Aesop; [Detmold, Edward J Illus]Biblio.com
359 résultats
190925107London: Hodder & Stoughton 1909. Limited first edition of 750 copies numbered and signed by the artist. Illustrated with 25 beautiful plates in color by Edward J. Detmold including two extra plates not found in the trade edition. Thick folio publisher’s original full white polished buckram the upper cover artfully decorated with the original gilt pictorial designs surrounded by a frame ruled in gilt and filled with intertwined vines the spine handsomely gilt lettered and decorated with gilt device and gilt rules t.e.g. housed and protected in the original slipcase. A fine copy with just very light age mellowing at the spine panel the corners fine and sharp the plates all in excellent condition the text-block clean and white essentially a near as pristine copy in a protective slipcase. The slipcase with some wear as would be expected. The book profiting by the presence of the slipcase with the white cloth remaining clean and the giltwork very bright. FIRST EDITION LIMITED SIGNED NUMBERED AND SPECIALLY BOUND. This title represents in our opinion Detmold's very best work. The grace and sensitivity of the illustrations reflect a certain Eastern sensibility. The artist’s powers in the delicate communication of nature’s spirit are exemplified by these wonderful paintings rich with the wide variety of the colours in the spectrum.<br> This is a very fine copy of the best printing of the work numbered and signed by Detmold. Hodder & Stoughton hardcover
191389076Librairie Hachette et Cie | Paris 1913 | 23 x 29.5 cm | relié
191389076Paris: Librairie Hachette et Cie 1913. Fine. Rackham illustrates the father of the Western fable Librairie Hachette et Cie Paris 1913 23 x 29.5 cm relié Illustrated edition with compositions by Arthur Rackham 13 in colour tipped in with captioned tissue guards and 52 black-and-white illustrations in the text one of 55 copies on japon signed by Arthur Rackham on the limitation page deluxe issue.  Publisher’s full vellum binding flat spine gilt-lettered with gilt-stamped animals upper cover gilt-stamped with the title and an illustration of animals top edge gilt uncut lower cover silk ties preserved.  A fine copy of the works of the most celebrated fabulist illustrated by Arthur Rackham one of the rare copies on japon.  Provenance: Maurice Feuillet with his manuscript ex-libris on the half-title. A renowned press illustrator notably for major judicial cases but also an art critic and founder of the Figaro artistique Feuillet remains famous for his courtroom sketches at the trials of Émile Zola in 1898 and Alfred Dreyfus in 1899.  Librairie Hachette et Cie hardcover
1931001609<p>Newtown: The Gregynog Press 1931. 8 146pp 2. Publishers sheep title blocked in black to spine. Spine rubbed affecting a couple of the letters to title minor rubbing to extremities with small scuff to lower top corner. Edges of endpapers browned small stain to title just beneath illustrators name a couple of small and very minor marks to margins generally quite bright and clean. Number one hundred and seventy-two of two hundred and twenty-five copies bound thus by the Gregynog Press bindery another twenty-five copies were specially bound with their name to foot of lower endpaper. Actually published in April 1932 in Bembo type on Barcham Green hand-made paper with thirty-seven wood engravings by Agnes Miller Parker and wood engraved initials by William MacCance. For the illustrator see Selborne 'British Wood-Engraved Book Illustration 1904-1940' pages 382-392. Franklin page 282; Harrop 20 noting that "never can living creatures have been more successfully portrayed in so static a medium" Harrop page 96. First Thus. Hardback. Good. Illus. by Parker Agnes Miller. Folio. Private Press.</p> The Gregynog Press hardcover
1912ST19901London & New York: William Heinemann & Doubleday Page 1912. No. 863 of 1450 SIGNED by Rackham. With an Introduction by G. K. Chesterton. 290 x 227 mm. 11 1/2 x 9". xxix 1 223 1 pp. <br/> SUPERB HONEY-BROWN CRUSHED MOROCCO GILT AND INLAID BY SANGORSKI & SUTCLIFFE stamp-signed on front turn-in covers with Arts & Crafts-style frame of gilt rules punctuated with inlaid green morocco dots inlaid green morocco Tudor roses at corners with four leafy branches upper cover with gilt titling at head of central panel central gilt-ruled medallion contain the letters "E B" in inlaid blue and green morocco with a collar lettered "XMAS 1912" this surrounded by a wreath of gilt vines and eight inlaid green morocco roses raised bands spine compartments with French fillet frames two panels with gilt lettering turn-ins with multiple gilt rules top edge gilt other edges untrimmed. Housed in a felt-lined buckram clamshell