colors in addition to gilt stamping and the ground color of the cloth casing; in this purely technical achievement England was not much faster. Despite the claim to bind "in the English manner" German edition binders seem, especially in the s, to have routinely broken one of the cardinal English rules by introducing both modelled figures and literal pictorialism into bindings intended to cover titles published for adults.
This tendency, by the way, is one which they shared with their Scandinavian counterparts. And as with the attempts at multiple colors, German binders had little fear of handling materials which we now consider unusual. Velvet was established as a commonplace for devotional works from the s, and virtually anything which could be glued to the surface of an embossed cloth binding was, at one time or another. Mother of pearl, metal studs, and composition "cameos" all appear in the exhibit on bindings produced before However late German binders may have been in adopting cloth case binding, they developed fairly early on a taste for making sure the purchaser of a book knew who had bound it.
Herzog in Leipzig and Heinrich Koch in Stuttgart both used discreet binder's tickets inserted in the British fashion at the lower inside corner of the rear pastedown. Examples in the exhibit date from to , and a Herzog ticket is known on a book published in The most numerous of these come from the Leipzig establishment of Hugo Horn, an engraver who advertised himself as a specialist in the production of binding stamps.
The most teasing of these engravers' names is that of H. Wells, which occurs on a number of probably German books distributed in translation in England and the United States, raising the tantalizing possibility that an English or American engraver was engaged to produce stamps for the English-speaking market. But from the early s - perhaps not at all coincidentally just as the use of tickets seems to have ceased - the technique of stamping the binder's name and frequently a partial address on the lower cover in blind, or more rarely in black ink, became quite common.
Hardly surprising, then, that this concern with identification became paramount just as the cloth edition binding finally became an expected part of publications intended for the German-speaking mass market. The decade from about to saw the emergence of what seems in retrospect the most characteristic of styles in 19th century German edition binding, the Stil der Neorenaissance, with elaborate interpretations in gilt and anything up to a half-dozen colors of ink of ornamental motifs taken more or less directly from Renaissance sources.
Found commonly on relatively expensive illustrated books in its first decade, the Stil der Neorenaissance remained in use for reprint literary offerings up until the First World War. As books in the exhibit show, the style was capable of considerable variation, and Hungarian binders seem to have created their own, somewhat orientalized, version as early as the mids. Much less usual, though much more in keeping with the developing American ideal of a uniquely conceived binding for every publication, are the bindings created for a number of novels and other publications written by the Egyptologist Georg Moritz Ebers in the s and early s.
Besides the four titles in the current exhibit Ebers' Josua is also known in a similarly-conceived binding. After the turn of the century binders turned briefly to the sinuous designs commonly lumped together in speaking of German art as Jugendstil ; the examples in the exhibit, ranging from the almost vulgar splashiness of Chamisso's Werke ?
Just as in the rest of Europe and America the decorated dust jacket the earliest example in the exhibit is quite late, dating to ultimately spelled the end of the decorated publisher's binding, and in Germany as in the rest of the world, what was by then the conservative element in the binding trade continued to produce on occasion elegant and distinctive work long after the market had passed elsewhere. Levin, The Art of Publishers' Bookbindings Los Angeles: Dailey, , no.
Hager, Julius Herzog, J. Leipziger Buchbinderei Schaeffel, W. Sperling, H. Blue paper boards printed pictorially in black. Different stock theatrical "characters" depicted on upper and lower covers. Title leaf of this copy missing. Tan paper boards printed in black. A typical printed cover, in the style familiar in both Britain and the United States at the time. Gray paper boards printed pictorially in black. This title extended to at least one additional volume, not present here.
Red vertically ribbed cloth, lower cover stamped blind, upper cover stamped blind and ornamentally gilt, spine stamped gilt. Embossed leather, Jesus in the garden on the upper cover, a Maltese cross on the lower cover; a brass clasp is missing from this copy.
In the original much repaired slipcase. An advertisement at back advertises this item, in this binding, as being sold "In eleg. Umschlag geb[undet]" ["Bound in an elegant portfolio"]. Dark blue velvet with applied embossed corners, clasp, and central crucifixes in base metal, identical on both covers. Very dark brown velvet stamped in blind, with applied gold embossed paper borders and inlaid brown embossed paper?
