6 332 résultats
191754<p>Very rare first edition. Bible for the Lisu nationality who are a minority living in a southwestern mountain area in China. This book is of very interesting because Lisu has only oral language but not written language. This Lisu written language was invented and designed by the missionary writer of this book for the nationality by combining both oriental and western languages. However this written language disappear after Chinese Communist Government got power in 1949 when they began to spread Chinese Characters in the area.</p><p>Title from verso t.p. Has also a Chinese title page as shown because it is published in Shanghai China.<br /></p><p>136 pages ; 20 cm. A little wear on covers near fine in total. </p><p><br /></p> Shanghai : British and Foreign Bible Society, 1917. paperback
1913001619Leipzig: Insel Verlag 1913. Two volumes complete 1913-1914 - Volume I - 648p; Volume II - 632p. Publisher's blind stamped morocco by Riviere & Son raised bands spines in seven panels title in gilt to second volume number and date in gilt to fourth remaining panels with central floral spray and volute tools to side in blind. Covers with outer double panel joined by mitred corners with occasional flower heads and elongated volutes to margins again in blind title and original publisher to head and foot in gilt central panel with blind roll presumably showing Gutenberg's head with a central arabesque inner edges with blind roll combed and curled marbled endpapers a.e.g. Bright and clean. The first complete facsimile of the Gutenberg Bible reproduced from the richly illuminated copies in the Koniglichen Bibliothek Berlin and the Standischen Landesbibliothek Fulda and attractively produced and bound. First Thus. Hardback. Very Good. Elephant Folio. Facsimile. Insel Verlag Hardcover
19021322Hammersmith The Doves Press 1902-1904. Containing the Old Testament and the New Translated Out of the Original Tongues by Special Command of His Majesty James the First. Issued in 5 volumes. Folio. Bound by Doves Bindery in original limp vellum with gilt title on the spine. A perfect copy of one of the 500 on handmade paper only two were printed on vellum. This is the one of the most beautiful books ever published by a private press and one of the three most desirable the other two are the Kelmscott Chaucer and the Ashendene Dante. In addition there are 18 specimen proof pages and original leaves included. Franklin: pp.117-118 Cave p.148. Doves Press books
1931ST20201Waltham St. Lawrence: Golden Cockerel Press 1931. No. 352 OF 500 COPIES the first 12 on vellum. 343 x 241 mm. 13 1/2 x 9 1/2". 1 p.l. 268 2 pp 1 leaf colophon. <br/> Original white half pigskin and buckram sides by Sangorski & Sutcliffe stamp-signed on front pastedown raised bands top edge gilt other edges untrimmed. ILLUSTRATED THROUGHOUT with four large wood engravings on section titles and scores of striking large and small woodcut illustrations decorative elements and initials BY ERIC GILL. Printed on Batchelor handmade paper. The front pastedown with the engraved armorial bookplate of Albert and Constance Ramsay-Cohn the bookplate of Louis W. Black and the bookplate of "Downsland Court Ditchling Sussex." Chanticleer 78; A Century for the Century 26. Buckram boards somewhat freckled as usual very faint printer's smudges in one margin otherwise A VERY FINE COPY the pigskin--almost always found soiled and/or damaged--quite clean and pleasing and virtually pristine internally.<br/> <br/> This is an especially appealing copy of the chief work produced by one of the foremost English private presses. One of Eric Gill's outstanding achievements as an illustrator and one of the Golden Cockerel Press' great books the "Four Gospels" has been called by Franklin the finest of all private press books printed between the wars. The success of the work has much to do with Gill's ability to create a harmonious integration of woodcut illustration and typography his Golden Cockerel typeface one of the most important ever cut specifically for private use is introduced here. At the same time that the work achieves an aesthetic balance it also takes risks with the emotional nature of the woodcuts and with its unjustified page layout. As Franklin observes Gill's "pictures beautifully explain their letters as leaves spring from branches. This work is a wonderful extension of typography." 