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1830ABC_483971830. Contemporary navy blue morocco with the title lettered in gold on spine marbled endpapers. 4to 21.5 x 27 cm. With 2 folding tables 17 lines to the page written in red and black ink. A unique handwritten vocabulary and phrasebook of English and Arabic from the first half of the 19th century. This meticulously prepared manuscript is written in the fashion of a printed book opening with a title page and ending with an index of topics. It is divided into four main sections: nouns adjectives verbs and example sentences. The vocabulary especially in the nouns section is arranged by subjects which include such interesting headings as "Druggist" "Painter" "Merchant" "Cities" "the Bride's Paraphernalia" "Precious Jewels" "War" "The Church" "Clerical Vestments" "Ecclesiastical Degrees & Kinds of Sin" "Festivals" and "Monks their prayers and their dress". Presumably the dictionary was created to help a traveller or merchant who may have had an association with the Church. The final section offers an interesting selection of phrases and sheds some light on the experience of foreign language learning in the early 19th century. The phrases are a mixture of sentences that would be useful in daily life and such as would be included to practice the words from the vocabulary. Examples include: "We roasted a lamb and ate the whole of it and drank wine with it"; "I descended from above with the youth my enemy"; "I shot the bear in the water and he sank"; and "Why dost thou scratch thy head and spit in fire". As a cheat sheet for Arabic grammar the author includes two folding tables of Arabic verb tenses and conjugations. Overall a curious example of a 19th-century Arabic vocabulary and phrasebook.With a presentation note in English indicating it was a Christmas gift in 1881 presented by G. W. Bernard Esq. Binding and spine worn some browning and staining throughout. Otherwise in good condition. unknown
179864008London: J. and A. Arch 1798. Small 8vo. 2 cancel title viii 1-69 2 70-210 2 errata pp. plus 2 pp. publisher’s advertisements for Joseph Cottle the original Bristol publisher. Full brown goatskin binding gilt ruling on covers gilt ruling lettering & rosette decorations on spine marbled endpapers occasional light creasing to corners thumbing & faint soiling to fore-edges of a few leaves occasional spotting still a VG copy. First edition second London issue and perhaps the earliest obtainable issue of this pioneering work of English Romanticism as well as the first major literary undertaking of these English poets. The first issue printed in Bristol by Biggs & Cottle to whom Wordsworth had sold the copyright for 30 guineas reached 500 copies and thereupon sold the entire edition to J. & A. Arch who inserted their own title bearing their imprint and this one features Coleridge’s poem “The Nightingale†after “Lewti†was dropped. This copy does bear the “Off†not handcorrected to “Oft†on p. 19 “woods†and “thought†complete on lines 14 & 16 of p. 204 rather than later corrected to wood and without final comma after thought. The two young poets and French Revolution sympathizers had parked themselves in the secluded village of Holfond Somerset avoiding scrutiny in London & Bristol of English authorities and along with Wordsworth’s sister Dorothy and John Thelwall developed a distinctive new artistic vision which influenced future generations. Their intent was to write poetry reflecting seriously on the lives of humble rustic people and in a style of language imitating everyday speech so the verse was less artificial and formulaic of traditional poetry. This first appearance of “The Rime of the Ancyent Marinere†explores faith guilt cruelty obsession and endurance of a mariner stranded alone upon a ghost ship afflicted with supernatural forces after killing an albatross and explores the sacredness of nature. See: Mark Reed A Bibliography of William Wordsworth 1787-1930 2013; Wise Bibliography of the Writings in Prose and Verse of William Wordsworth. J. and A. Arch, unknown
1800512129Thomas Bensley for Thomas Macklin 1800. First Edition. Hardcover. VERY GOOD. First edition of The Macklin Bible a masterpiece of book design that has been called 'the last of the great Bibles.' Complete in six volumes without the posthumously published Apocrypha. Elephant Folio 19' x 15.5' and . Full red morocco covers with gilt rolled Greek meander borders spines with double raised bands gilt in seven compartments all edges gilt gilt dentelle marbled endpapers. Sturdy bindings are remarkably solid despite the demands of these heavy textblocks. Very Good ex-libris from the John Wilson Collection of Multnomah County Library with small bookplates on paste downs a few penciled notes to versos of title pages but otherwise unmarked. Wide margins. Bindings scuffed and soiled rubbed along joints wear at heads and tails. Contents generally bright with typical offsetting from engravings; many tissue guards still present. Handwritten 2pp. 1889 note from London bookseller Henry Sotheran tipped-in to Vol. 1 wherein he apologizes for the lack of The Apocrypha which was published in 1816. Exhaustively illustrated throughout with engravings including 70 full-page copperplates after Benjamin West Angelica Kauffman Henry Fuseli William Artaud Joshua Reynolds Philip James de Loutherbourg and others. Weighing in at well over 100 lbs this Macklin Bible will ship in multiple boxes and will require additional fees for international delivery. Thomas Bensley for Thomas Macklin hardcover
1922204721922. Full Limp Red Calf. Slipcase -- marbled paper pastedown on all sides other than opening. Chemise or inner folder -- thick glossy card stock all sides other than that has red calf with title label. Emily Swinton. Magnificent illuminated manuscript version of the Rubaiyat or some verses from the Rubaiyat. The illuminated borders are singular -- their design is unlike that we are familiar with and not even vaguely similar to anything we have ever seen produced by a latter-day illuminator professional or amateur. Their tracery is of blues greens reds some yellow in a few instances and not least the all important gilt. The illuminator surely was paying homage to some Islamic and Persian illumination in her palette but overall these sources are but influences; the illuminations are far from merely imitative. The design pulls you in and as one gazes longer one will discover small figurative imagery woven into the lines and swirls of the larger ornamentation. Words are beyond us to come close to capturing their complexity and character -- our photos hopefully will impart something of that. Let us just say the colors are deep and bold. Within these extraordinary borders is the calligraphic text rendered in a stunning easily legible Gothic