Antiquariat.de
1 336 résultats
193067582Berlin, Atlantis-Verlag, [1930]. XLVI, 280 S. Mit zahlr. Abb. in Kupfertiefdruck (= Orbis terrarum, Reihe 1,4). OHPgt. Mit Kopfgoldschnitt.
190497764Leipzig, 1904. 79, [5] S. Mit mont. illustr. Titel u. 8 Tafeln (4 montiert), Notenbeispiel im Text sowie Schlußvignette. 19,5 cm. OHPgt m. goldgeprägter VDeckelillustr. u. Kopfgoldschnitt.
1510151129(Paris, um 1510). Blattgröße: 17,5 x 11,5 cm. Schriftspiegel: 16 x 9,5 cm.
180181154Hamburg, Carl Ernst Bohn, 1792-1801. [1] 9 Bll., 420 S. Mit gestoch. Titel-Vign. u. 2 gefalt. Kpfr.-Taf. / [2] 8 Bll., 480 S. Mit Titel-Vign. u. 1 Falttaf. / [3] 6 Bll., 510 S. Mit Titel-Vign., 8 (davon 3 gefalt.) Taf. u. 1 gefalt. Tab. / [4] 4 Bll., 460 S. Mit Titel-Vign. u. 6 Falttaf. / [5] 6 Bll., 524 S. Mit Titel-Vign. / [6] 6 Bll., 572 S. Mit Titel-Vign. u. 3 Taf. (20 x 12,5 cm). HALBPERGAMENT der Zeit mit RTiteln von alter Hand.
1933015737Bruxelles Editions Nicolas Flamel 1933 In-8 carré Broché, couverture illustrée
52035France c.1485-1515. Small8vo. (80 x 12 mm). 1 leaf in vellum, single column with text to both verso and recte. Fine flower ornamentation in red, blue and gold to outer margin (both verso and recte). Horisontal catchword. Small worm-hole to upper right corner, far from affecting text.
186718178Paris, Librairie Centrale (J. Lemer, éditeur), 1867 ; in-16, bradel de vélin-parchemin rigide à recouvrement, titre manuscrit en caractères gothiques bleus, plats décorés d’un encadrement doré et rouge orné, dans les coins, d’une composition de fruits tenus par un ruban noué, dragon volant au centre du plat supérieur, d’après celui qui orne la couverture et la page de titre tête dorée, étui bordé (Levitzky) ; 36 pp. , couverture en papier sulfurisé simili parchemin, en rouge et noir, l’eau-forte serait de Delor en frontispice.
1464<p>London: Macmillan and Co. 1895. Octavo. A sensuously romantic but chaste gift binding in full vellum with the initials " J. J. de W." in gilt on the front cover and " 25. June 1895 d. d. G. B. R." on the back cover. 184 pages. The gilt titled spine has an ornament of a single gilt inverted lily blossom on a sinuous stem with the date 1895 in gilt at the foot of the spine. Small gilt lily blossoms also adorn the corners of both covers. Vellum turn-ins with double gilt rules. Top edge gilt. Although this binding is unsigned it was obviously the work of a skilled binder producing a gift volume to represent the affection of the presenter and hopefully the cherished regard of the receiver.</p> hardcover
184239743Haarlem, A. C. Kruseman, 1842. Titel, 1 Bl., 44 S. Mit 1 lithographierten Titel-Illustration von H. J. Becker. Spät. HPgt. mit marmor. Deckelbezügen.
1937ST21066London: William Heinemann Limited 1937. FIRST EDITION. Book: 245 x 152 mm. 9 3/4 x 6"; Case: 330 x 235 mm. 13 x 9 1/4". 3 p.l. 34 pp. <br/> LOVELY CONTEMPORARY STIFF VELLUM GILT AND PAINTED covers with delicate gilt frame sprays of flower and leaves at each corner outlined in gilt and painted blue and green central lozenge outlined in gilt dots and framed by painted flowers and leaves a large initial "A" in gilt at center smooth spine divided into compartments with gilt and painted floral ornament turn-ins with gilt floral roll sky blue silk endleaves all edges gilt. Housed in a fine oversized blue morocco case designed to look like a book with gilt lettering on the upper cover raised bands gilt ruled compartments and lettering to spine the interior constructed and padded to hold the smaller book and lined with blue velvet spine of case a bit sunned corners a little rubbed clasp no longer functional. A FINE COPY clean and fresh internally in a pristine binding.<br/> <br/> With very considerable visual and tactile appeal this is a gracefully bound copy of the the final book of verse issued by Richard Aldington published before he turned exclusively to writing prose. A leading poet of the early 20th-century Imagist school Aldington né Edward Godfree Aldington 1892-1962 was a prolific writer whose 50-year career produced novels biographies translations and literary criticism as well as sharp minimalist free verse. He was part of the contemporary London avant-garde crowd being close friends with Ezra Pound T. S. Eliot Amy Lowell and D. H. Lawrence; and he was especially close to the poet H. D. Hilda Doolittle his first wife from 1913-38. As literary editor of the leading Modernist periodical "The Egoist" he was an integral part of the pre-World War I literary scene and his first largely autobiographical work "Death of a Hero" 1929 was considered by George Orwell and Lawrence Durrell to be the best of the English Great War novels. The poems here were written in the mid-1930s when Aldington had decamped to the United States after the woman he loved Netta Patmore rejected his proposal of marriage. While tracing his grief and longing the verses also build the image of a "crystal world" created by the love of an ardent couple concluding that "Only from the purity of extreme passion / And alas the purity of extreme pain / Can you build the crystal world." Happily Aldington's beloved Netta to whom the work is dedicated reversed her decision and agreed in 1938 to help him build their crystal world together. The present lovely binding is unsigned but the delicate precise tooling and elegant design indicate the work of very talented hands. The romantic contents and the rather feminine aspect of the binding suggest that this was a gift from one lover to another perhaps a recipient sharing the initial "A" with our author. And the oversized and extravagant custom case indicates how much this object was treasured. William Heinemann Limited unknown