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" up until the beginning of World War II. In addition to doing wood engravings himself Gibbings employed a stable of eminent artists including among others Gill John Nash John Farleigh David Jones Eric Ravilious and Blair Hughes-Stanton. Our copy has been owned by two notable collectors and scholars of illustrated books. An early owner was British art historian Albert Mayer Cohn who wrote the catalogue raisonné of George Cruikshank's work. Later the volume passed into the hands of Boston collector Louis W. Black whose Aldine-related bookplate was designed by celebrated wood-engraver Leonard Baskin 1922-2000. Regarding the other bookplate here we have been unable to trace exactly who resided at Downsland Court in Ditchling but it is worth noting that Gill's Sussex artist's community was centered in Ditchling where he lived from 1907-24; it is certainly possible that our copy belonged to someone associated with this group. Golden Cockerel Press unknown
1914353913Leipzig: Insel Verlag 1914. No. 208 of 300 copies limitation leaf at end of each volume. Photolithographic facsimile of the 42-line Bible printed in colors with gilt ornamental incipit pages book headings and red and blue initials and headlines throughout. 2 vols. Folio. Publisher's full blindstamped brown calf after the original binding on the Fulda Landesbibliothek copy. Finely rebacked preserving original spines. No. 208 of 300 copies limitation leaf at end of each volume. Photolithographic facsimile of the 42-line Bible printed in colors with gilt ornamental incipit pages book headings and red and blue initials and headlines throughout. 2 vols. Folio. The first and finest facsimile of the great landmark of printing history the Gutenberg Bible reproduced from the Berlin copy now in the Universitätsbibliothek at Tubingen with some leaves in the first volume reproduced from the Landesbibliothek copy at Fulda. Insel Verlag unknown
193021655Paris: F.L. Schmied 1930. Schmied François-Louis. Small folio 14-1/16 in x 11-1/8. 76 pp. Illustrated with twelve double-page and four single-page colored wood engravings. One of 155 copies printed on Madagascar paper plus 10 for collaborators and 7 on japon. Nasti B15. Full red morocco bound with the pages tipped to hinges cover with a central design after motifs in the book tooled in gilt on inlays of black and maroon morocco dentelles tooled in gilt and with gilt corner onlays gold and black silk moiré endsheets edges rough-gilt bound by Schmied signed on the front turn-in "F.L.S." Chemise and new matching slipcase. Light marginal foxing but in excellent condition.Schmied bound only books of his own creation choosing above all the books of his great years.The subjects of his designs come from the books themselves" Ray The Art Deco Book in France pp. 101-102. "In the introductory note.Théo Schmied points out the natural happiness of the interconnection between his father's cultural tendencies and art of the book and the world of the Near East as it is filtered by the 'inspired' Mardrus translations.throwing light on the the two fundamental aesthetic coordinates we need in order to understand how the details are made subordinate by the elegant decorative unity expressed by the plates that is the purity of the Egyptian graphic art and the will of the Italian primitives. The layout shows either a text harmoniously arranged in respect of double and single plates of various size or a text framed by rules forming a variety of geometrical patterns and decorated by bout de lignes in sienna. The illustrations mainly show subdued and delicate pastel colours" - Nasti. <br/><br/> F.L. Schmied unknown books
19903051FBLuzern, Faksimile-Verlag, 1990. Groß-4°. 38 x 33 cm. 680; 407 Seiten. Faksimileband: Weißer Original-Lederband auf vier Bünden in Original-Schmuckkassette in prachtvoller Ausstattung mit Gold- und Blindprägung und Metallbeschlägen. Kommentarband: Original-Halblederband mit schwarzgeprägtem Rückentitel und Deckelbezug aus Leinen im Original-Schuber mit Bezug aus kaschiertem Leinen. [12 Warenabbildungen]