Fraktur script. And there are four dream-like miniature watercolors as well of scenic Persian villages. N.d. circa early 1920s. 4to. 28.5 by 19 cm. Unpaginated 14 leaves with illumination -- illumination on one side. The back side of the leaf then left blank. Tissue guards for each page with illumination. The first leaf has no text -- it is a rectangular abstract design suggestive perhaps of a spectacular rug and inspired by such illuminated painting as one finds in many an antiquarian Koran. The next leaf is the title page with the words appearing to float on the page. The lettering has a distinctive verticality and the gilt letters are both clearly the letters they are supposed to be but have an abstraction that one can imagine they are Arabic script as well. The last two leaves with a more restrained formalistic illumination has evenly spaced dome-shaped pointers as one finds in Koranic decoration to highlight important passages. The binding slipcase and chemise are functional but don't really do the contents justice. Other than some crease marks on the calf and light wear overall to these protective features the binding and slipcase present no issues. unknown
1903ST19464Boston: Privately Printed by Nathan Haskell Dole 1903-05. No. 2 OF 26 COPIES OF THE HELLENIC EDITION printed on Royal Japanese vellum. 230 x 165 mm. 9 x 6 1/2". 10 volumes. <br/> SUPERB CONTEMPORARY INDIGO CRUSHED MOROCCO GILT AND INLAID covers with gilt rule border central panel framed by 20 inlaid lighter blue morocco tulips interspersed with tiny gilt stars raised bands spine with three panels inlaid with sprays of dark red and citron morocco tulips and lilies accented with small tools two panels with gilt titling SKY BLUE MOROCCO DOUBLURES featuring an indigo morocco frame inlaid with red morocco lilies at corners central panel inlaid with eight teal morocco tulips and a large red morocco lily on graceful gilt stems a sprinkling of gilt stars above them ivory watered silk free endleaves all edges gilt. LAVISHLY ILLUSTRATED by artists including A. G. Learned and E. F. Bems with decorative frame on limitations and title pages NINE FRONTISPIECES 97 HEADPIECE VIGNETTES 95 DECORATIVE TAILPIECES AND 269 THREE-QUARTER FRAMES ALL HAND COLORED and 675 black & white three-quarter frames. With engraved bookplate of George Clinton Ward on front flyleaf most now loose. Spines with just a hint of dulling a whisper of shelfwear to a couple of volumes isolated small marginal smudges from the printing process but A VERY FINE SET WITH VIRTUALLY NO SIGNS OF USE.<br/> <br/> This superb set features English translations of important Classical texts handsomely printed on Japanese vellum extravagantly illustrated and sumptuously bound. It contains "The Wisdom of Marcus Aurelius" "The Eclogues of Vergil" "Sayings of Epictetus" "Selections from Gesta Romanorum" "Odes of Anacreon Anacreontics and Other Selections from the Greek Anthology" "The Satires of Horace" "The Story of Odysseus in the Land of the Phacians Being the Sixth and a Part of the Seventh Book of the Odyssey" "Selections from Aristophanes and Lucian" "The Olympic and Pythian Odes of Pindar" and selections from the Koran translated by George Sale. The project was undertaken by writer translator and editor Nathan Haskell Dole a popular member of the Boston literary set. Educated at Philips Andover and Harvard he was much influenced by family friends like Henry Wadsworth Longfellow and Oliver Wendell Holmes Sr. He showed an early facility for languages teaching himself to read French German Greek and Latin. Our set was designed by Dole to be the crown jewel of a library combining beauty and luxury with Classical erudition. The bindings here are unsigned but are very similar to those on a copy of this work in the Phoebe Boyle sale bound by the Adams Bindery. Ralph Randolph Adams was along with Henry Stikeman and a handful or others one of the great American art bookbinders of his era. His workshop produced bindings of notable beauty and craftsmanship. The New York Times 11 October 1902 described an Adams binding as "so exquisite in design and execution that those long skeptical of the ability of Americans to bind artistically should now be convinced of their error. . . . It is to be hoped that all American binders will be encouraged to strive toward producing designs like Adams' that are in a measure original and which show more of the individual touch of the artist.". Privately Printed by Nathan Haskell Dole unknown
1593ST15853London: Deputies of Christopher Barker 1593. FIRST EDITION. 185 x 140 mm. 7 1/4 x 5 1/2". 12 p.l. 328 327-342 pp. <br/> Contemporary limp vellum yapp edges flat spine with later red morocco label. Inside front cover with ink owner's inscription of George Wilson dated November 1 1854; front flyleaf with engraved armorial bookplate of Thomas Francis Fremantle; early pen trials to title page old mathematical calculations on rear endpaper. Cockle 57; STC 23468; ESTC S117986; Heuser Beatrice "Strategy Before Clausewitz: Linking Warfare and Statecraft 1400-1830" 2017 chapter 5: "A National Security Strategy for England: Matthew Sutcliffe the Earl of Essex and the Cadiz Expedition of 1596." ◆Vellum a bit soiled half-inch chip to head of spine two-inch crack to fore edge of front cover title page with small ink stain and light soiling other trivial imperfections in the text but still an excellent copy clean and fresh internally and in a sound binding.<br/> <br/> This rare treatise addressing all aspects of war has been cited by military historian Beatrice Heuser as perhaps a unique example of a case "in which a civilian an 'armchair strategist' published a book containing a comprehensive concept for how to conduct a war with a specific enemy that was applied in practice." According to Heuser Sutcliffe penned "a national security strategy for England" and one that Robert Devereux Earl of Essex to whom the work is dedicated put into practice in the country's ongoing conflicts with Spain leading to the operation that resulted in the successful capture of Cadiz in 1596. Sutcliffe had met Essex at Trinity College Cambridge where he had likely served as one of the young earl's tutors. DNB observes that Sutcliffe who studied law before becoming a doctor of divinity applied his legal training to this work in which he examines not only fortifications aggressive and defensive tactics and the practical considerations of recruiting paying feeding and housing armed forces but also discusses laws and regulations governing the military. Cockle notes that the work "was well known both at home and abroad" and that it "urged the importance of military studies." Following this consequential work Sutcliffe restricted his writings to theological subjects and enjoyed a 40-year career as dean of Exeter Cathedral. This work is rare in the marketplace: ABPC and RBH find just three other copies at auction in the past 40 years. Deputies of Christopher Barker unknown