1891ST15049London: Seeley and Co 1891. No. 85 OF 160 COPIES ON LARGE PAPER. 382 x 275 mm. 15 x 10 3/4". 4 p.l. 111 1 pp. <br/> Publisher's gilt-stamped vellum upper cover with titling and the Tennyson coat of arms BOTH COVERS WITH LOVELY HAND-PAINTED DESIGN BY JOHN T. BEER upper cover with urn at foot and blooming rose branches emanating from a medallion bearing the date 1902 and curving around the title and escutcheon lower cover with branches of apple blossoms dividing the board into quadrants each inhabited by a bird in flight smooth spine with gilt titling edges untrimmed. With frontispiece photographic portrait of Tennyson 31 vignettes in the text and 14 copper-plate engravings after drawings by Edward Hull. Verso of title page and limitations page with ink stamp of Gloucester County Library. Weber "The Fore-Edge Paintings of John T. Beer" 195. Small scratch near head of front joint minor soiling and rubbing to edges of boards mild foxing mostly marginal and not affecting copper engravings otherwise an excellent copy clean and fresh internally with wide margins the binding especially bright the pretty decoration perfectly preserved. AN EXTREMELY ATTRACTIVE COPY.<br/> <br/> This very large format deluxe illustrated work describing the places associated with England's beloved Poet Laureate Alfred Lord Tennyson is enhanced by former owner John T. Beer's Arts & Crafts-style embellishments to the vellum binding. After retiring from a successful career as a clothier Merseyside book collector Beer ca. 1826-1903 occupied himself decorating books from his library mostly with fore-edge paintings but in a score of instances with painted bindings. Jeff Weber considers Beer "one of the most highly skilled artists of fore-edge paintings" noting that he was the first artist to put his signature to such works. Weber's catalogue raisonnée of Beer's works lists 189 fore-edge paintings 22 painted bindings including this one #195 and three bindings designed by Beer and executed by Fazakerley of Liverpool. The design here is clearly influenced by the Arts & Crafts movement and Beer owned several works by William Morris including a Kelmscott Press "Godefrey of Bologne" on the vellum covers of which he had painted a design of tulips and lilies. Among the locations discussed and pictured in the "The Laureate's Country" are Tennyson's childhood homes in Somersby and Bag Enderby Trinity College Cambridge where he matriculated and his estates Farringford on the Isle of Wight and Aldworth in West Sussex. Seeley and Co unknown
1990LFA-126733649Un ouvrage de 269 pages, format 210 x 280 mm, illustré, relié cartonnage sous jaquette, publié en 1990, Impr. Maury, tirage limité (n° 201/500), bon état
190273377London: Edwin Arnold 1902. Limited to 165 numbered copies on vellum at the Essex House Press under C. R. Ashbee. Small octavo. 45 1 pp. Hand-colored frontispiece and two full-page hand-colored illustrations and eighty-five hand-colored ornamental letters by Edith Harwood. Tail-piece. Caslon type. Publisher's vellum with rose and gilt lettering to front cover. Bit of natural mottling to vellum. Custom folding cloth chemise and slipcase. A very good copy.Great Poems Series No. 6. "In 1886 C.R. Ashbee established the Guild of Handicraft at Essex House London. Around the same time Ashbee created the Essex House Press. The Essex House Press published its first book in 1898. The work of the press was very much a part of the Arts and Crafts Movement. Ashbee continually linked the aims of the press with those of John Ruskin and William Morris and described the object of the movement as “making useful things…making them well and…making them beautiful.†The critics however were not so sure about the work of Essex House Press calling it “articraftiness.†Later booklovers came to admire much of its work. Some of the presses and some of the workmen for Essex House Press came from the Kelmscott Press after its demise in 1897 following the death of William Morris. Ashbee designed his own typeface called “Endeavor†for the press. In 1902 the press moved to Glouscestershire. The Essex House Press closed in 1910 having produced more than seventy titles." Univ. of Utah Edwin Arnold hardcover
1910ST14374England ca. 1910. 392 x 287 mm. 15 3/8 x 11 1/4". 32 leaves with text in an attractive italic hand all separated by tissue guards. <br/> SUMPTUOUS OLIVE GREEN STRAIGHT-GRAIN MOROCCO ELABORATELY GILT BY ZAEHNSDORF stamp-signed on front doublure and with their exhibition stamp on rear turn-in covers with densely stippled floral roll border enclosing a large frame formed by drawer handle tools and floral tools on a stippled ground; central panel with large cornerpieces rampant with flower tools circlets volutes and much stippling; raised bands spine compartments heavily gilt in a similar style gilt titling RED MOROCCO DOUBLURES with opulent dentelle frame surrounded by gilt-tooled green morocco turn-ins red watered silk endleaves with gilt edging all edges gilt.ma WITH 76 BLACK & WHITE PHOTOGRAPHIC REPRODUCTIONS OF PORTRAIT MINIATURES BY RICHARD COSWAY ANDREW PLIMER AND OTHERS mounted and enclosed by hand-painted burnished gold frames EACH PORTRAIT WITH HAND-ILLUMINATED TITLE in red blue green and burnished gold. Verso of front endleaf with book label of Thomas Agnew & Sons Old Bond Street Library. A bit of wear to front joint a little rubbing to extremities occasional mild rumpling to head or tail of vellum leaves isolated small marginal smudges otherwise a fine specimen the vellum creamy and bright the illuminations shining and the binding quite sound and lustrous with gold.<br/> <br/> Composed of vellum leaves this is a unique luxurious catalogue of a miniatures collection with delicate script lovely illumination and a stately binding by one of London's foremost workshops. State-of-the-art photographic reproductions of mostly 18th century miniatures are juxtaposed here with calligraphy and illuminations harking back to Medieval bookmaking. Each portrait is surrounded by a gold frame and accompanied by a hand-written description with an illuminated title giving biographical details of known subjects and a physical description of the miniatures whenever they are labelled simply "Portrait of a Lady" or "Portrait of a Gentleman." The scale of this production--which is nearly twice the size of most illuminated manuscripts of the early 20th century--and the splendor of the binding point to a patron of considerable means likely either the proprietors of or a client of the Agnew art dealers. The Agnew firm began as printsellers in Manchester in 1817 but over the course of the 19th century became one of the principal British galleries under the leadership of the founder's son William. A London branch opened in 1860 and the