193021655Paris: F.L. Schmied 1930. Schmied François-Louis. Small folio 14-1/16 in x 11-1/8. 76 pp. Illustrated with twelve double-page and four single-page colored wood engravings. One of 155 copies printed on Madagascar paper plus 10 for collaborators and 7 on japon. Nasti B15. Full red morocco bound with the pages tipped to hinges cover with a central design after motifs in the book tooled in gilt on inlays of black and maroon morocco dentelles tooled in gilt and with gilt corner onlays gold and black silk moiré endsheets edges rough-gilt bound by Schmied signed on the front turn-in "F.L.S." Chemise and new matching slipcase. Light marginal foxing but in excellent condition.Schmied bound only books of his own creation choosing above all the books of his great years.The subjects of his designs come from the books themselves" Ray The Art Deco Book in France pp. 101-102. "In the introductory note.Théo Schmied points out the natural happiness of the interconnection between his father's cultural tendencies and art of the book and the world of the Near East as it is filtered by the 'inspired' Mardrus translations.throwing light on the the two fundamental aesthetic coordinates we need in order to understand how the details are made subordinate by the elegant decorative unity expressed by the plates that is the purity of the Egyptian graphic art and the will of the Italian primitives. The layout shows either a text harmoniously arranged in respect of double and single plates of various size or a text framed by rules forming a variety of geometrical patterns and decorated by bout de lignes in sienna. The illustrations mainly show subdued and delicate pastel colours" - Nasti. F.L. Schmied unknown
19974061FBGütersloh, Wertkontor/Belser Verlag, 1997/2020. Faksimile: 2°. 49 x 38 cm. Kommentar: 4°. 31 x 22 cm. 516 Blatt; 90 Seiten. Blindgeprägter Original-Lederband mit insgesamt 4 Eckbeschlägen und einer verzierten Schließe aus Sterlingsilber eingeschlagen in Veloursdecke mit Schleifenverschluss und Original-Leinenband mit goldgeprägtem Deckeltitel. [12 Warenabbildungen]
1926ST16973Munich: Bremer Presse 1926-28. ONE OF 365 COPIES. 360 x 250 mm. 14 1/4 x 10". Five volumes. Edited by Carl von Kraus. <br/> VERY FINE TAN MOROCCO BY WERNER G. KIEßIG stamp-signed with his "K" mark at foot of lower cover upper covers lettered in blind lower cover with small round book stamp of former owner Martin Wandersleb smooth spines divided into panels by blind rules blind-stamped titling marbled endpapers leather hinges top edges black other edges untrimmed. In the original brown dust jackets with paper title labels to spines. Housed in the original slightly worn matching marbled paper slipcases. With titles and initials drawn by Anna Simons. Front pastedown with bookplate of Martin Wandersleb. Eyssen 88; Ransom p. 257. ◆One or two faint spots of foxing one small marginal smudge but A CHOICE COPY with no signs of use inside or out.<br/> <br/> This is a superb copy of the signal achievement of the Bremer Presse in a restrained but impressive binding produced by Berlin master bookbinder Werner G. Kießig. Printed on Zander handmade paper with a typeface specially cut by Louis Hoell and initials designed by Anna Simons this set was issued to celebrate the 400th anniversary of the completion of the Lutheran Bible. Rodenberg tells us that this work had for years been the highest goal of the press and Eyssen proclaims "a better and more textually reliable re-creation of this national monument is hardly conceivable." Colin Franklin noted in "The Private Presses" that the Gutenberg Museum in Mainz described the Bremer Presse as "the Queen of the Private Presses." According to Ransom the press offered the Bible in three different bindings: in boards for $310 in vellum for $420 and in morocco for $470. Because she was a woman Anna Simons 1871-1951 was barred from studying at the Prussian Arts and Crafts School so she travelled to England to learn from Edward Johnston at the Royal College of Art. Johnston's biographer Priscilla Johnston writes "She was one of the best students Johnston ever had and certainly one of those who exercised the greatest influence afterwards for she disseminated his teaching throughout Germany where it was perhaps more fruitful even than in England." She