2019, ISBN: 9780333155684

Hardcover. New. This book explores the question of whether software should be patented. It analyses the ways in which the courts of the US, the EU and Australia have attempted to deal wi… Mehr…

Hardcover. New. This book explores the question of whether software should be patented. It analyses the ways in which the courts of the US, the EU and Australia have attempted to deal with the problems surrounding the patentability of software, and describes why it is that the software patent issue should be dealt with as a patentable subject matter issue, rather than as an issue of novelty or non-obviousness. Anton Hughes demonstrates that the current approach has failed and that a fresh approach to the software patent problem is needed. The book goes on to argue against the patentability of software based on its close relationship to mathematics. Drawing on historical and philosophical accounts of mathematics in pursuit of a better understanding of its nature and focusing the debate on the conditions necessary for mathematical advancement, the author puts forward an analytical framework centred around the concept of the useful arts. This analysis both explains mathematics, and therefore software's, non-patentability, and offers a theory of patentable subject matter consistent with Australian, American and European patent law. , and therefore software's, non-patentability, and offers a theory of patentable subject matter consistent with Australian, American and European patent law.| Author: Anton Hughes| Publisher: Routledge| Publication Date: Mar 11, 2019| Number of Pages: 238 pages| Language: English| Binding: Hardcover| ISBN-10: 1138240591| ISBN-13: 9781138240599, 6, Woodbridge, Suffolk, UK: Antique Collectors' Club, 1991. Hardcover. Fine/Near Fine. reprint edition 1991; scratches to front panel and rubbing to back panel of dust jacket. <p>This book documents the styles and fashions from European settlement through the colonial era and goldrush periods and provides detailed information about the jewellers, the designers and the makers and their marks. It examines the influence of immigrant jewellers during the second half of the 19th century, their increasing use of locally found gold, silver and gemstones and the incorporation of Australian flowers, plants, birds and animals as decorative motifs. Novelty and souvenir jewellery are discussed as well as the emergence of jewellers working in the Arts and Crafts tradition. There is a description of gemstones and other materials used in Australian jewellery - precious and semi-precious stones, metals, shells and a variety of other unusual substances - as well as a glossary of terms commonly used in describing jewellery. A major part of the book comprises biographical notes on over 250 Australian jewellers and designers, both individuals and firms, whose work is known by mark, documentation or attribution. Throughout the book over 300 pieces of jewellery are illustrated in color.</p>, Antique Collectors' Club, 1991, 4.5, Paris: chez Daumont rue St. Martin, 1760. Engraving with original colour. Printed on watermarked laid paper. In excellent condition with the exception of some surface soiling in the upper section of the image. Image size: 8 7/8 x 15 13/16 inches. A wonderful "vue d'optique" of St. Mary's Church in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141., chez Daumont rue St. Martin, 1760, 0, Paris: Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques, 1780. Engraving with original colour. Printed on wove paper. This is a later copy of the earlier print of St. James' published by Daumont. In good condition with the exception of some scattered brown marks. Trimmed within the platemark. Image size: 9 1/4 x 14 1/2 inches. Vue d'Optique of St. James' Park in London During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141., Chez. Daumont rue St. Martin. Presentement chés Lachaussée rue S. Jacques, 1780, 0, Malibu, CA: Victoria and Albert Museum, 1996. Hardcover. VG/VG (light curling to dust jacket at edges). Navy cloth boards with silver spine lettering, blue dust jacket with bw illustration on front cover, color illustration on rear cover, black lettering, 224 pp, illustrated throughout in bw and color. "Through a detailed examination of inventories and other previously unpublished records, Carolyn Sargentson offers a new perspective on the history of consumption, and she paints a fascinating picture of the luxury market during the decades that preceded the French Revolution. Her text raises important questions about the life-cycle of objects and the way that they were valued, the trading options of merchants who operated within narrow margins of credit and cashflow, and the relationship between the different groups who were jostling for position and advantage in a competitive environment. The chapters cover the range of the merciers' operations and are based on detailed case studies of families or aspects of trade in specialist markets. Subjects covered include the corporation of the merciers and their business practice, their role in design, imported goods and European imitations, novelty and innovation, the merciers' shops and the magasins anglais." -dust jacket. Includes bibliographical references (pages 193-209) and index., Victoria and Albert Museum, 1996, 3, 1760. Engraving with original colour. Printed on laid paper. In good condition with the exception of some creases within the image. Sides have been remargined with laid paper, and bottom edge is trimmed within the platemark. Surface soiling within image. Image size: 11 x 16 1/4 inches. A wonderful "vue d'optique" of Somerset House on the Strand in London. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141., 1760, 0, London and Paris: a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 257, 1766. Engraving with original colour. Printed on laid paper. In good condition with mild soiling and creasing. A beautiful Vue d'Optique with strong early colour depicting the old Palace of Westminster where the Lords and Commons met. An interesting late 18th century view of Westminster prior to the great fire of 1834, which brought into being the present Houses of Parliament. Westminster had been a royal residence until Henry VIII left it (after a fire) to reside at Whitehall. After that, the Houses of Parliament met there. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141., a Londres ches Wichnyther (?) A Paris chez J. Chereau rue St. Jacques au dessus de la Fontaine St. Severin aux 2 Colonnes No. 25, 1766, 0, Canoga Park, CA: Pipedream Products, Inc, 2003. Presumed First Edition, First production run. Special Collector's Item [stated]. Wind-Up Toy in original packaging. Good. Packaging is approximately 5 inches by 7.625 inches. RARE unopened. Plastic bubble encasing a wind-up platform and two adjacent figures is approximately 3 inches by 4.5 inches and is largely oval in shape. The front panel has the American flag as a backdrop. The text on the front is F-ck Saddam Wind of Toy, Special Collector's Item! Try Me next to arrow pointing to the wind-up stem, and at the bottom Operation: Anal Invasion. The back side as the following text: F-ck Saddam Wind-up Toy. Danger: Weapon of Ass Destruction! We're going DEEP in Iraq. Wind-up for fun and show support for your country with this hilarious wind-up toy! Go ahead, F-ck Saddam in the ASS! Saddam-ize the bastard. A great way to relieve Saddam of GAS. There is some text related to the manufacturer, item number, barcode, and the United We Stand and Free Speech Coalition organizations. This toy is a pointed embarrassment or disgracing of Saddam. Male same-sex activity is illegal and punishable by imprisonment in Kuwait, Egypt, Oman and Syria. It is also punishable by death in Iran, Saudi Arabia, Qatar and the United Arab Emirates. In Yemen and Gaza Strip, the punishment might differ between death and imprisonment depending on the act committed. Several Middle Eastern countries have responded to homosexuality and transgender people by sentencing them to death, life in prison, fines, torture, beatings, vigilante attacks, vigilante executions, honor killings, forced psychiatric treatments, forced anal examinations, forced hormone injections, chemical castration, floggings, and deportation. A wind-up toy is an automaton toy powered by a clockwork motor. Automata built for the sake of art, amusement, and simulation have been described since antiquity, in cases such as Heron of Alexandria designing clockwork birds during the Hellenistic Period. Leonardo da Vinci is frequently credited with constructing a mechanical lion, which he presented to King Francois I in Lyon in 1515. After the larger, elaborate wind-up machine art declined in interest, wind-up toys were created cheaply in large numbers by the 1800s. Wind-up machines became known as wind-up toys, and were designed in different forms to move around. European toy makers created and mass-produced the first windup tin toys during the late 1880s. Over the next 60 to 70 years, more manufacturers created more intricate designs. The trend stopped with the introduction of the small and inexpensive Alkaline battery in the 1960s, which allowed motors to run without a wind up mechanism. Over the next 20 years, wind up toys lost popularity, except as political or novelty items., Pipedream Products, Inc, 2003, 2.5, Paris: Chez Daumont rue St. Martin, 1770. Engraving with beautiful early colour. Printed on watermarked laid paper. In excellent condition with the exception of being trimmed within the platemark on the lower margin. Small tear on upper margin. Small puncture mark on left margin. Image size: 10 1/8 x 16 1/8 inches. This is a beautiful perspective view of the courtyard of the Royal Stock Exchange in London published by a Parisian printseller at the close of the eighteenth century. During the eighteenth century "vues d'optique" or "perspective views" became extremely popular in England and Europe. Like other optical prints they capitalized on a connoisseur market eager for the latest novelty. English publishers such as John Bowles and Robert Sayer had great success with these optical views, which quickly developed into a collecting craze that swept through print shops on both sides of the Channel. "Vues d'optiques" were specifically designed to create the illusion of perspective when viewed with a zograscope or perspective glass. These viewing devices used a series of reflecting mirrors to enhance the illusion of depth in the print, creating a veritable "view" for the onlooker. Typically these prints depicted city or landscape views, and were horizontal in format. They had roughly the same dimensions and were sold with heavy opaque colouring, so as to show the tints when viewed through the lens. In their heyday, optical prints were a technical revolution; they could be seen in almost every fashionable drawing room, and were enjoyed by the poorer classes in print shops or at traveling fairs. For a small fee the citizens of Europe and England could travel the world without leaving their village. The "vue d'optique" was the first medium to bring the visible appearance of the wider world to a large European public. Ironically the artists and engravers who created these prints rarely had first hand knowledge of the scenes depicted, hence the views were often not as accurate as they were advertised to be. As a result of their constant handling optical prints such as these are rare, especially in good condition. They are not only beautiful images but a fascinating glimpse into the history of printmaking. Clayton, The English Print 1688-1802, 140-141., Chez Daumont rue St. Martin, 1770, 0, New York: Wiener Bros. & Goldsmith, Inc., 105 Madison Ave., 1941. Folio (13.75 x 16.75 x 3.5 in.). 