1791373866Worcester: Isaiah Thomas 1791. First Edition of Isaiah Thomas's Folio Bible. 50 engraved plates. 4 460; 2 461-1012pp. Text in two columns. 2 vols. Folio. Contemporary calf panelled in gilt and blind spine with raised bands in six compartments tooled in gilt on either side of each band red and black morocco labels expert repairs. Moderate to heavy foxing repaired tears to text leaves and plates. First Edition of Isaiah Thomas's Folio Bible. 50 engraved plates. 4 460; 2 461-1012pp. Text in two columns. 2 vols. Folio. "The two Thomas Bibles of 1791 were without doubt far in advance of any other publications of the same kind that had appeared in America in point of typography excellence of paper binding and general execution" Wright.<br /> <br /> Dubbed "the Baskerville of America" by Benjamin Franklin Isaiah Thomas issued a folio and a quarto Bible almost simultaneously. Published immediately after the ratification of the Bill of Rights the folio edition arguably his magnum opus opens with a note from Thomas situating it as an important accompaniment to this national development: "The civil authority hath set an example of moderation and candor to all Christians by securing equal privileges to all; and it must be their ardent and united wish independently of foreign aid to be supplied with copies of the sacred Scriptures the foundation of their Religion - a religion which furnishes motives to the faithful performance of every patriotic civil and social duty."<br /> <br /> In preparing the work Thomas compared the language of "not less than eight" significant English Bibles most but not all of which were printings of the King James translation and then had every page of the present edition examined by "the Clergymen of Worcester and . other capable persons." <br /> <br /> In keeping with his patriotism all the plates are by American engravers an expensive undertaking: the majority by Joseph Seymour with others by John Norman Samuel Hill and Amos Doolittle. It is unusual to find complete copies with all fifty plates. The plate list often lacking is present in this copy. The work was issued either in one volume or in two volumes as here the latter including an additional general title page for the second volume bound in as a cancel.<br /> <br /> A celebrated American Bible from one of the young country's most important printers. Evans 23186; Hills 29; ESTC W4497; Sabin 5172; Wright Early American Bibles pages 74-88 Isaiah Thomas unknown
1597ST15850London: Printed by the Widow Orwin for Thomas Man 1597. FIRST EDITION. PRESENTATION COPY. 187 x 130 mm. 7 3/8 x 5 1/8". 5 p.l. 93 pp. <br/> 20th century gray paper boards. Printer's device on title page. Title page inscribed "Gyven to name inked through but perhaps "Thomas Langham" by the aucthor Jo. Norden"; tail margin of title inscribed "Constantin Adyn his booke"; 19th century ink signature of Benjamin Hynam on recto and verso of title. Front pastedown with early 20th century bookseller's description pasted on. STC 18614; ESTC S113322. ◆Boards a bit soiled but otherwise unworn minor dust-soiling or browning to head margins one quire a little browned occasional trivial smudges or tiny rust spots but an excellent copy generally clean and fresh.<br/> <br/> Written during a fallow period in the author's regular career as a cartographer this work emphasizing the importance of service to God for all leaders and common soldiers in the sovereign's army was inscribed by the author to a friend or patron. One of several works Norden dedicated to the earl of Essex it got our author into professional difficulties when Essex's enemy Robert Cecil rose to power and was in a position to impede Norden's career as a mapmaker. Norden quickly tried to push responsibility onto a "false Norden" from Kent he was from Somerset but biographer Frank Kitchen has established that the shared "interests backgrounds written expression everyday circumstances and style" indicate there was but one author. Though best known for his surveys and maps--including the first county maps of England to include roads--the pious Norden ca. 1547-1625 also produced numerous works of devotion and prayer among them the enormously popular "A Pensive Mans Practice" which went to 40 editions in his lifetime. While his sincere religious sentiments are not to be doubted it must be acknowledged that Norden was most moved to write these manuals when he was between surveying jobs and short of money. Aimed at soldiers of every rank the present work urges the "necessity of the fear and service of God" and "the use of all divine virtues both in commanding and obeying practicing and proceeding in the most honorable affairs of war." Norden also encourages civilians to support and respect the military and to pray for men-at-arms. This is an especially rare work: OCLC and ESTC find five copies in U.S. libraries and except for the two copies in the Cottesloe Library there seems to have been only one other--defective--copy at auction listed by RBH and ABPC. The present item is even more desirable as an extremely uncommon presentation copy signed by a 16th century English author. The Constantin Adyn who owned our copy is likely the early seventeenth-century schoolmaster otherwise known as Constantine or Constantinus Adyn fl. 1605-25 whose school was situated in Brighton according to Church of England records. The latest owner is likely the Anglo-Russian writer bibliophile and watchmaker Benjamin Hynam 1769-1859 a prominent figure in the distinguished Hynam family imperial watchmakers to Russian royalty. In the late eighteenth century the Hynams maintained a presence in both St Petersburg and London. Printed by the Widow Orwin for Thomas Man unknown
1946TV253828Pierre Matisse Editions New York 1946. 1st Edition. HARDCOVER. This copy is inscribed and signed by Yves Tanguy with an accompanying small but intricate ink sketch. This is one of a tranche of un-numbered copies given to Tanguy for complimentary distribution there a total of only 1200 numbered copies for sale. Large 4to. in textured paper covered boards with grey on black printed spine and black on grey printed covers. 94pp on thick stiff paper tipped-in colour frontispiece plus one other tipped-in colour plate 36 full page b/w illustrations and numerous small line drawings in text. Dual text in French and English. This was the first significant monograph on Tanguy __CONDITION : Covers slightly dusty and tanned 2cm chip to head of spine spine edges lightly rubbed page-block edges slightly tanned contents very clean and tight. Overall VERY GOOD. Comes housed in a custom made sturdy cloth covered solander case. __NOTE Due to size and/or weight shipping will cost more than the price shown above. Orders made by card will only be completed after you have approved the extra cost. . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Pierre Matisse Editions, New York hardcover