designed some 1400 initials and title pages for the Bremer Press. <br /> <br /> Binder Werner G. Kießig 1924-2014 apprenticed with German master binder Kurt Grünewald and studied with Bruno Scheer before attaining the rank of Meister in 1948. Although he lived in East Germany for much of his career his status as a master craftsman afforded him more freedom than usual--to exhibit internationally and to join organizations like Meister der Einbandkunst MDE and Designer Bookbinders. He was the preferred bookbinder for volumes produced by Wolfram Benda's Bear Press. From the 1970s on Kießig signed his bindings with the stamp of a "K" in a stylized book designed by Herbert Prüget.<br /> <br /> Our bindings also bear the stamp of former owner Martin Wandersleb 1924-2005 designed by Otto Rohse. The bookplate designed for this bibliophile and theologian by the artist Gerhard Marcks is on the front pastedown. This set was also part of the collection of Hamburg collector Barbara Achilles d. 2010 who put together an impressive library of private press books. Bremer Presse 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
193028076Lausanne: Gonin & Cie 1930. First edition. Schmied François-Louis. 9-3/4 in. x 7-1/2 in.; 248 mm x 192 mm. 60 pp. Designed and illustrated by Schmied engraved and printed by Philippe Gonin. Seven full-page woodcut illustrations; twelve smaller illustrations initials and bandeaux. Original wrappers in chemise and slipcase slight tanning to the front wrapper otherwise fine. Copy 4 of 175 copies signed by Gonin printed on Arches paper. This is from the tirage de tête of 25 copies which have an additional double suite of the llustrations black and colored. Nasti B18; Ritchie 34. Gonin & Cie unknown
193028076Lausanne: Gonin & Cie 1930. First edition. Schmied François-Louis. 9-3/4 in. x 7-1/2 in.; 248 mm x 192 mm. 60 pp. Designed and illustrated by Schmied engraved and printed by Philippe Gonin. Seven full-page woodcut illustrations; twelve smaller illustrations initials and bandeaux. Original wrappers in chemise and slipcase slight tanning to the front wrapper otherwise fine. Copy 4 of 175 copies signed by Gonin printed on Arches paper. This is from the tirage de tête of 25 copies which have an additional double suite of the llustrations black and colored. Nasti B18; Ritchie 34. <br/><br/> Gonin & Cie unknown books
193178694Waltham Saint Lawrence:: Printed and Published at the Golden Cockerel Press 1931. First of this edition; No. 102 of 500 copies 488 on paper. publisher's half pigskin and tan buckram boards t.e.g. by Sangorski & Sutcliffe London. The tan cloth of the binding is foxed as usual with a few small stains; and the rounded back of the pigskin spine is irregularly tanned. The interior is very fine throughout. Folio. With Decorations by Eric Gill. Printed and Published at the Golden Cockerel Press, hardcover
1924371052London: Nonesuch Press 1924. Deluxe edition one of 75 copies on Arnold unbleached rag paper no. XXXIV. First vol. printed ad hominem for H. Malcom Hubbard with ink note below "Transferred to Ion Buchanan Pritchard F. Meynell. Each volume with an engraved title page head piece and tail piece by Stephen Gooden. 5 vols. Folio. Full brown crushed niger by Best with gilt rule borders and spine relatively unadorned raised bands a.e.g. on the rough. Book ticket of Philip Duschnes. Ex-library with labels from General Theological Seminary Rare Book Room to front paste-downs of each volume. Faintest traces of rubbing to board edges spines of vols. I & 3 slightly darkened from smoke interior fine. GOODEN Stephen. Deluxe edition one of 75 copies on Arnold unbleached rag paper no. XXXIV. First vol. printed ad hominem for H. Malcom Hubbard with ink note below "Transferred to Ion Buchanan Pritchard F. Meynell". Each volume with an engraved title page head piece and tail piece by Stephen Gooden. 5 vols. Folio. One of the great early books of the Nonesuch Press and Stephen Gooden's second book commission after the Nonesuch Anacreon of 1923.<br /> The copies on fine paper were offered at 5 guineas bound in full niger or full vellum. The name of the subscriber was printed in the first volume; this copy printed for railway magnate H. Malcolm Hubbard bears a note from Francis Meynell recording the transfer to Ion Buchanan Pritchard another railway executive.<br /> Uncommon and attractive. Dreyfus 21 and 20. The Nonesuch Century 21 and 20. Ransom Selective Check Lists pp. 163-164 nos. 20 and 21. Rumball-Petre 125 "a beautiful work of a famous press". Tomkinson p. 136 nos. 19 and 19a Nonesuch Press unknown