Bond Street flagship in 1875. William Agnew 1825-1910 did much to foster the careers of British artists Holman Hunt Frederick Leighton and Edward Burne-Jones and his clients included Henry Tate whom he encouraged to found the celebrated Tate Gallery. The binding here is a superb example of the work of the Zaehnsdorf firm long a top-ranked English bindery. Born in Pest Hungary Joseph Zaehnsdorf 1816-86 served his apprenticeship in Stuttgart worked at a number of European locations as a journeyman and then settled in London where he was hired first by Westley and then by Mackenzie before opening his own workshop in 1842. His son and namesake took over the business at age 33 when the senior Joseph died and the firm flourished under the son's leadership becoming a leading West End bindery. Over the years Zaehnsdorf employed a considerable number of distinguished binders including the Frenchman Louis Genth who was chief finisher from 1859-84 and trained a number of others including Roger de Coverly and Sarah Prideaux. A family-run business until 1947 the Zaehnsdorf bindery continued to produce consistently attractive and innovative designs executed with unfailing skill. It is generally understood that the firm reserved the use of its oval stamp showing a binder at work seen here for their finest bindings including those entered in exhibitions. unknown
1915ST17129-042Chicago: Written and Illuminated for The Renaissance Society ca. 1915. 216 x 153 mm. 8 1/2 x 6". ii 28 pp. 1 leaf colophon. Single column 18 lines in an attractive calligraphic hand. <br/> VERY PRETTY VIOLET CRUSHED MOROCCO GILT AND INLAID for The Renaissance Society stamp-signed in gilt on front doublure smooth spine with gilt titling FULL MOROCCO DOUBLURES consisting of a green morocco panel framed by purple morocco with gilt dots and scrolling floral motifs at each corner each with an inlaid white morocco flower cream-colored watered silk endleaves. In a lavender buckram chemise and matching purple morocco-backed slipcase with raised bands and gilt lettering. With many one-line initials in pink each leaf with a different two- to four-line initial in a different style with both painted and gilt elements and exuberantly decorated most leaves with a panel or "L"-shaped border ranging from simple lines to elaborate decorative bars a few borders with small landscapes and a total of FOUR FIGURAL SCENES decorative title page with colorful initials lettering and decorative flourishes text beginning with A HALF-PAGE MINIATURE OF ST. JEROME AT HIS DESK surrounded by A FULL BORDER of flowers gilt detailing and stylized heads of putti all by Louis Bauhan. Front free endpaper with bookplate of Phoebe Boyle. Leather with a slight chalky appearance silk endleaves starting to fray at fore edge a few leaves with a hint of waviness but THE MANUSCRIPT IN BEAUTIFUL CONDITION the vellum entirely clean and the paint especially bright and fresh.<br/> <br/> Exuberantly decorated by a major illustrator of the period this manuscript was commissioned and bound for The Renaissance Society of Chicago before making its way into the superb collection of American bibliophile Phoebe Boyle. The text here comes from a poem by "Atlantic Monthly" writer and editor Thomas Bailey Aldrich 1836-1907 imagining the agony and the ecstasy of St. Jerome as he sat down to write his translation of the Bible. The illumination though certainly inspired by the decorative programs of Medieval manuscripts is decidedly modern in appearance drawing on the Art Nouveau movement and utilizing bold color combinations and whimsical design motifs. It is not clear why the illustrator here Louis Bauhan 1855-1941 has used the ananym "Siuol Na-Huab" because there is no reason to hide responsibility for producing the clean elegant script the imaginative marginal decoration and the finished human and animal images that enliven the manuscript. Bauhan was a very successful painter and illustrator perhaps best known to the public as art editor of "Cosmopolitan Magazine" under John Brisben Walker who edited and published the magazine from 1889 to 1905. In 1881 Bauhan helped to found the Kit-Kat Club of New York a bohemian artists' and cultural association; he was persistently in demand as a book illustrator; and among other things he painted landscapes and portraits in oil. The colophon here states that the manuscript was written and illuminated for The Renaissance Society--an artistic group associated with the University of Chicago whose mission was to cultivate and promote modern art--and it was given an appropriately luxurious binding by the same organization. The manuscript was obviously valued highly enough to join the collection of Phoebe A. D. Boyle a client George Sutcliffe described as "rivalling the Medici in her patronage of the production of beautiful books." Shepherd "The Cinderella of the Arts" p. 63 Stephen Ratcliffe describes the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts and any book from the Boyle collection which was put together with the greatest taste and discrimination is recognized as desirable beyond its intrinsic literary merit. Written and Illuminated for The Renaissance Society unknown
1925ST16974Flensburg ca. 1925. 325 x 240 mm. 12 7/8 x 9 1/2". 4 p.l. first two blank 4 leaves 144 pp. 4 leaves last blank. Single column 31 lines in a fine calligraphic hand. <br/> FLAMBOYANT DEEP RED MOROCCO ELABORATELY INLAID AND GILT BY W. A. PETERSEN stamp-signed on rear turn-in covers framed by inlaid white morocco strip tooled with gilt triangles enclosing sides in a bead-and-lozenge pattern of gilt-outlined mandorlas containing a red cross on a blue background alternating with an inlaid white lozenge upper cover with brass and enamel cornerpieces featuring the symbols of the four Evangelists each of these set with a colored glass gem central panel divided into four compartments each containing a small star tool central brass and enamel medallion with a six-pointed star emblazoned with a sun and a red enamel "Y" two straps with brass and enamel clasps marked with Alpha and Omega lower cover with brass cornerpieces raised bands spine with gilt-ruled compartments turn-ins tooled with plain and dotted gilt rules and