Dark brown velvet with gold embossed paper borders and greenish embossed paper? Date from bookplate inserted at front. Pink paper boards stamped in gilt and blind. A relatively late use of traditionally-designed paper boards, but now incorporating gilt stamping instead of simple printing. In original slipcase. A German-made copy in the French style rather than an import. Advertisements at the back mention numerous books available bound "in the English manner" in cloth, gilt.
Dark brown cloth, dark blue on upper cover applied with stencil, stamped in gilt and blind. An unusually early example of the use of a second color on the binding in addition to gilt. Date inferred; several illustrations by Paul Thumann dated Bound by J. Dark blue cloth embossed blind, stamped pictorially in gilt, brass studs mounted near each corner of both covers. Pictorial stamp for upper cover derived from the color-printed frontispiece by G.
Red cloth stamped pictorially in gilt and blind. Upper cover stamp signed at bottom left and right "R. Brown cloth stamped pictorially in gilt and blind, the volume's title given incorrectly on both upper cover and spine as "Prinzessinn Ilse. Red cloth embossed blind and stamped in gilt. Upper cover with oval central medallion revealing onlaid "silvered" metal setting with round central painting on mother of pearl under glass.
Brown leather embossed blind, stamped in gilt, upper cover with oval central medallion having composition low-relief bust of Goethe's head, in reddish brown; brass clasp. Album of photographs of paintings by Kaulbach; full-length photograph of Kaulbach, the publisher identified in the composition, at the end. Bound by Heinrich Koch. Dark blue cloth embossed blind, stamped symbolically in gilt. Green cloth embossed blind and stamped in Renaissance style in black and gilt. Upper cover signed "R. Purple cloth embossed blind and stamped gilt in English 60s fashion, central medallion with composition portrait heads of Goether and Schiller in light brown against black velvet field.
Date inferred from an included advertisement for another Amelang title known to have been published in Deep blue cloth stamped ornamentally in black and gilt. Upper cover stamp signed "H. WELLS" bottom center. Printed in Munich by F. Straub, and, judging from the heavy endpapers, almost certainly bound in Germany as well.
Brown cloth stamped in Egyptian style in black and gilt. Upper cover stamp signed "Hasert" and "Stuttgart," lower left and right. Dark green cloth stamped in Renaissance style in light brown, black, and gilt. Upper cover signed "L. Theyer" and "M. Brod" lower left and right.
Compare this fairy tale in two languages
Brod worked in Munich. Reddish brown cloth stamped pictorially in a "mosaic" style suggestive of imperial Rome in black and gilt. Bound by Deutschen Verlags-Anstalt. Mustard yellow cloth embossed blind, stamped pictorially in black and gilt. Pictorial stamp on upper cover after drawing by Giacomelli lettered "C. Hasert Stuttgart" lower left and right.
Zu Herzensfreude und Seelenfrieden. Dritte Auflage, durch Dichtungen aus der neuesten Zeit erweitert und mit vielen Illustrationen versehen. Bound by Th. Dark green cloth stamped pictorially in dark gray, light gray, pink, black, and gilt. Mounted photograph incorporated into frontispiece. Brown cloth stamped in Grecian style in black and gilt. The classical statue depicted at the center of the upper cover varies with each volume. Dark green cloth stamped in part pictorially in black and gilt. Upper cover signed "H.
Horn" and "Leipzig," lower left and right. The same. Achtundzwanstigste Auflage, Second volume only; brown cloth instead of green, decorated identically. Bound by W. Medium brown cloth stamped in Renaissance style in light gray, dark gray, black, and gilt. Schaeffel in Leipzig" on half-title verso. Psalter und Harfe.
Von Carl Johann Philipp Spitta. Funfzigste Auflage. Plockhorst und F. Neu geordnet nach dem Vater Unser. Dark blue cloth stamped in Gothic style in light blue, black, and gilt. HORN" lower left and right, indicating the cover stamp designer and engraver, respectively. Black cloth spine; gold embossed paper boards printed in maroon, with central onlaid printed photographs, the one on the upper cover with additional lettering.