1901T60<p><em>The Boke off the Revelacion off Sanct Jhon the Devine done into Englysshe by William Tyndale</em></p><p><strong>Summary: </strong>A noble private press production of William Tyndale's Book of Revelation under the direction of C.H. St John Hornby. The text follows Tyndale's 1534 translation preserving the language of the earliest printed English New Testament in a setting distinguished by clarity proportion and generous margins.</p><p><strong>Description: </strong>General title page 1587 with printer's device. Each of the four chapters begins within a decorative initial. Text presented in single-column Roman font. Outer margin contains cross-references and few notes. Includes two indexes Tables at the rear.</p><p><strong>Pagination: </strong>1250797 pp.</p><p><strong>Collation: </strong>par8 A4 B-Z8 Aa-Zz8 Aaa-Zzz8 Aaaa-Iiii8 -Iiii2-8. Textually complete lacking final six leaves of Tables and final blank leaf.</p><p><strong>Binding: </strong>Original limp vellum.</p><p><strong>Condition: </strong>Crisp and clean throughout.</p><p><strong>Provenance: </strong>Philip C. Duschnes Rare Books and bookplate of General Theological Seminary to pastedowns.</p><p><strong>Note: </strong>The Ashendene Press one of the great English private presses of the period alongside the Kelmscott Press and the Doves Press is celebrated for its stately typography and uncompromising craftsmanship. Of the press' 132 books nine were biblical in subject.</p><p>This book is printed on Ashendene paper made by Batchelor using Fell types on loan from Oxford University. This is the second book produced by the press and the first in two columns and with black an red throughout.</p><p><strong>References: </strong><em>The Privately Printed Bible</em> pp. 26-27.</p> Ashendene Press hardcover
1932224302Oxford: Clarendon Press 1932. First. hardcover. fine. Printed in red and black. Small folio full red morocco elaborately stamped in gilt & blind with numerous borders enclosing four rectangles also with borders; raised bands with 6 decorated panels on the spine by the French Binders. Oxford: The Clarendon Press 1932.<br/><br/> Printed with the Greek type of Robert Proctor the third book for which the type has been used the others being The Oresteia 1904 and The Odyssey 1909. Two leather bookplates and the dentelles have offset on the flyleaves otherwise fine in a black leather-backed cloth slipcase.<br/><br/> Clarendon Press unknown books
19856343London: Facsimile Editions 1985. Edition limited to 500 copies. Very Good/Fine facsimile of "Ms Kennicotti" held in the Bodleian Library at Oxford University a finely decorated manuscript of the Hebrew Bible that resembles in some ways the Book of Kells in the use of animal figures and and intricate marginal decorations although the style comes from the Ibero-Islamic tradition rather than the Celtic one. The manuscript was copied out twenty years prior to the expulsion of Jews from Spain in 1492 by Moshe Ibn Zabara and Yosef Ibn Chaim containing the entire Tanak together with the Radak commentary and Sefer HaMichlol. It is known as the "Kennicott Bible" after Benjamin Kennicot 1718-1783 the English clergyman and Hebraist who acquired the manuscript for Oxford University. An exceptionally beautiful facsimile five and a half years in the making it is printed on deluxe paper stock intended to reproduce the appearance of the original vellum. The gold highlights in the facsimile illustrations were applied by hand. The commentary by Bezalel Narkiss and Aliza Cohen-Mushlin provides a scholarly yet approachable historical context and artistic appreciation. A remarkable production!. 34 cm; 2 volumes 444 leaves facsimile; 97 pages commentary. Hebrew and English. Each volume in sturdy blindstamped leather bindings housed in custom velvet-lined blue cloth folding case. Slight surface mark on lower board of facsimile; surface scratch on lower board of commentary folding case a little dusty closure strap somewhat distressed else fine. Extra shipping charges will apply. [Facsimile Editions] hardcover books