gilt stars deep pink moiré silk doublures shot with gold thread all edges gilt. In a box with a velvet-lined maroon buckram base and green marbled paper lid. With many initials of various sizes painted blue red green purple maroon or gilt three three-line initials in gold on a colored ground with the shape of a cross one two-line initial and 13 four- to six-line initials in gold on a multi-colored ground in a geometric design SEVEN HISTORIATED INITIALS each measuring seven to 11 lines in length FIVE MINIATURES MEASURING A THIRD TO THREE-QUARTERS OF THE PAGE each featuring a scene from the life of the Virgin or the life of Christ SIX FULL-PAGE ILLUMINATIONS incorporating text of different sizes and fonts many colors and patterns five of which contain a large central gilt circle the first of these completely filled with gold the others with a religious symbol in pen on bare vellum every page with a unique border composed of a thin frame with different geometric designs in gold and color some pages with an additional column of floral and foliate designs running down the left side of the text within the border plus additional flourishes elsewhere. Text in multiple sizes and fonts occasional words or phrases penned in color or gold. Boards somewhat bowed as often with bindings on vellum works occasional naturally occurring variations in the grain of the vellum a few instances of faint thumb smudging in corners but A BEAUTIFUL MANUSCRIPT IN ESPECIALLY FINE CONDITION the vellum smooth and fresh the illuminations shimmering and the binding unworn.<br/> <br/> Replete with gold illumination and bright colors evoking the appearance of Medieval manuscripts and stained glass this is an exquisitely produced work relating the life and words of Christ divided into five thematic parts: Light Word Spirit Death and Resurrection. Each part opens with a sumptuous full-page illumination reminiscent of the "carpet page" painting found in early Insular manuscripts; in the present work our artist fills the frame with a dazzling mixture of text and decorative patterns around a lustrous gilt medallion calling to mind the sun a resplendent halo or the Host. Although much of the decoration both on these full-page illuminations and elsewhere in this work remind one of Medieval manuscripts and are often composed of geometric designs and colors suggestive of stained glass the overall style here is decidedly modern. The palette is fresh and bold while the emphasis on strong lines and patterns shows the influence of the reigning Art Deco movement with echoes of the Art Nouveau movement that preceded it. Traditional biblical narratives in the form of historiated initials and miniatures are also presented here in refreshing ways: the image of the Sermon on the Mount for example places the viewer directly among the masses; we experience the event as a member of the audience would looking over the shoulders of the people in front of us to see Christ orating from a small hill silhouetted against a bright pink sky. Another memorable image--and the largest figural composition in this manuscript--is the Crucifixion. Though he has used a fairly standard composition the artist plays with our perception of space by setting the scene on a dark blue ground that envelopes the figures in a shadowy void; the only light source seems to come from the gold lettering immediately above the cross radiating off the face of Christ and to a lesser degree off the grief-stricken faces of John the Evangelist and the Virgin. All are pictured without haloes thus emphasizing the humanity of Christ over his divinity. As a whole this manuscript is extremely impressive in terms of artistry and technical execution and the prolific decoration and calligraphic variety hold the viewer's interest page after page. The equally impressive binding--modelled after the look of a Medieval Gospel book complete with enamel-like bosses and jewels--is fitting for a work that pays homage to the past while celebrating contemporary art and style. The life and work of calligrapher and illuminator Johann Holtz 1875-1944 is poorly documented but he seems to have been active in Flensberg Germany; he also worked as a graphic artist. Binder W. A. Petersen has proven equally illusive but we know that his workshop was also located in Flensburg. Given the town's close proximity to Denmark we might speculate whether Petersen was somehow related to the Copenhagen-based binder Immanuel Petersen who took over from master binder D. L. Clément in 1877. Despite the lack of biographical information on our artist and binder the work here needs no provenance information to be pleasing in every way from the gleaming binding to the beautifully preserved and magnificently illuminated contents. unknown
195474499Philadelphia: American Dredging Company 1954. A lovely calligraphic memorial resolution calligraphed by by W. G. Strickland of Philadelphia. Octavo 6 3/4 x 9 1/2 inches. 6 leaves of vellum of which four bear the memorial versos only. Capitals done in gilt and blue. Opening leaf elaborately decorated. Final leaf signed by each Member of the Board. Original black pebbled morocco gilt turn-ins white moire silk doublures matching slipcase. An excellent example of this form of the Golden Watch.The American Dredging Company of Philadelphia began operations in 1867 and soon became the largest dredging company in the country. E. Homan Stroud joined the company in 1904 and rose through the ranks to become its president in 1944. He died on June 24 1954 and this memorial was dated the day after. Apparently there were two copies as it states near the rear that a copy shall be given to his widow. [American Dredging Company] hardcover
