Esope

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AesopBiblio.com

Esope En Belle Humeur V1-2: Ou Derniere Traduction Et Augmentation de Ses Fables En Prose Et En Vers 1700

AESOPBiblio.com

Fabellae Graece et Latine cum aliis opusculis quorum index proxima refertur pagella.

1542736Venice 1542. Small 8vo 16 x 11 cm. colophon: Giovanni Farri and brothers Contemporary limp sheepskin parchment straight-sewn on 3 alum-tawed split thongs laced through the joints fore-edges folded over with fragments of a vellum manuscript in a rotunda gothic hand used to reinforce the spine. With Farris woodcut device on the title page crowned head with 3 faces flanked by Farri's initials I . F on a scrollwork shield repeated on verso of last leaf; 1 woodcut decorated initial but further with spaces left for manuscript Greek and Latin initials with printed guide letters; and a vine-leaf ornament Vervliet 38. Set in Greek and Aldine-style italic with incidental roman. 364 4 pp. Venice school edition of Aesop's fables with parallel text in Greek and Latin. The book is neatly printed and the clear Greek type has relatively few ligatures. Besides the life of Aesop and Aesop's fables the book contains several collections of fables and single fables by other authors pp. 232-364: Ignatius von Nicaea Gabriae Graeci fabellae often added to the Aesop canon; Aphthonius Excercitamentis de fabula; Philostratus De fabula; pseudo Homer Batrachomyomachia the battle of frogs and mice a parody of Homer's Iliad; Musaeus De Ero & Leandro Hero and Leander; Agapetus De officio regis; Hippocrates Ius iurandum the Hippocratic oath! and Theodorus Prodromus Galeomnomachia the battle between the cats and the mice the last two in Greek only. The book ends with a 4-page index and the colophon.With a few contemporary manuscript notes in brown ink. With some marginal worm holes mostly in the gutter of quires r and s and some mostly marginal water stains more serious in quire c and a dark stain in the upper outside corner of 2 leaves not approaching the text otherwise in good condition. The binding is wrinkled with a 1½ x 2 cm gap in the backstrip some small tears and the 2 pair of ties lost. A nice early student edition of Aesop with very extensive additions.l EDIT 16 CNCE 364; STC Italian p. 8; USTC 807871. hardcover

Asher Rare Books · Pays-Bas2 500,00 €

(BINDINGS - SANGORSKI & SUTCLIFFE). RACKHAM, ARTHUR, Illustrator AESOPBiblio.com

FABLES

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

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis8 112,00 $US≈ 6 863,56 €