105 leaves (unnumbered), w/ 405 tipped-in lace samples, lace borders, in white, pink, flesh-tones, ivory with pink, many with ribbons, each w/ price label & stock no. Black cloth post binder, silver lettering embossed on front cover, tied through four punch holes with black ribbon as issued, typed instruction on front pastedown (occasional sunning & wear to fore-edges of leaves, a few samples pulled by company when out of stock, minor rubbing & shelfwear), still a VG- copy, w/ former ownership signatures on front pastedown. A wonderful example of a World War II era salesman sample catalogue, with white, black, pink, pink highlights, flesh tone, and other coloured laces & lace borders, many with ribbon samples threaded through them. Included are samples from the companys Victory Set, Linen Beauty, Clover Leaf Set, Daisy Set, Wingold Shade Clover Leaf Set, Aluminum Shade Bowknot Set, and many others. Lace was very popular just before the outbreak of World War II for applications on bridal gowns, lace ruffles around necklines, or lace panels inset into slinky satin garments. In addition, these samples include lace borders for table runners, curtains, and numerous other home decorating applications. This catalogue records the lavish products of European lace manufacture before all production ceased until well after the War. The Wiener Brothers had begun selling mens suits and dress goods in 1916, and in the late 1920s merged with Goldsmith, who had operated as furriers, as well as milliners on 29th, and later Madison Ave. No copies located in Worldcat., Wiener Bros. & Goldsmith, Inc., 105 Madison Ave., 1941., 0, Brepols - Harvey Miller 2017. Hardback, 2 volumes ., 844 pages ., 33 b/w ill. + 877 colour ill., 220 x 280 mm, Languages: English, Italian. ISBN 9781909400665. Malvasia's life of Marcantonio Raimondi includes Malvasia's critical catalogue of prints by or after Bolognese artists, from Giulio Bonasone to Giovan Battista Pasqualini. A great connoisseur and avid collector of prints, Malvasia recognizes the intelligence and novelty inherent in Giorgio Vasari's life of Marcantonio with its list of prints produced by the Bolognese engraver. In republishing Vasari's life, Malvasia not only adds valuable new information, but also completes Vasari's list by cataloguing all the prints unnoticed by his Florentine predecessor. Aware of the interest of amateurs and collectors in identifying old and new prints, establishing their states, and building up an exhaustive collection, Malvasia undertakes the groundbreaking task of describing, one by one or by coherent series, the whole corpus of prints executed by or after Bolognese masters as far as he could determine. He describes the subjects of these works accurately, transcribes their inscriptions, specifies their techniques (whether engraving, etching, or woodcut), supplying their measurements in Bolognese once. In listing the works of Bonasone, the Carracci, Giovan Luigi Valesio, Guido Reni, and Simone Cantarini, among others, Malvasia often comments on their technical and aesthetic qualities, resorting to a refined and complex terminology that reveals his profound knowledge of printmaking. In her introductory essay, Naoko Takahatake explains the historical significance of Malvasia?s innovative production of the first extensive print catalogue, shedding new light on the unique context of Bolognese printmaking in the sixteenth and seventeenth centuries. In her notes, Takahatake identifies over eight hundred prints mentioned by Malvasia, almost all of which are reproduced in color in a separate volume. Underscoring the importance of Malvasia?s critical catalogue for amateurs and collectors, Carlo Alberto Girotto offers a critical edition of the annotations made by the French art theorist Roger de Piles to his own copy of the Felsina pittrice (now in the library of the Institut National d?Histoire de l?Art, Paris). At the end of the translation and notes, Lorenzo Pericolo publishes the sections of Malvasia?s Scritti originali (Ms. B16, Biblioteca Comunale dell?Archiginnasio, Bologna) relating to Bonasone. Review "Overall, the volume is an excellent critical edition, based on accurate philological criteria, and should be considered a milestone for non-Italian speakers who wish to familiarize themselves with Felsina pittrice, a truly essential seventeenth-century text in the Italian and European scenario that provides a wealth of historiographical information and reflections useful for the development of multiple avenues of research." (Marzia Faietti, in: Print Quarterly, XXXV, 2018, 4, p. 469-470), Brepols - Harvey Miller 2017, 0, New York: Harms Incorporated, [1934].. 8vo. Promotional Poster, Very Good with small tears, edge wear, some staining, shelf wear, rubbing and minor creasing. Illustrated. 23 x 30 cm., New York: Harms Incorporated, [1934]., 0, London: MacMillan, 1975. Book. Fine. Hardcover. First Edition. 8vo - over 7¾" - 9¾" tall. xiv, 282 pp. Index. "The chief significance of this book is that it offers an introduction to a vast range of economic thought which has conditioned the current state of the art, but is little appreciated by many university teachers, let alone their students. Among the more specific novelties of the book are: the attention given to pre-Socratic thought in Greece; emphasis on divergent assessments of economic life in the Christian and Jewish traditions; the survey of the Mishnah; and the prominence given to Leonard Lessius as a figure in European economics." - from dust jacket. Book clean and unmarked with very light wear. Binding tight. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A nice copy.., MacMillan, 1975, 4<