1915ST20770London: Especially written out and illuminated by Alberto Sangorski ca. 1915. 249 x 165 mm. 9 3/4 x 6 1/2". 18 2 pp. 2 leaves blank colophon. <br/> Attractive dark green crushed morocco gilt by Riviere & Son stamp-signed on front turn-in covers with wide frame and central panel tooled in gothic architectural motifs raised bands spine compartments with double gilt rules gilt lettering turn-ins framed by gilt fillets and dots scarlet watered silk pastedowns and endleaves all edges gilt old repair to head of spine. With one burnished gold initial "A" with intricate penwork embellishment in red and blue THE WORD "FOR" WRITTEN IN LARGE BURNISHED GOLD LETTERS SIX TIMES all with delicate penwork embellishment in blue or green TWO WITH A FAIRY-WINGED PUTTO perched on the crossbar of the "F" another "FOR" written in blue THE "F" IN BURNISHED GOLD ON A BACKGROUND OF BRUSHED GOLD WITH A PINK ROSE SPRIG a tailpiece of white jasmine blossoms entwined with a spray of lilac blooms FOUR ESPECIALLY FINE BRIGHT OVAL VIGNETTES approximately 90 mm. across SHOWING LOVELY GARDENS one of these accompanied by A HALF BORDER OF HUCKLEBERRY VINE another at the front as part of A SUPERB DOUBLE-PAGE OPENING FEATURING A PROFUSION OF PINK ROSES forming a frame around a gilt-edged cartouche bearing the title in blue surrounded by delicately blue and brown tendrils on the left AND A FRAME OF GRAPEVINES BEARING SUCCULENT PURPLE FRUIT ON A BRUSHED GOLD BACKGROUND on the right an oval view of a lake and mountains at its foot this frame enclosing text beginning with the words "GOD ALMIGHTY" in thickly burnished gold accented with curling blue and brown acanthus leaves and blue penwork. One page with trivial thumb smudge faint variations in shade of the vellum but A SUPERB SPECIMEN the vellum smooth and creamy the paint and gold bright and the virtually unworn binding with shining gilt.<br/> <br/> Featuring several gorgeous moments this is a luxurious and appropriately luxuriant illuminated manuscript of Bacon's prescription for the ideal princely garden. The most prominent modern creator of illuminated manuscripts our artist Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm before being attracted to the book arts at the age of 43. He began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe with the colophon crediting the manuscript to the firm rather than acknowledging Alberto's contribution. Partly because of this failure to recognize his work Alberto had a falling out with Francis sometime around 1910 at which time he took his talents to Riviere the chief competitor to his brother's bindery. Robert Riviere began as a bookseller and binder in Bath in 1829 then set up shop as a binder in London in 1840; in 1881 he took his grandson Percival Calkin into partnership at which time the firm became known as Riviere & Son and the bindery continued to do business until 1939. Riviere was happy to allow Albert to add a colophon proclaiming as here that "This manuscript . . . was designed written out and illuminated by Alberto Sangorski." The decoration in the present work has an airy light-hearted aura with the bright gold lettering the delicate intricate penwork and the whimsical fairies conveying considerable joy and playfulness. And the beauty of the manuscript is heightened by the extremely fine condition here. Especially written out and illuminated by Alberto Sangorski unknown
1920ST16608<p>London: Designed written out and illuminated by Alberto Sangorski Colophon 1920. 255 x 212 mm. 10 1/8 x 8 1/2". 25 3 pp.</p><p>ELEGANT LIGHT OLIVE GREEN CRUSHED MOROCCO GILT AND INLAID by Riviere for London bookseller Charles J. Sawyer stamp-signed "Chas. J. Sawyer Ltd. London" on front turn-in upper cover with inlaid mahogany-brown morocco lyre at head "strung" with gilt fillets and surrounded by dense gilt stippling six gilt fillets emanating from the top of this ornament and curling extravagantly below it with inlaid green morocco leaves at the tips of its extensions and inlaid red dots accenting the perimeter raised bands spine compartments with gilt and inlaid leaf sprig gilt titling turn-ins framed with five gilt fillets stippled and inlaid cornerpieces ivory moiré silk doublures and endleaves. In a fine full morocco plush-lined box with raised bands and gilt titling. ILLUSTRATED THROUGHOUT WITH EIGHT LARGE MINIATURES within extraordinarily elaborate illuminated borders FIVE FINE ROUNDELS FOUR LARGE HISTORIATED INITIALS a portrait of a young woman a leaping stag a skull and a landscape with a castle tower AND 25 ILLUMINATED INITIALS all with burnished gold. New expertly matched silk guards. SIGNED by Sangorski in the colophon following the statement: "This manuscript will not be duplicated." With an early typescript list of the contents laid in at front. Ratcliffe "Alberto Sangorski" SJR 338 attributing the binding to Riviere. ◆Spine slightly sunned to olive brown just a hint of sunning to head and fore edges of boards spine with half a dozen barely perceptible tiny dark spots but A VERY FINE COPY OF AN EXTRAORDINARILY BEAUTIFUL MANUSCRIPT the binding unworn and lustrous and the interior pristine with vellum clean and bright and the paintings perfectly preserved.<br /><br />Written out decorated and painted by one of the most accomplished illuminators of the modern era this attractively bound work celebrates some of Shakespeare's best-known plays with sumptuous miniatures that are in a perfect state of preservation. Songs from "The Tempest" "As You Like It" "Hamlet" "A Midsummer Night's Dream" and other works provide the inspiration for the many delightful miniatures seen here which display an impressive variety of portraits outdoor views and figural scenes--everything from reclining nudes to a particularly lush scene in which a group of spirited hunters return from the woods. The illustrations are all painted with exquisite attention to detail and demonstrate the artist's innate understanding of color rendering each composition delicate yet vigorous and vibrantly hued. All Sangorski manuscripts with miniatures are painted with great skill but this one is particularly arresting. Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm became attracted to the book arts at the age of 43 and began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe. Sometime around 1910 Alberto and Francis had a falling out and the artist went to work for Riviere the chief competitor to his brother's firm. <br /><br />The gracefully tooled binding here was commissioned by London bookseller Charles J. Sawyer 1876-1931 who opened his shop in 1894. According to Brown and Brett's "The London Bookshop" Sawyer provided "anything suitable for a gentleman's library" with specialties in "rare items early English literature fine bindings and sporting and colour-plate books." While the binder fulfilling the commission did not sign this work Sangorski bibliographer Stephen Ratcliffe attributes it to Riviere & Son and there are examples of Riviere bindings decorated in this Art Nouveau style. But the design here with its delicate curving lines creating uncommon shapes also resembles the work done by members of the Guild of Women Binders. Whoever the artisans involved the binding is attractively designed and executed using premium materials and it provides a pleasing cover for the glorious illuminations within.</p> [D]esigned, written out, and illuminated by Alberto Sangorski [Colophon]