185934522n.p. n.d. but Japan 1859. An interesting and instructive look at how the Japanese learned English in the generation following Admiral Perry's opening of Japan. 2 volumes in 1 oblong fukurotoji 5.5" x 8" approx. 198 french-fold pages sewn in the Japanese manner in contemporary and almost certainly original brown paper wrappers; minor working and wear but in all a very good and striking example of a Japanese student's workbook for the attainment of English. The book has apparently been copied from American primers published by A. S. Barnes in New York in 1857 and Sargent's School Primer Boston 1859; both contain a variety of reading and spelling lessons "especially adapted to the capacity and taste of young children. It is hoped that it will proved sic valuable introduction to the national series of school readers prepared by Richard G. Parker." Both Parker's and Sargent's primers were available in bi-lingual editions in the Japanese market. Might this be the manuscript from which a printer might have used to publish the Japanese editions Throughout the English text which has been carefully written in ink is often translated interlineally in red ink with Japanese characters creating an attractive visual appearance on the page. Included are 3 pages of alphabets simple sentences often in rhyme "A cart for me / to ride and see / A ship at sea / with you and me. unknown
17956211London: R. Bowyer 1795. First thus. Near Fine. Two large quarto volumes 12 1/2 x 9 3/4 inches; 318 x 248 mm. Unpaginated. Text in double columns. With two copper-engraved title-pages with a separate title-page for the New Testament and sixty-two plates including two frontispieces from the works of Dürer Rembrandt Van Dyck Rubens and others. Lower corner of 3H3 possible paper-fault torn away with no loss of text. Some foxing to a few of the plates otherwise remarkably bright and fresh. Contemporary English full dark blue straight-grained morocco. Covers with two gilt borders surrounding blind-stamped Greek key design. Spines with five double raised bands ruled in gilt blind-stamped Greek key design and lettered in gilt in compartments. Board-edges decorated in blind elaborate gilt decorated turn-ins gray liners and endleaves all edges gilt. Gift signature to front flyleaf in volume one dated 1841 and a tipped-in square of paper with another nineteenth century gift inscription. Some light scuffing to the boards otherwise near fine.<br /> <br /> A spectacular example of the large paper edition this Bible sometimes called the "Killer Bible" for its typographical error in Mark 7 verse 27: "Let the children be killed" rather than "filled." It was richly illustrated by James Fittler 1758-1835 an esteemed British engraver of portraits and landscapes who served as marine engraver to King George III. He produced illustrations for the Boydell Shakespeare and Dibdin's Aedes Althorpinae. In this edition Fittler based his engravings on Old Master paintings befitting the gravity of the text. The printer Thomas Bentley produced large editions for Thomas Macklin Rudolph Ackermann and Paul Colnaghi all publishers of plate books; he also printed several of the earliest books for the Roxburghe Club.<br /> <br /> ESTC lists three editions of the Bowyer and Fittler Bible: this one which ESTC describes as the large paper edition; the regular two-volume quarto edition also 1795; and a: two-volume twelvemo edition 1796 which was issued in parts. ESTC T95050. Near Fine. R. Bowyer unknown
06244Paris: Printed by P. Didot Sen. and sold by W. Edwards and Sons Halifax 1791. A Superb Early Edwards of Halifax Vellum Binding with an Edwards Fore-Edge Painting<br /> <br /> FORE-EDGE PAINTING. EDWARDS OF HALIFAX binder and artist. BIBLE IN ENGLISH. The Book of Common Prayer and Administration of the Sacraments and other Rites and Ceremonies of the Church according to the use of the Church of England: Together with the Psalter or Psalms of David. Paris: Printed by P. Didot Sen. and sold by W. Edwards and Sons Halifax 1791.<br /> <br /> Twelvemo 5 5/8 x 3 3/8 inches; 143 x 86 mm. ii title-page verso blank xxii preface & table 408 pp. <br /> <br /> With a fine contemporary fore-edge painting by Edwards of Halifax. The scene is St. Martin's Church Canterbury and shows the single figure of a cemetery worker seated on the ground and behind him a row of grave stones<br /> <br /> Full contemporary vellum covers bordered in dark blue with Greek key pattern enclosing a decorative gilt border. Smooth spine elaborately decorated in gilt with dark blue stained spine labels lettered in gilt. Gilt decorated board edges and turn-ins pink marbled endpapers all edges gilt.<br /> <br /> A wonderful example of an Edwards of Halifax ' Fore-Edge' painting on a book originally bound and sold by Edwards of Halifax.<br /> <br /> Neat ink gift inscription on second front blank "Eliz. Buckle. / April 2 1818."<br /> <br /> Provenance: Elizabeth Buckle; Tony Hattersley. <br /> <br /> Tony Hattersley was a renowned English antiquarian bookseller who retired to a giant granite mansion hidden up the valley behind Whitby Dracula's landing place. His books were sold by Bonham's in two parts. Part 1 11/09/07. Paris: Printed by P. Didot Sen. and sold by W. Edwards and Sons, Halifax, 1791 unknown
1926ST20084Waltham St. Lawrence: Golden Cockerel Press 1926. No. 48 OF CLXXV COPIES. 258 x 195 mm. 10 1/4 x 7 3/4". 15 3 pp. <br/> Understated black crushed morocco by J. Franklin Mowery stamp-signed "JFM 94" on rear turn-in wraparound design of blind-stamped L-shaped panels of intersecting lines smooth spine with vertical gilt lettering leather hinges edges untrimmed. Original illustrated upper cover of dust jacket repaired at one corner bound in at rear. In a matching morocco-lipped slipcase. Title page with large woodcut of the risen Christ four large vignettes in the text four pictorial half borders and four full-page woodcuts all by David Jones printer's device in colophon. Front pastedown with bookplate of Jan van der Marck. Chanticleer 40. A pristine copy.