box. With 20 full-page black and white illustrations numerous illustrations in the text and 13 COLOR PLATES as called for each mounted on heavy brown stock and protected by lettered tissue guard. Printed on Large Paper. WITH HAND-ILLUMINATED PRESENTATION LEAF BOUND IN: "TO EDMUND" written in burnished gold surrounded by curling leafy vines in blue orange and green "WITH BEST WISHES FOR A MERRY CHRISTMAS AND A HAPPY NEW YEAR" written in black ink an ornament below it in colors and gold and "FROM THE BINDERY / XMAS. 1912." in black and red ink at foot. Front pastedown with engraved bookplate of "EMB" and "EWB"; front free endpaper with ex-libris of L. W. Jordan Jr. and with pencilled inscription "To Roxy from Edmund." Hudson p. 169; Latimore and Haskell pp. 38-39. The typical offsetting on free endpapers from binder's glue used for turn-ins very small very faint areas of transfer from acidic mounts used for color plates wherever tissue guard doesn't fully cover a facing leaf other trivial imperfections but still QUITE A LOVELY COPY clean and fresh internally and in an unworn handsome binding.<br/> <br/> In a fine binding by an eminent English workshop this is Rackham's take on the famous fables populated with charming animals anthropomorphized to just the right degree along with wistful maidens ancient crones and some seriously sinister trees. Arthur Rackham 1867-1939 studied art at Lambeth School where the work of his fellow student Charles Ricketts influenced his development. As Houfe says soon after Rackham joined the staff of "The Westminster Budget" in 1892 he began concentrating "on the illustration of books and particularly those of a mystical magic or legendary background. He very soon established himself as one of the foremost Edwardian illustrators and was triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian and among them are evidently the works of Cruikshank Doyle Houghton and Beardsley but also the prints of Dürer and Altdorfer." After studying under and then working for Douglas Cockerell Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year the firm suffered three major blows: their famously splendid jewelled binding dubbed the "Great Omar" was lost on the Titanic; a few weeks after this accident Francis himself drowned; and Francis' brother Alberto who had been a central figure in producing the firm's vellum illuminated manuscripts went over to Riviere. Despite these losses the firm grew and prospered employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. This special binding was created as a Christmas present and includes a hand-illuminated leaf from the bindery possibly done by Alberto before he moved to Riviere. Such a grand presentation could only have been reserved for a special patron and in this case the "Edmund" would have been Edmund DeWitt Brooks 1866-1919 the substantial bookseller and bibliophile from Minneapolis. The present volume stands as a monument to a very close friendship between Brooks as well as his wife and namesake son on one side of the Atlantic and Sangorski & Sutcliffe on the other. With a special interest in literary works particularly in fine bindings Brooks came to know his supplier through annual book-buying trips abroad see Lee Edmonds Grove's 1945 memoir "Of Brooks & Books" for an account of that relationship. Grove says that the nature of the friendship was so strong that the binders invited Brooks to stay in a specially outfitted room at their premises rather than in a hotel during his London visits. Although our Aesop was inscribed to the father his son Edmund William Brooks 1900-85 so 12 at the time the present volume was signed continued the family connection with Sangorski & Sutcliffe for many years. The "EMB" and "EWB" bookplates belonged to Edmund's wife Edith M. Brooks 1862-1957 and son Edmund who apparently lived together in the family home after the elder Edmund died. Although we don't know the identity of "Roxy" we do know that the "To Roxy from Edmund" inscription is in the same hand as an identical one made--surely by our younger Edmund as printer/publisher--at the front of a copy of "The Book of Ruth" issued in 1934 by the Reed Pale Press that copy being offered for sale in 2022 by Under the Hill Books. William Heinemann & Doubleday, Page unknown