1944ST19310Sheffield England December 1944. 265 x 215 mm. 10 1/2 x 8 1/2". 6 leaves illuminated on rectos final leaf also illuminated on verso with colophon. <br/> VERY ATTRACTIVE DARK BLUE MOROCCO GILT stamped-signed "Bound by Slinn" on front pastedown upper cover with monogram of Edwin Goddard Stokes framed by gilt-ruled compartments containing gilt lettering elaborate gilt foliage and a gilt crown tool at top the panel surrounded by a double gilt rule frame and dogtooth roll border with additional foliate tools rear cover with quatrefoil design in floral tools and pointillé dogtooth roll border smooth spine with gilt-ruled compartments. In a rather worn felt-lined brown paper wallet case with handwritten titling on spine. Each recto with one or two large two- to three-line initials either painted or gilt TITLE PAGE WITH A FULL BORDER and others with a large complex border all of them elaborately painted with a variety of patterns styles motifs and with gilt embellishments one border incorporating three coats of arms AND ANOTHER PAGE WITH A QUARTER-PAGE MINIATURE OF A KNIGHT ON HORSEBACK. Trivial wear at top of front joint otherwise in pristine condition.<br/> <br/> This is a charming modern illuminated manuscript penned during WWII that contains two excerpts from Shakespeare in praise of "this other Eden demi-paradise" called England--specifically passages from John of Gaunt's dying speech in "King Richard II" and lines from "King John." As stated in the colophon the manuscript "was Designed Written out and Illuminated by John Wilfred Clarke of Ecclesall Sheffield for his great friend Edwin Goddard Stokes of Ringinglow Sheffield." Clarke d. 1954 was a municipal engineer and town planner by trade professions for which skill in the visual arts particularly draftsmanship is not only preferred but required. He was clearly a talented amateur with a flair for pattern and design. Though he incorporates elements found in Medieval manuscripts--trailing ivy leaves penwork decoration tessellation and line enders--the style is at the same time modern utilizing bold color combinations and layered shapes and patterns. Given the artist's location it is quite possible that he was involved with the Sheffield School of Art which was founded in 1843 and offered classes in fine arts and crafts. We know that the binder Walter Slinn d. 1964 was a staff member at the school as well as a prominent local bookbinder. Nationalistic sentiments are made clear in the choice of material celebrating England in Shakespeare's voice and this manuscript is all the more poignant when seen in the context of its time and place. Sheffield an industrial city was a major producer of steel and armaments during WWII --and thus a high-value target for German air raids. The so-called "Sheffield Blitz" of 1940 resulted in hundreds of deaths and nearly 80000 damaged homes. In December of 1944 when this manuscript was completed the end of the war was not yet in sight. Despite the bleak circumstances the manuscript radiates color light and hope. The recipient of Clarke's attractive manuscript was Edwin Goddard Stokes 1902 - ca. 1957 one of the sons of the prominent Sheffield businessman Robert James Stokes founder of R. J. Stokes & Co. a tile company that still flourishes in the city now. It is clear that this item was carefully looked after by this "great friend" of the artist. So far as we have been able to determine Clarke is an unrecorded artist except for the present Shakespeare work and one other similar manuscript featuring excerpts from Chaucer now in Stanford University Library. unknown
1939ST17129-020Wimbledon Surrey September 1939. 373 x 255 mm. 14 3/4 x 10". 12 vellum leaves seven with text and illuminations. Single column approximately 30 lines in a fine calligraphic hand. <br/> Attractive contemporary dark blue crushed morocco covers with gilt and blind rules raised bands with gilt rules gilt-ruled turn-ins vellum pastedowns. Text in blue black green and red a few lines with larger lettering in gilt several two-line initials in colored ink five two-line initials in red or blue with floral decorations opening pages with eight two-line initials in gold the lines here of a larger size than rest of text six three-line initials in gold filled and surrounded by floral decoration three four- to six-line gilt initials with more intricate floral decorations one of these with gilt stippling and two surrounded by a gilt frame and ONE VERY LARGE 80 x 45 mm GILT "B" decorated with stippling filled with two-tone green leaves pink flowers and large gold bezants. First leaf with ink inscription "Presented by Dr. W J Pearson / in appreciation of the work of / Ashridge Hospital 1939-1946"; two silk guards. Boards with a hint of soiling but A BEAUTIFUL MANUSCRIPT IN OUTSTANDING CONDITION the paint lovely and bright and the gold sparkling.