<br/> <br/> This is a wonderfully--if understatedly--bound copy of one of the most strictly limited Golden Cockerel Press productions. The binding is the work of J. Franklin Mowery retired Head of Conservation at the Folger Shakespeare Library and past president of the Guild of Book Workers. Mowery studied bookbinding under Professor Kurt Londenberg at the Staatliche Hochschule für bildende Künste Academy of Art in Hamburg and trained as a paper conservator under Otto Wächter in Vienna before returning to the U.S. to work at the Huntington Library. According to his article "A Binder's Training" Guild of Book Workers' Journal XX 1981-82 the blind-stamping technique seen here was "particularly favored by Professor Londenberg" and often employed by Mowery for the range of design possibilities it offers. The method uses dies to stamp the patterns: "a photographic process can transfer any black and white image onto zinc plates that are deeply etched and mounted onto type-high metal blocks for heated impressions or onto wood for cold embossing." Mowery stated that lines of the design here represent the driving rain of the storm that struck Jonah's ship. Founded in 1920 with the intention to print fine editions of important well-known books as well as new literary works of merit from young authors the Golden Cockerel Press was purchased in 1924 by the illustrator and wood-engraver Robert Gibbings. "Under his direction" says Cave the Press was "transformed into the principal vehicle for the renaissance of wood-engraved book illustration that took place in the years between the wars." In addition to doing wood engravings himself Gibbings employed a stable of eminent artists including among others Eric Gill Blair Hughes-Stanton John Nash John Farleigh Eric Ravilious and David Jones. The memorable woodcuts are the work of Jones 1895-1974 who had a brief but impressive career as an illustrator before eye strain forced him to abandon engraving in 1930. In his published study of Jones' work Douglas Cleverdon says that in the short time Jones was engraving "he produced a remarkable amount of work of great variety; some witty some mystical; some boldly cut some delicately shaded; some simple to print some virtually impossible. Although he never attained . . . the greatest technical mastery in the conventional sense his prints are nearly always distinguished by their excellence of design personal commitment and absolute individuality." Our binding was commissioned by collector and self-described "radical" museum administrator Jan van der Marck 1929-2010 who championed artists that pushed boundaries--often to the consternation of the museum boards who employed him. Golden Cockerel Press unknown
1876R69<p><strong>Description: </strong>Quarto 9.75" x 6.5". Text in two column Roman font. 3-892 Old Testament 1-276 pp. New Testament. The books of the Old Testament are arranged in Jewish order with Chronicles at the end. One of 950 copies.</p><p><strong>Binding: </strong>Rebacked in matching black calf with original spine laid down. Embossed cloth spine with "Holy Bible" and "Translated by Julia E. Smith" lettered in gilt to spine. All edges speckled red. Rubbed to edges with loss of small portions of relaid spine.</p><p><strong>Condition:</strong> Crisp clean and bright.</p><p><strong>Provenance: </strong>Note inked on front flyleaf reads "This Bible translated by my late wife Julia E. Smith is presented to Mrs. Susan E. Tullar by Amos A. Parker Aged Ninety Eight – Fitzwilliam N.H. June 20th 1889."</p><p><strong>Note: </strong>A remarkably well-preserved copy of the first and only Bible translated entirely by a woman. Julia E. Smith 1792–1886 of Glastonbury Connecticut used her knowledge of Latin Greek and Hebrew to render the entire Bible into English. A member of the Sandemanian sect which sought to restore the Apostolic church she dedicated eight years to her translation but did not publish it for another twenty-one years.</p><p>Sampson recounts Julia's deep passion for the project: "I cannot express how greatly I enjoy the work of translating and now the real meaning of different texts would thrill through my mind till I could hardly contain myself." According to one account she became so engrossed in her work that she often failed to hear the dinner bell and had to be summoned by her sisters.</p><p>Elizabeth Cady Stanton in her radical and controversial work <em>The Woman's Bible</em> remarked that Smith's translation would become a rarity in the next century "much sought after by bibliomaniacs to say nothing of scholars who will want it for its real value."</p><p><strong>References:</strong> Herbert 2202; Hills 1918; Rumball-Petre 201; Stanton Elizabeth Cady. <em>The Woman's Bible</em>. Sampson Emily. <em>With Her Own Eyes: The Story of Julia Smith.</em></p> American Publishing Company hardcover
1787271Edinburgh: Assigns of Alexander Kincaid 1787. Very good. Two works in two volumes. Large Octavo 211 x 130 mm. Collation: BIBLE: A-4A8 complete. PSALMS: A-E8 complete. Contemporary Scottish bindings: red morocco elaborately tooled in gilt to a "Chippendale" motif smooth spines gilt; marbled endpapers a.e.g. in vol. 1 the front joint expertly repaired and tape removed from inner hinges. Preserved in a protective cloth case. INNOVATIVE AND HIGHLY UNUSUAL SCOTTISH CHIPPENDALE ROCOCO BINDINGS COMBINING CHINOISERIE AND NEOCLASSICAL ELEMENTS EXHIBITING THE INDEPENDENCE OF SCOTTISH WORK AT THIS TIME. <br /> <br /> The present example is a striking hybrid of late 18th-century decorative art in Britain the likes of which we have not encountered hitherto. Here "oriental" birds and peacocks are juxtaposed with patriotic depictions of Britannia uncharacteristically surmounted by a fleur-de-lis bold anchors columns sunbursts dripping garlands flowers sheaves of wheat and urns. Presented in the Chippendale style the present binder who is as yet unnamed introduces rococo ornaments while enclosing all of the above with an unmistakably neoclassical greek-key roll. <br /> <br /> EIGHTEENTH-CENTURY ROCOCO BINDINGS OF THIS QUALITY ARE RARE PARTICULARLY THOSE EXECUTED IN SCOTLAND. <br /> <br /> Rococo book arts in Scotland have been almost completely unexplored on account of the paltry number of examples with which we are able to study. Robert Adam's designs for the bindings of his "Ruins of Spalatro" 1764 is a bold statement of the neoclassical for he was justly celebrated. But we now know that Adam was not exclusively "Grecian." David Pullins' heroic archival research in Sir John Soane's Museum has shown that Adam received three previously unexamined commissions for a seemingly antithetical kind of decoration which he calls "neoclassical chinoiserie" specifically Adam's drawings for an unrealized chinoiserie looking-glass dated 1769 for Edwin Lascelles 1st Earl of Harewood. SOURCE: "Robert Adam's Neoclassical Chinoiserie" in: West 86th: A Journal of Decorative Arts Design History and Material Culture online. We would argue that the present bindings exhibit such a blend of Chippendale chinoiserie rococo and neoclassical. For a general note on English "Chippendale" and "Chinoiserie" bindings see G.D. Hobson "English Bindings of J.R. Abbey" p. 126.<br /> <br /> ¶ Our bindings may be linked to four others -- all greatly inferior -- which share the large "eagle" tool in common as noted by Mirjam Foot:<br /> <br /> 1. British Library Davis 253 Bible Edinburgh 1790 = Henry Davis Gift Vol. II No. 283; <br /> 2. National Library of Scotland F.4.e.9 Bible Psalms Edinburgh: Assigns of A. Kincaid 1789; <br /> 3. Washington Cathedral Library Bible Edinburgh 1789; <br /> 4. Glasgow University Library DXC 48-48A Bible Cambridge 1792 Psalms Glasgow 1793. <br /> <br /> PROVENANCE: red morocco bookplate of "MARION MALLOCH 1794" inside both volumes -- sold by us to a private collector in 2007 -- bought back by us in 2023. <br /> <br /> ¶ REFERENCES: ESTC 91765 Darlow & Moule 1319; ESTC 91766. Assigns of Alexander Kincaid unknown