1904329276Chelsea: Ashendene 1904. Limited. hardcover. fine. 62p. printed in black & red wih blue initials drawn by Graily Hewitt. 8vo 19 x 13 cm full limp vellum with gilt title on spine 2 bookplates loosely pasted. Chelsea: Ashendene Press 1904. Limited Edition. Fine.<br/> <br/> One of 150 copies. Enclosed in 1/4 brown leather slipcase. "A varied and beautiful work." Colin Franklin<br/> <br/> Ashendene unknown
1964085474N: N 1964. Collection No. 22 in Portfolio Set IIA WESTERN LITERATURE; and Collection No. 20 in Portfolio Set III BIBLES. Comprising: 28 original leaves from various notable publications including 14 from Bibles all mounted on stiff black paper with accompanying explanatory text mounted on the same sheet; wrapped in cloth and contained within a gilt and brown papered board portfolio with cloth sides and leather loop fastening title and limitation labels mounted on reverse of portfolio lid including an inked presentation inscription on the middle label from Ethel W. Tapper head librarian at Aurora College to the Aurora College Library dated 1964 in memory of her friend Stanley H. Perry Dean of Aurora College the portfolio slightly scuffed and worn with a small surface graze to upper side the leather fastening loosening long tear to one of the inner folds repaired with archival tape; some of the original leaves lightly foxed; Society of Foliophiles n.d.1964. Limited to 55 and 50 sets respectively each label signed by the compiler. See Hamel 133 No. 22 Western Literature; the other set No. 20 is not in Hamel and was probably compiled much earlier- perhaps in the 1920s. List of individual leaves available separately. N unknown
1992DEMO006065IStatesboro GA: The Boxwood Press 1992. First Limited edition. Hardcover. Fine. In a mahogany and copper scroll case with vertical slot and hidden crank handle; with a protective velvet cloth <br/><br/>Only 16cc.Remarkable bilingual presentation / re-interpretation of this Biblical work placing it in the the Reagan / Bush era. Illustrated with 16 color etchings by Bernard Solomon the translator and etcher. He realized there were remarkable parallels between the Biblical story of Esther and that of Anita Hill Clarence Thomas and the U.S. Senate Judiciary Committee. This interpretation unfolds sequentially as each leaf is unrolled from the 33 in. high scroll holder. The body of the scroll holder is one of the original copper plates used for the etchings which is why it is limited to an edition of only 16. The top and bottom of the handcrafted minaret-style case is finely shaped and polished mahogany by Anthony V. Mann. Designed with a hidden crank to rewind the scroll into the case. Altogether remarkable! The Boxwood Press hardcover
1933ST15997Montgomeryshire Wales: Gregynog Press 1933. No. 37 OF 250 COPIES one of 110 in this binding accompanied by three additional plates on Japon EACH ONE OF 12 SIGNED BY THE ARTIST. 390 x 255 mm. 15 1/4 x 10". 15 leaves. <br/> Fine original dark slate blue Oasis morocco device in blind on front cover blind titling on front cover and spine. In the original paper slipcase somewhat worn and browned but sound. Wood engraved title with device and 21 wood engravings in the text five of them full-page chapter openings by Blair Hughes-Stanton and WITH THREE ORIGINAL SIGNED WOOD ENGRAVINGS ON JAPANESE VELLUM--"The Man Mourns I" 5/12 "The Man Mourns II" 4/12 and "Destruction" 5/12--attractively matted. Printed in blue and black on Japanese vellum; with an additional half-page engraving from chapter I laid in. Harrop 29; De Zilverdistel Cat. II 29; Hughes-Stanton 21. ◆A breath of fading to the spine negligible signs of wear to the binding but a fine copy with only trivial condition issues and the additional engravings pristine.