<br/> <br/> This beautifully executed manuscript by a notable female calligrapher and illuminator features the oft-quoted and much-loved biblical text known as the "Sermon on the Mount" in which Matthew relates various moral teachings attributed to Christ. The text is written in an extremely pleasing and regular upright script throughout but the first opening listing the nine Beatitudes in capital letters is especially striking. Opening with the largest and most attractive initial in the manuscript it begins with "Blessed are the poor in spirit" in prominent gilt lettering; this is followed by the other blessings each beginning with a smaller gilt "B" initial written entirely in blue capital letters. The rest of the text penned primarily in black ink but accented with cheerful gilt initials and occasional colored lettering exudes a sense of order and simple elegance befitting the contents. Illuminator and calligrapher Violet Wilson was born in Wimbledon in 1902. She studied calligraphy under Claire G. M. Evans who had been a pupil of Graily Hewitt known for his work with the Ashendene Press and one of the principal British calligraphers and teachers of lettering in the first half of the 20th century. Wilson became a member of the Society of Scribes and Illuminators in the U.K. in the 1930s. The San Francisco Public Library has examples of her work in its Harrison Collection of Calligraphy and another illuminated copy of the "Sermon on the Mount" made in 1957 was included in the Baltimore Art Museum's 1965 exhibition and catalogue titled "Two Thousand Years of Calligraphy." The catalogue entry no. 213 notes that Wilson preferred to work on books and decorative maps and exhibited her work in many countries. According to the presentation inscription in the present work this manuscript was given to Ashridge Hospital--formerly a monastery and royal residence--by the distinguished physician Dr. Wilfred John Pearson 1884-1957 who had headed one of the London sectors of the Emergency Medical Service during World War II. His obituary in the "British Medical Journal" declared him "one of the striking figures of his time.". unknown
1914ST18714London 1914. 265 x 207 mm. 10 1/2 x 8 1/4". 41 3 blank pp. 1 leaf colophon. <br/> RESPLENDENT IN DARK BLUE MOROCCO RICHLY GILT AND ONLAID BY RIVIERE & SON stamp-signed on front doublure covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries bordered by strips of green and tan morocco central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center a black and red witch's hat above the horseshoe and the whole on a very densely stippled gilt ground incised with calligraphic curls and set with nine silver stars around the cat this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies raised bands spine compartments framed with tan morocco and containing a gilt and onlaid floral sprig TAN MOROCCO DOUBLURES bordered by a strip of purple morocco this with onlaid green morocco frame adorned with gilt latticework densely stippled gilt cornerpieces set with purple morocco passionflowers all accented with inlaid circles of purple navy and green in varying sizes leather hinges apricot watered silk endleaves all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red blue or burnished gold three three-line illuminated initials 11 five- to six-line initials in shades of purple blue and green with highlights of pink and burnished gold two of these with extensions running the length of the text and two incorporated into full borders four very large initials 12 lines or more in colors and gold five full borders that on title page incorporating a small oval miniature of Whittier and TWO FULL-PAGE MINIATURES one of a young nun at prayer the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed written out and illuminated by Alberto Sangorski for Messrs. R. Rivière & Son Bookbinders & Booksellers to his Majesty King George V. London. This manuscript will not be duplicated. This manuscript was executed by me." From the collection of Phoebe A. D. Boyle her sale at Anderson Galleries 19-20 November 1923 lot 368. Front flyleaf with engraved bookplate of comic book pioneer M. C. Gaines 1894-1947; typed description from "Kolb Collection" Louis Kolb laid in. Ratcliffe "Albert Sangorski Bibliography" SJR 245. Vellum a bit wavy as is typical but A BEAUTIFUL COPY the leaves creamy and bright being painted with rich colors and glittering gold and IN A FLAWLESS BINDING.<br/> <br/> This is an outstanding example of the artistry of Alberto Sangorski and that of the binders gilders and finishers of Riviere & Son the volume being executed at the zenith of their creative powers and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr" inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter" set in Puritan New England; and "Memories" a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues purples and greens brightened with burnished gold Sangorski has created two full-page paintings one of the beautiful young nun at prayer the other of youthful sweethearts strolling arm-in-arm through a wood. <br /> <br /> Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm became attracted to the book arts at the age of 43 and began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe. Sometime around 1910 Alberto and Francis had a falling out and the artist went to work for Riviere the chief competitor to his brother's firm. Like the manuscript here our binding by Riviere is the work of many months with hundreds of individual inlays onlays and applications of gilt. Robert Riviere began as a bookseller and binder in Bath in 1829 then set up shop as a binder in London in 1840; in 1881 he took his grandson Percival Calkin into partnership at which time the firm became known as Riviere & Son and the bindery continued to do business until 1939. New York collector Phoebe A. D. Boyle was the widow of a canvas manufacturer who had made a fortune providing tents to the U.S. Army in the Civil War. George Sutcliffe described this important client as "rivalling the Medici in her patronage of the production of beautiful books." Stephen Ratcliffe deems the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts; 33 of Alberto Sangorski's creations appeared in her sale at Anderson Galleries in 1923 and during World War I she was one of the only customers for extravagant productions like the present item. Any book from the Boyle collection which was put together with the greatest taste and discrimination is recognized as desirable beyond its intrinsic literary merit. unknown