1612ST13801London: printed by Thomas. Snodham. for Iohn Stepneth and are to be sold at his shop at the west-end of Paules Church 1612. FIRST EDITION. 205 x 155 mm. 8 x 6". 18 p.l. 611 1 pp. 601-08 misnumbered 561-68 8 leaves. <br/> New unlettered limp vellum by Courtland Benson in imitation of the original binding. STC 1896; ESTC S124314. ◆Half a dozen gatherings a little browned occasional mild foxing or small rust spots additional trivial imperfections otherwise an excellent copy clean and very fresh in a pleasing new binding.<br/> <br/> This conversation manual by an Italian teacher based in London offers an intriguing glimpse into the lives and concerns of the wealthier classes in 17th century Europe. An early effort to teach language through dialogue the book is part cultural history part guide to better health and it is clear evidence of the importance of the study of Italian in Elizabethan and Jacobean England. The seven dialogues cover subjects from health to travel to servants with Italian and English text on facing pages. Many of the dialogues begin with phrases that will be familiar to all beginning language students: greeting others selecting items of clothing asking prices or directions ordering food. As the conversations progress they explore various topics that one might expect to encounter in polite society. An early morning exchange between master and servant evolves into a discussion of the importance of sleep the optimal amount of sleep for good health and the significance of dreams. A dialogue that begins with ordering meals leads to an involved colloquy about the benefits and disadvantages of fasting and abstinence; the virtues and defects of bread butter meat dairy and eggs; diet recommendations for the healthy and the sick; the best diet for each season; and the importance of a walk after dinner. Other dialogues include advice for travellers observations on the political situation and life at court and finally a discussion of that most eternally fascinating topic: love. This work is of continuing interest and value to linguists as it documents the Benevento Italian dialect which is in need of preservation. It's an extraordinarily rare book probably because it was the sort of volume subjected to hard use: in addition to ours we could trace only two copies in ABPC and RBH since 1948. printed by T[homas]. S[nodham]. for Iohn Stepneth, and are to be sold at his shop at the west-end of Paules Church unknown
1862ST20857London: Edmund Evans for Sampson Low Son and Co 1862. ONE OF PERHAPS 10 COPIES PRINTED ON VELLUM. 260 x 195 mm. 10 1/4 x 7 3/4". vii 1 235 1 pp. <br/> Publisher's stiff vellum smooth spine with gilt lettering edges untrimmed. In a modern felt-lined blue buckram drop-back box. Decorative initials in red or blue title page and text leaves with full criblé border of vined foliation occasionally inhabited eight or 10 leaves with more extensive illustrations at head or foot all engraved by W. J. Linton after illustrations by John Franklin. Front pastedown with ex-libris of Marion Hope Rattey. A Large Paper Copy. McLean "Victorian Book Design" p. 184. Short thin cracks to head and tail of front joint spine vaguely soiled upper cover with two very small brown spots and one trivial red mark occasional mild rumpling or naturally occurring variations in the grain or thickness of the vellum as usual a couple of minor smudges but still a very agreeable copy the binding solid and without the splaying common in vellum books the interior clean fresh and bright and the margins extraordinarily wide.<br/> <br/> This is an infrequently encountered copy of a beautiful Victorian book on vellum issued by one of the era's top printers. The volume was printed by Edmund Evans 1826-1905 who is now best remembered for his illustrations and advances in color wood engravings. Relatively little is known about this book's production: Ruari McLean tells us that it was "entirely printed" by Evans but it is unknown whether he was responsible for the design as well McLean remarks that "if Evans was responsible for its design it shows his superiority in book-making". We also are unsure how many copies were printed on vellum although the general consensus is 10. Regardless as McLean tells us "it is one of the prettiest books of the 'sixties" with sharp deep impressions of the type on the rich creamy vellum jewel-like colored initials and elegant wood-engraved illustrations. These illustrations are the work of John Franklin ca.1800-68 a painter and draftsman who was highly respected in his own time. The precisely realized borders feature idealized human forms posed within a robust botanical largely acanthus context the figures posing with balletic grace their expressive faces often turned gently away from the reader. The size of the leaf here is significant: the untrimmed edges retain their tiny printing pinholes which would normally have been trimmed away with regrettable loss. And not surprisingly our vellum printing is almost never seen: we could trace just two copies at auction since 1924. Former owner Marion Hope Rattey 1922-97 was likely the daughter of bibliographer Clifford C. Rattey 1886-1970 whose impressive library featured incunabula and block prints. [Edmund Evans for] Sampson Low, Son, and Co unknown