<br/> <br/> This is in Harrop's words "one of the most spectacular books to come from this or any other press" our copy with the bonus of three limited edition wood engravings from the work signed by the artist. "Lamentations" was designed and illustrated by Blair Hughes-Stanton 1902-81 who studied at the school of Leon Underwood at Hammersmith and had a long and productive career producing sophisticated woodcuts as an avant-garde artist. Although he was encouraged to make his expressive sometimes even savage images look more like those of Eric Gill he resisted and successfully established his unique personal style as an illustrator. The three extra engravings here are excellent examples of his dramatic emotional technique; "The Man Mourns I and II" effectively convey overwhelming grief while "Destruction" inspires a feeling of impending doom. From 1930 through 1933 Hughes-Stanton worked for the Gregynog Press in Wales helping to design text layout providing woodcut illustrations and designing bindings. The press was founded in 1922 by two spinster sisters Gwendoline 1882-1951 and Margaret 1884-1963 Davies using a substantial inheritance from their industrialist grandfather; it produced 42 works between 1923 and 1942 eight of them in Welsh. Cave says that the books printed by the Gregynog Press "more than bear comparison with the work of any other private press" and "in the design and execution of bindings the Gregynog Press was far superior to any the Doves Press included.". Gregynog Press unknown
1962ST15876Frankfurt am Main: Ars Libri Verlag Gotthard de Beauclair 1962. No. 93 of 250 COPIES IN ENGLISH SIGNED by the illustrator and designer. 494 x 320 mm. 19 3/8 x 12 5/8". 40 pp. 2 leaves.Designed by Gotthard de Beauclair. <br/> FINE RED CRUSHED MOROCCO BY ROLAND MEUTER signed "R. Meuter Ascona" on rear turn-in upper cover with gilt lettering underlined with four gilt rules smooth spine with gilt titling leather hinges. In the original linen clamshell box backed with matching morocco. With 30 lithographs in the text by Gerhart Kraaz and one additional lithograph in a portfolio. ◆Slight discoloration from a bookmark in the lower gutter of colophon opening otherwise in perfect condition.<br/> <br/> Handsomely bound and beautifully designed and printed this very large folio first publication from the Ars Libri Press later called Ars Librorum exemplifies the kind of high quality work for which leading German publisher and book designer Gotthard de Beauclair was known. Beauclair 1907-92 began his career at Insel Verlag where he rose to art director and according to the Oxford Companion to the Book "turned inexpensive Insel books into collectors' items with excellent typography." He also founded three different publishing houses where he produced special limited editions that made full use of his excellent design and typographical skills. The present item is one such work recognized by the Association of German Book Artists as one of the most beautiful books of 1962. Gerhart Kraaz 1909-71 studied painting and worked as a graphic designer before becoming a serious book illustrator. The present title is considered his first major work in the realm of bibliophilic editions. His illustrations in charcoal are sensuous and shadowy capturing the romance and allure of the most beguiling Old Testament book. This edition in English appeared the same year as the German language edition but is much rarer--apparently the publisher cancelled a number of copies and very few ever made it to market. The binding characterized by an elegant simplicity is appropriate for the subject matter and for the stately large-format volume. Our binder Roland Meuter maintains an atelier in Ascona Switzerland where he continues to produce imaginatively designed bindings that attract considerable attention. Ars Libri Verlag, Gotthard de Beauclair unknown
199330780ABLuzern, Faksimile-Verlag 1993. Qu.-oblong-8° (18,5 x 39 cm). 36 Bll. Rotes Orig.-Maroquin auf 5 (echten) Bünden mit reicher Deckel-, Rücken-, Steh- und Innenkanten-Vergoldung, Goldschnitt; 2 Rückenschilder, Vorsätze mit roter Moiré-Seide bespannt. Eine Ecke ganz minimal berieben.
1933891Paris Les Cent Bibliophiles 1933 In-folio (37 x 28 cm.) Pleine reliure de maroquin havane, alignements de cercles concentriques à froid avec en leur centre une alternance de disques dorés ou à froid, reprise du décor sur le dos lisse avec titre doré, tranches dorées, étui. Edition illustrée de 95 gravures au burin dont 54 hors-texte par Albert Decaris. Tirage à 130 exemplaires sur Vélin d’Arches, celui-ci le n°54 imprimé pour Paul Hébert. Reliure signée G. Cretté succ. Marius Michel.