1907ST16456Birmingham 1907. 312 x 275 mm. 12 3/8 x 10 3/4". 16 leaves illuminated on rectos only. <br/> Pleasing original full vellum over bevelled boards covers ruled in gilt and with gilt crosses in each corner gilt lettering on upper cover smooth spine gilt rules dividing compartments with central gilt cross thick vellum turn-ins ruled in gilt bright purple silk endpapers front joint very expertly repaired. Calligraphic lettering mostly in black green and red a few one-line initials and many three-line initials in blue or purple with red penwork several slightly larger purple or blue initials infilled with ivy of various colors and dotted with gold EACH PAGE WITH A DIFFERENT ARTS & CRAFTS-INSPIRED FLORAL BORDER consisting of multi-colored blossoms and acanthus as well as meandering vine-stems and highlighted with gold bezants or stippled gold ONE LEAF WITH A 90 MM. INITIAL INHABITED BY A REALISTIC CATHEDRAL INTERIOR the large lettering below it on a gold ground with etched patterns and painted purple ivy leaves the text and the initial surrounded by pink roses green leaves and thorny vines. ◆Corners a bit bumped vellum with a few shallow scratches slightly soiled in a few places other minor signs of use but the binding still quite clean and attractive; perhaps a hint of thumb-soiling to margins of a couple leaves but the contents in nearly perfect condition.<br/> <br/> This is a beautiful and engaging manuscript with imaginative illuminations by the little-known but extremely talented illuminator calligrapher and cartographer Ernest Costain Clegg 1876-1954. The text here reproduces the Great Litany of the Church of England derived from the Book of Common Prayer and composed of short divine petitions. Each leaf contains a different and unique border featuring stylized floral motifs often with curving vines encircling the text and a cheerful color palette consisting of clear pastels that beautifully offset the darker inks used in the text. The generous use of gold on the first leaf of text and gilt details throughout the borders provide a dimension of luxury without overshadowing the prayers themselves. Clegg draws on the Medieval tradition of manuscript illumination but this work also shows the influence of the Arts & Crafts movement of the 19th century especially in the beautiful initial inhabited by a realistic Cathedral interior pierced with light--a feature that invites comparison with the superlative work of Alberto Sangorski. But Clegg's reliance on a variety of floral decoration in his borders makes this manuscript more feminine than the typical work of Sangorski. Ernest Clegg entered the military in his early twenties serving in the Boer War 1899-1902 then returned to England to train at the Birmingham School of Art. In 1909 he went to work for Tiffany's of New York as a jewelry designer. Clegg also served in the English forces during the First World War; afterwards in America his popularity in the veteran community led to more commissions and a thriving artistic career. Clegg is perhaps best known for illustrating the poem "In Flanders Fields" written by John McCrae but he also found success as a cartographer producing among other works a well-known map of Charles Lindbergh's flight across the Atlantic in 1927. unknown
1896ST17129-026Paris 1896. 200 x 135 mm. 7 7/8 x 5 3/8". 11 leaves. Single column 16 lines plus headline in a thin graceful italic script. <br/> Attractive red crushed morocco by Marcellin Lortic stamp-signed on front doublure covers framed by multiple-rule gilt strapwork raised bands spine compartments with gilt French fillet gilt titling vellum doublures with gilt frame in the Romantic style leather hinges vellum endleaves all edges gilt. In matching morocco-trimmed slipcase. Title in burnished gold embellished with red and blue penwork text with red-ruled border and burnished gold stars at corners numerous one-line burnished gold initials with red or blue penwork two-line opening initial in burnished gold on a blue white and pink background and A HALF-PAGE MINIATURE measuring 71 x 64 mm. SHOWING A COURTROOM SCENE. Front free endleaf with morocco bookplate of Robert Hoe. ◆Just the slightest hint of rubbing to joints but A VERY FINE SPECIMEN entirely fresh bright and clean inside and out.<br/> <br/> This elegant little manuscript in French recounts Guy de Maupassant's satirical tale of a trial in the provinces; it was created by a man who knew the inside of a courtroom all too well. Bouton 1819-1901 was a young rebel during the 1848 Revolution who spent five years in jail for his participation in a bombing in Paris. Oddly enough the dedicated republican was also an expert on heraldry and paleography publishing pamphlets on those subjects as well as on politics and producing manuscripts like the present one. De Maupassant 1850-1893 is generally acknowledged as one of the great masters of the short story. In the present tale a wealthy older woman who had tried to buy a young peasant's love by giving him land sues unsuccessfully for the return of her property when the object of her affection forsakes her for a younger woman. According to Beverly Chew the library of Robert Hoe 1839-1911 founding member and first president of the Grolier Club was "the finest America has ever contained." Hoe acquired illuminated manuscripts early printing he owned a Gutenberg Bible on paper and one on vellum fine bindings French and English literature and Americana and when his library was sold in 1911-12 it fetched nearly $2 million a record that held until the Streeter sale more than 50 years later. Hoe owned several Bouton manuscripts of de Maupassant stories and the Morgan Library also has Bouton creations. The Lortic name was made famous in the history of French binding by Pierre Marcellin Lortic 1822-92 a leading Parisian binder for 40 years; the binder here was Lortic's son Marcellin or "Lortic Fils" 1852-1928. unknown
a5097632x16 cm folded in sixths. Sepia-toned ink manuscript letter in Latin on one third of inside surface with heading in manuscript on outside. Original cord with metal seal formed over and around the strings holding string ends together. Seal is about 1.3 inches in diameter. One side of seal shows a King and Pope. and reads: Veneti .DVX.Hierpriolus. Verso reads HIH Ronimus Priolus Die Grad VX Venetiar et C with narrow decorated circular border around edge. Text appears to concern political affairs. Girolamo Priuli 1486 - 1567 was Doge in Venice 1559-1567. Legible. Highly unusual item. Rare and Unique. Pictures available on request. . unknown