1800CJW1405London: T. Bensley for T. Macklin final volume Bensley for T. Cadell & W. Davies 1800. First Printing of this Edition. 484 x 390 mm. 19 x 15 1/4". Seven volumes. <br/> Once splendid contemporary black straight-grain morocco gilt covers framed by Greek key roll palmette roll and multiple gilt rules double raised bands spine compartments densely gilt with rows of alternating star and circlet tools gilt titling turn-ins with gilt chain roll purple endpapers all edges gilt some inexpert but not obvious repairs to joints and backstrips. With more than 100 allegorical headpieces and tailpieces and some 70 SPLENDID LARGE-FOLIO SIZE COPPER PLATES after Fuseli Reynolds West and others. Herbert 1442 and 1651. ◆Extremities rather rubbed boards a bit scuffed but the decorative contemporaneous bindings solid and not without appeal. Plates somewhat foxed mostly to margins mild to moderate offsetting from plates occasional mild offsetting in the text bed but still a fresh wide-margined copy.<br/> <br/> The most prodigious form of scripture in English ever published the Macklin Bible features very large and bold type fine Whatman paper and a series of engravings by some of the most celebrated artists of the period. Like the Boydell "Shakespeare Gallery" also printed by Bensley our Macklin Bible is a vast picture book with illustrations that are grand both in size and emotional impact. According to DNB Macklin 1752/3-1800 announced his intention to produce a lavishly illustrated luxuriously produced folio Bible in 1789 and he spent the next 11 years and £30000 making his dream a reality. His efforts paid off: "the subscription list for 703 copies at £46 1s. apiece was headed by the king the queen and the prince of Wales." Sadly Macklin died just five days after the last engraving was finished and did not live to see his masterpiece become one of the most acclaimed English Bibles. As DNB observes "The Macklin Bible endures as the most ambitious edition produced in Britain often pirated but never rivalled." Copies of the Macklin Bible were often put into ornate bindings as was the present set; despite the depradations of time the workmanship of a superior London binder remains apparent. T. Bensley for T. Macklin [final volume Bensley for T. Cadell & W. Davies] unknown
1604372251London: Robert Barker 1604. Text in Roman type in two columns. Titles within woodcut borders woodcut illustrations head and tail-pieces. 4 190; 117 i.e. 127; 128-187 i.e 197 omitting 129 as issued and other errors in pagination; 121 11 leaves. Complete with the leaf signed Ai preceding the general title. Bound with preceding the Bible: The Booke of Common Prayer with the Psalter or Psalmes of Dauid. Title in red and black within woodcut border. 46 leaves complete. ESTC S93831. Bound with following the Bible: The Whole Booke of Psalmes. 10 70pp only. Lacking terminal three signatures. 4to. Early mottled calf rebacked brass corner pieces and hinges lacks clasps upper cover detached marbled endpapers gilt edges. Provenance: William James signature and inscription dated 1663 on leaf preceding the general title; Frances Garway inscription on brass plate on covers dated 1701; Thomas Bever armorial bookplate inscriptions on endpaper circa 1748; Francis Hutchinson Synge; Arthur John Snow Paget inscription dated 1851 General Theological Seminary bookplate. Text in Roman type in two columns. Titles within woodcut borders woodcut illustrations head and tail-pieces. 4 190; 117 i.e. 127; 128-187 i.e 197 omitting 129 as issued and other errors in pagination; 121 11 leaves. Complete with the leaf signed Ai preceding the general title. Bound with preceding the Bible: The Booke of Common Prayer with the Psalter or Psalmes of Dauid. Title in red and black within woodcut border. 46 leaves complete. ESTC S93831. Bound with following the Bible: The Whole Booke of Psalmes. 10 70pp only. Lacking terminal three signatures. 4to. An excellent example of the Geneva Bible with Tomson's revised New Testament and Junius' Revelation. The principal Bible of 16th-century Protestantism and the Geneva Bible was used by Shakespeare Oliver Cromwell John Knox John Donne and John Bunyan. This edition contains the famous reading "breeches" in Genesis Chapter III verse 7 which first appeared in 1579. Although Barker's imprint on title of this edition reads "Printer to the Queenes most excellent Majestie" the colophon reads "Printer to the Kings most excellent Maiestie" as James I had ascended in March 1603. Darlow & Moole 209; ESTC S159; Herbert 274; STC 2190 Robert Barker unknown
1791373037Worcester: Isaiah Thomas 1791. First Edition. 48 engraved plates complete. 1310 2 89 3pp. Separate OT and NT titles. The family register between the Apocrypha and NT unaccomplished. Royal quarto. Contemporary calf covers ruled in gilt spine gilt with raised bands red morocco lettering piece marbled endpapers joints cracked but cords holding worn at extremities spine a bit abraded with some loss at top. Foxing a few leaves with short tears or small voids. Provenance: Ebenezer Byles signature on verso of the OT title. Housed in a blue cloth clamshell box. First Edition. 48 engraved plates complete. 1310 2 89 3pp. Separate OT and NT titles. The family register between the Apocrypha and NT unaccomplished. Royal quarto. Thomas' quarto bible was published in three distinct issues: with 2 copperplates only i.e. frontispieces to the Old and New Testaments; with two copperplates and John Brown's 89-page concordance in the rear; and the rarest and most deluxe form as here with 48 copperplates and the concordance. Of this last issue according to Thomas's catalogue the work was published "in elegant binding." The explanation for the work being complete with 48 plates rather than the 50 plates of the folio Thomas bible of the same year is easily explained: the frontispieces used for the folio bible plates I and XXXIII were too large for the quarto edition and thus were omitted with plates XXIX and XLVIII used as frontispieces of the quarto bible instead.<br /> <br /> A very difficult edition to find in a contemporary unsophisticated binding. Evans 23185; Hills 30; ESTC W4496 Isaiah Thomas unknown
161117388London: Robert Barker 1611. First edition. Hardcover. Very good. Folio. The First and Second Books of Kings complete in 36 leaves. The first page is the final page of the previous book 2 Samuel; on the reverse begins 'The First Booke of the Kings commonly called The third Booke of the Kings'. 36pp. followed by 'The Second Booke of the Kings commonly called The fourth Booke of the Kings' 35pp. The final page ends II Kings and begins I Chronicles. Printed in black letter woodcut initials. Recent binding of quarter calf gilt titles Cockerell marbled paper boards. Some remargining no loss and old stains else a very good copy in a fine binding The binder's notes itemize the steps in rebinding including leaf disinfectant for the stains. Darlow & Moule 240. Robert Barker hardcover