1931122334455668<p>The sole UK printing published by the Gregynog Press Newtown : 1931. Number '125' of only 250 copies issued. Illustrated with thirty-seven wood engravings by Agnes Miller Parker and wood-engraved initials by her husband William McCance typographer and sculptor. This title was Parker's first collaboration with the Press. Bound in the publisher's original tanned sheepskin with the title blocked in black foil on the spine. Printed in Bembo Type on Barcham Green hand-made paper. The BOOK is in Very Good condition with minor rubbing to the spine and the extremities else a fine copy with only a very occasional light spot in places. A book that is seldom encountered in such sharp condition. The book is protected in a removable Mylar archival cover. Together with Gertrude Hermes and Blair Hughes-Stanton Parker helped to usher in a period of masterly illustrated editions at Gregynog with the Esope title considered one of the masterpieces of the Press. The illustrations by Agnes Miller Parker are considered by Colin Franklin to rank this book as 'the most conspicuously decorative volume of that kind' the binding is smooth appropriately naturalistic and exceptionally well preserved and the type hand-set by Richard Jones is generous and exacting. Writing in his The Private Presses Colin Franklin concluded that 'the entire work of Gregynog printing and binding produced a better thing that anyone else had attempted'. Jones pp. 30-1. Housed in the original plain card slipcase which is a little age worn rubbed and marked but tight and complete. With the publisher's prospectus loosely inserted. A great rarity. More images available on request. Ashton Rare Books welcomes direct contact.</p> Gregynog Press, Newtown hardcover
193182103New York:: Harrison of Paris; Minton Balch and Company 1931. First edition; one of twenty copies marked "not for Sale" and including an original signed Calder ink drawing which was not used in the publication hinged in after the front free endpaper as issued. . publisher's boards in lettered dust jacket and glassine wrapper; in the publisher's maroon chemise and slipcase with printed paper labels on front panel and the spine of the chemise. . A very fine copy in a slightly sunned slipcase with a little rubbing / use at extremities and tanning to the paper label on the spine of the chemise. 4to. With Fifth Drawings by Alexander Calder. The unused drawing appears to illustrate the story of "A Dog and a Thief" at p. 116. This copy is printed on Guarros' Spanish pure rag paper with coloured silk threads. Harrison of Paris; Minton, Balch and Company, hardcover
1931183084Paris & New York: Harrison Minton Balch and Company 1931. With an original signed drawing First edition limited issue number XXVII of 50 copies with a tipped-in original published drawing signed by the artist. The drawing in this copy is from the Cock and Diamond fable. The text of the present edition is based on Roger L'Estrange's translation of Aesop's Fables 1692. Harrison of Paris was founded by publisher and heiress Barbara Harrison Wescott 1904-1977 and art patron and curator Monroe Wheeler 1899-1988 in 1930. The illustrator Alexander Calder came from a long line of sculptors and first took up printmaking after moving to Paris in 1926 where he befriended Marcel Duchamp Fernand Leger Joan Miró and Piet Mondrian. Quarto. Illustrated throughout with line drawings by Alexander Calder on Guarro's Spanish pure rag paper with coloured silk threads. Original paper-covered boards front cover lettered in black edges untrimmed endleaves uncut. With the original glassine dust jacket and the original paper knife loosely inserted. Housed in the original red card chemise and slipcase with printed label to front cover. A few small marks to boards; glassine jacket a little chipped tape repair to rear jacket; slipcase a little toned: a near-fine copy. hardcover
19311709731931. SOUR GRAPES! CALDER Alexander. Fables of Aesop. with an original drawing by Calder. 6 124 10 pp. illustrated with 50 line-block reproductions after pen-and-ink drawings by Calder. 4to 255 x 195 mm. bound in publisher's over boards in the original cardboard slipcase in a new half morocco folding box. Paris: Harrison of Paris 1931. The publisher's copy of the deluxe issue of Calder's most significant book illustrated with figures from Aesop constructed in the same style as his imaginary Circus figures and in his wire portraits and statues that dominated his creative output during the 1930s. This copy has an original signed Calder drawing for "The fox and the grapes" one of the more elaborate images in the book. The deluxe issue is especially sought after being exquisitely printed on Spanish handmade paper incorporating coloured silk-threads. The Calder drawings for Aesop are creative and playful marking this as a major example of modern book illustration. This is the fifth publication of Monroe Wheeler's Harrison of Paris publishing firm. One of 50 copies on Spanish Guarro paper with an original drawing also with the original paper knife laid in. PROVENANCE: This copy belonged to Monroe Wheeler with his book plate. The Artist and the Book 47. Museum of Modern Art 120. hardcover