Red cloth stamped in a vivid and perhaps vaguely oriental? Bound by Julius Hager. Medium blue cloth stamped in a Grolieresque style in black and gilt. Orange cloth stamped in "classical" style in a yellow to red split fountain, violet to brown ditto, blue, black, tan, and gilt, a polychrome effect worthy of a German trade binder. German publisher's name stamped on title; German price handwritten on front flyleaf.
Despite these indications, the book's construction chiefly the sewing and endpapers reveal it as a British product imported into Germany. Zweite Auflage. Red cloth stamped pictorially in imitaion grisaille in grayish brown, gray, light gray, light blue, black, "silver," and gilt.
Advertisements at back advertising new publications for , indicating that this is almost certainly a re-issue of old printed sheets, probably in an updated binding. Red cloth stamped pictorially in black, white, gray, greenish gray, and "gold. Printed in two colors throughout. Bound by Leipziger Buchbinderei. Medium brown cloth stamped in a vaguely Gothic vegetal design in gray, dark gray, green, blue, tan, black, and gilt.
Author's real name is Eugenie John Grayish green cloth stamped in dark blue, light blue, tan, black, and gilt. Almost identical to, and clearly based quite closely on, the preceding; licensed? Or a plagiarism? Bright blue cloth stamped in a decorative floral style in green, brown, light blue, mustard yellow, gray, black, and gilt. Date inferred from inscription. Dichtungen von V. Fulda, J. Lohmeyer, E. Reinhold, Frida Schanz, R. Trojan, E. Conrad, Ph. Fleischer, E. Heyden, L. Knaus, A.
Rotta, B. Blue cloth printed pictorially in black, orange, yellow, light brown, reddish brown, light blue, greenish gold, and white; stamped in gilt, the gilt itself worked so as to give the impression of darker and lighter shades. Toby E. Rosenthal's name is omitted inadvertently? Dark blue cloth stamped pictorially in brown, pink, green, tan, orange, gray, white, light gray, black, and gilt. Brilliant red cloth stamped in the typical Hungarian variation on the Renaissance style in gray, black, "silver," and gilt. Black plastic spine and covers, upper and lower covers molded, brass clasp.
Date inferred from approbation on title verso. Red cloth printed in dark pink, brownish red, and black; stamped in gilt. HORN G[ravier]. Date from Amelang catalog for , laid in and still present with the volume, which bears a presentation inscription dated White smooth cloth stamped in a rococo design in blue, blue-gray, light tan, black, and "gold.
Bound by H. Blue morocco-grained cloth stamped decoratively in green and gilt.
Fikentscher, Leipzig" on p. Maroon cloth stamped in part pictorially in red, blue, light blue, tan, gray, greenish gold, light red, black, and gilt. Gustav Fritzsche" stamped in blind on lower cover. Smooth red cloth stamped pictorially in black, gray, yellow, pale blue, pink "flesh" , gilt, and blind.
The "egg" blindstamping on the upper covers is remarkable. Mixed edition: second volume in this set is first edition. Can she convince her mother not to throw him out of the house? Ein Klassiker der Kinderliteratur: Eine zeitlose Geschichte. The orphan, Bo Vilhelm Olsson, who grows up longing for understanding and security. Meistens geht's mir gut mit dir Meistens geht's mir gut mit dir - Intermediate German reader by Gudrun Mebs.
Was ist besser? Ein Fahrrad oder der Opa? When his parents travel, Tobias is with his grandfather. What an adventure they have! Joel survives being hit by a bus and wants to do a good deed, but it is not so simple. Zerlina wants to be an opera singer in Venice. Will a beautiful 'high C note' kept secretly for years, help her realize her dream? Classic and well-known stories in German. Story about a young boy and his black cat. Ghost Hunter Tom Tomsky is in danger! Winter has come earlier than expected and the hungry Kobolde do not have a supply of Ravioli, Apples and cookies.
Richard von Drachenstein ist ein ganz besonderer Ritter:.
Ziesmer, Santiago [WorldCat Identities]
Not in stock, but we can special order it! Kalle gegen alle by Charlotte Habersack. Kalle ist ein starker Typ, aber ein bisschen zu dick. Sommersprossen auf den knien by Maria Parr. Tonje ist das einzige Kind in dem kleinen Dorf, in dem sie lebt. Lesen ist schwer?