1733151582London: Printed for A. Bettesworth and C. Hitch and J. Osborn in Pater-noster-Row 1733. Finely bound eighteenth century example of Godfrey Richards' English translation of the first book in Palladio's monumental work. Octavo bound in full contemporary polished calf with a morocco spine label lettered in gilt front and rear panels decoratively stamped in blind title page printed in red and black additional engraved pictorial title page illustrated with 71 engraved plates and full-page illustrations 4 folding including a view of St. Paul's Cathedral woodcut illustrations advertisement leaf at end. Twelfth edition. Neat ownership inscriptions and small bookplate to the front free endpaper. Bookseller's ticket to the pastedown. In very good condition with the engravings very crisp and bright. One of the foremost architects of the Venetian Renaissance Andrea Palladio 1508–1580 based his designs on the principles of classical Greek architecture and the traditions of Roman building as described by Vitruvius. He is widely regarded as one of the most influential figures in the history of Western architecture particularly known for his villas in the Veneto as well as his palaces in Vicenza and churches in Venice all within the Venetian Republic. His architectural theories were codified in his treatise I Quattro Libri dell’Architettura The Four Books of Architecture which exerted a lasting influence on architectural practice across Europe and the United States. Palladio’s style later termed Palladianism combined elements of Greek Roman and Renaissance design emphasizing symmetry proportion and harmony in a manner inspired by classical temple architecture. Printed for A. Bettesworth and C. Hitch, and J. Osborn in Pater-noster-Row unknown
16631238London: Ad 1: John Bill and Christopher Barker; Ad 2: Printed for the Company of Stationers 1663. 8vo. Ad 1: Engraved title A-4K8 unpaginated. COMPLETE with OT ending on 3P2v and NT ending on 4K8v. Ad 2: 102 2 pp. A-F8 G4 apparently COMPLETE. Some foxing and blemishes throughout the text. Bound by "Owen" in contemporary full black morocco richly gilt all over with floral and leaf motifs onlaid red and citron morocco pieces to covers and spines a.e.g. fore-ege painted with flowers and "Search the Scriptures" two working silver clasps joints beautifully repaired fore-edge painting dulled and worn from clasps some foxing throughout. Preserved in a protective cloth case. Suitable for exhibition and study. OF SIGNAL IMPORTANCE IN THE HISTORY OF ENGLISH RESTORATION BOOKBINDING: AN UNRECORDED AND UNPUBLISHED BINDING BY "OWEN" WHOSE WORK IS KNOWN FROM ONLY ONE OTHER EXAMPLE. <br /> <br /> In terms of 17th-century English bindings this one in particular is of particular significance: the only other binding by "Owen" is in the Henry Davis Gift British Library. Howard Nixon English Restoration Bookbindings p. 37 and plate 78 describes it in some detail: "It has been stated earlier that signatures on painted fore-edges followed by the word 'fecit' in the seventeenth century are those of binders or booksellers for whom the books were bound. The book in the Henry Davis Gift with the edges signed 'Owen fecit' and dated 1672 is a possible exception to this rule as Owen cannot be traced. The tools used on this book have not however been identified elsewhere." Our binding is far more elaborate the that in the Henry Davis Gift as it features a total of 26 onlays red and citron all elaborately gilt. The Davis Gift example is bound in a single piece of black goatskin. Due to the extensive and complex gold tooling the present binding was not easily attributable to a known workshop but it is now clear that all four major tools on it are identical to those on the "Owen" binding in the Davis Gift see Mirjam Foot Henry Davis Gift vol. II no. 115 with full-page reproduction. While the fore-edge of our binding is worn the word "Search the Scriptures" is just visible alongside depictions of flowers. <br /> <br /> Provenance: inscribed on recto of third blank leaf "John Pounds Carter 1864 bequeathed to him by his aunt Phoebe who died July 14th 1852." This individual was almost certainly the same JPC who was born in Southwark London in 1821 and died in Lambeth London in 1896. Tipped onto the first blank is a small handwritten note which describes this as a "very fine binding by Samuel Mearne." <br /> <br /> References: Ad 1 Bible: Darlow/Moule 539 British and Foreign Bible Society copy lacks the Psalms altogether. Wing STC 2nd ed. B2267. Not in ESTC !. Ad 2 Psalms: ESTC R232588 recording one copy National Library of Wales containing an engraved plate but neither the Yale copy which is likewise bound with Bill and Barker's 1663 Bible nor this copy ever had such a plate bound in. <br /> <br /> We are grateful for the assistance of Philippa Marks British Library and for supplying rubbings of the tools on their Owen binding. Ad 1: John Bill and Christopher Barker; Ad 2: Printed for the Company of Stationers unknown
16118272Imprinted at London by Robert Barker printer to the Kings most excellent Maiestie 1611. 1611. 1611 4to. 2 226 231-434 434 misnumbered 435 4 441-554 82 leaves. Herbert 308. BOUND AFTER a defective Book of Common Prayer BOUND BEFORE STERNHOLD Thomas and HOPKINS John The whole booke of Pdalmes Printed by A.G. for the Company of Stationers 1635. 10 90 6 p. Lacking the final 6 pages. Contemporary blind panelled binding with brass corner fittings central lozenges and replacement clasps. Rebacked with most of the original spine re-laid. Trimmed close at the head occasionally cutting into headlines or foliatiion. Leaf Dd3 has small loss of text at the foot. Ee4 has slight loss to a sidenote and Ee5 has a little loss to the blank fore edge margin. The New Testament has a separate title page and is followed by Hervey's Concordances. Nnn2 has loss at the foot. A few light stains some turned corners and a few pen trials. A handsome Jacobean Bible. Imprinted at London by Robert Barker, printer to the Kings most excellent Maiestie, 1611. unknown
1585372230London: Deputies of Christopher Barker 1585. Text in black letter in two columns. General title and calendar printed in red and black titles within woodblock frames woodcut map on leaf following NT NT-O3 woodcut initials. 17 536 137pp. New Testament title page present. Lacks preliminary blank lacks the general title with a 1588 title supplied in its place lacks NT leaf V1 Titus 2:12 through Hebrews 1:10 preliminaries bound out of order. Folio 15-5/8x10-1/2 inches. Nineteenth century dark purple morocco covers blocked in blind marbled endpapers red edges. Repairs to voids in preliminaries and several leaves in the beginning of Genesis general title supplied and mounted restoration to the terminal five leaves with some losses else scattered minor staining and edge tears. Scattered early marginalia including an early female ownership signature on page 536. Bookseller's label on front endpaper J. Whereat Weston Super Mare. Text in black letter in two columns. General title and calendar printed in red and black titles within woodblock frames woodcut map on leaf following NT NT-O3 woodcut initials. 17 536 137pp. New Testament title page present. Lacks preliminary blank lacks the general title with a 1588 title supplied in its place lacks NT leaf V1 Titus 2:12 through Hebrews 1:10 preliminaries bound out of order. Folio 15-5/8x10-1/2 inches. The Bishops' version the translation overseen by Matthew Parker. ESTC S156; Herbert 188; STC 2143. Provenance: General Theological Seminary bookplates Deputies of Christopher Barker unknown