1975, ISBN: 0333155688

Gebundene Ausgabe

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 36.79], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH … Mehr…

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 36.79], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH LEONARD EUROPEAN PRE-SOCRATIC THROUGHT GREECE, Jacket, xiv, 282 pp. Index. "The chief significance of this book is that it offers an introduction to a vast range of economic thought which has conditioned the current state of the art, but is little appreciated by many university teachers, let alone their students. Among the more specific novelties of the book are: the attention given to pre-Socratic thought in Greece; emphasis on divergent assessments of economic life in the Christian and Jewish traditions; the survey of the Mishnah; and the prominence given to Leonard Lessius as a figure in European economics." - from dust jacket. Book clean and unmarked with very light wear. Binding tight. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A nice copy., Books<

1975, ISBN: 0333155688

Gebundene Ausgabe

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 40.93], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH … Mehr…

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 40.93], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH LEONARD EUROPEAN PRE-SOCRATIC THROUGHT GREECE, Jacket, xiv, 282 pp. Index. "The chief significance of this book is that it offers an introduction to a vast range of economic thought which has conditioned the current state of the art, but is little appreciated by many university teachers, let alone their students. Among the more specific novelties of the book are: the attention given to pre-Socratic thought in Greece; emphasis on divergent assessments of economic life in the Christian and Jewish traditions; the survey of the Mishnah; and the prominence given to Leonard Lessius as a figure in European economics." - from dust jacket. Book clean and unmarked with very light wear. Binding tight. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A nice copy., Books<

1975, ISBN: 0333155688

Gebundene Ausgabe

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 23.8], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH L… Mehr…

[EAN: 9780333155684], Gebraucht, guter Zustand, [SC: 23.8], [PU: MacMillan, London], ECONOMIC ANALYSIS BEFORE ADAM SMITH: HESIOD TO LESSIUS ECONOMICS CHRISTIAN JEWISH TRADITIONS MISHNAH LEONARD EUROPEAN PRE-SOCRATIC THROUGHT GREECE, Jacket, xiv, 282 pp. Index. "The chief significance of this book is that it offers an introduction to a vast range of economic thought which has conditioned the current state of the art, but is little appreciated by many university teachers, let alone their students. Among the more specific novelties of the book are: the attention given to pre-Socratic thought in Greece; emphasis on divergent assessments of economic life in the Christian and Jewish traditions; the survey of the Mishnah; and the prominence given to Leonard Lessius as a figure in European economics." - from dust jacket. Book clean and unmarked with very light wear. Binding tight. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A nice copy., Books<

1975, ISBN: 9780333155684

London: MacMillan, 1975. Book. Fine. Hardcover. First Edition. 8vo - over 7¾" - 9¾" tall. xiv, 282 pp. Index. "The chief significance of this book is that i… Mehr…

London: MacMillan, 1975. Book. Fine. Hardcover. First Edition. 8vo - over 7¾" - 9¾" tall. xiv, 282 pp. Index. "The chief significance of this book is that it offers an introduction to a vast range of economic thought which has conditioned the current state of the art, but is little appreciated by many university teachers, let alone their students. Among the more specific novelties of the book are: the attention given to pre-Socratic thought in Greece; emphasis on divergent assessments of economic life in the Christian and Jewish traditions; the survey of the Mishnah; and the prominence given to Leonard Lessius as a figure in European economics." - from dust jacket. Book clean and unmarked with very light wear. Binding tight. Light wear to dust jacket now preserved in glossy new archival-grade Brodart. A nice copy.., MacMillan, 1975, 4<