smith sally lou (7 resultados)

Soft cover. Condición: Very Good. Clean, unmarked catalogue with binding examples, in color. BP/BookBinding.

Soft cover. Condición: Fine. 1st Edition. Oblong 24mo. Original paper covers. Biography, colour plates.

Paperback. Condición: Very Good. 1st Edition. clean and sound, minor wear to corners , prices laid in - POSTED FIRST CLASS/AIR MAIL FROM UK WITHIN 48HOURS.

Card covers. Condición: Vg. (unnumbered) Pp.B&w photo illus. of author, color illus. throughout With an introduction by Mirjam M. Foot.

SOFTCOVER. 1st Edition. Small landscape 4to in stiff card covers, unpaginated, approx. 40pp on glossy art paper, colour plates, etc CONDITION: VERY GOOD (faint soil to very top edge, covers a little sunned else a clean and tight unmarked copy) ] ._ ._We Ship in PROTECTIVE CARD PARCELS.

FIRST EDITION. ONE OF 100 COPIES. 282 x 220 mm. (11 1/8 x 8 1/2"). xii, 407 pp. UNUSUAL COCOA-BROWN CRUSHED MOROCCO, CUT, ONLAID, AND GILT, BY SALLY LOU SMITH (signed with her blind-stamped initials in rear doublure design), covers with a row of trapezoids of varying sizes cut out of the leather to reveal terra cotta-colored morocco underneath, then onlaid with a smaller version of the trapezoid tooled with flowers, leaves, and repeated round brackets, smooth spine with similar trapezoid cut-outs and onlays at head and foot, the onlay at the head lettered with Cobden-Sanderson's name, that at the foot with the author's, TERRA COTTA-COLORED MOROCCO DOUBLURES, with the same rows of trapezoids tooled in blind at head and foot, free endpapers and flyleaves of handmade paper, all edges gilt. In the matching brown morocco-backed cloth clamshell box. With color frontispiece photo-reproduction of a Cobden-Sanderson binding, and numerous black & white illustrations throughout, many of them full-page reproductions of a binding or hand-drawn pattern. â As new. This definitive work on the bookbindings that Doves Bindery founder Thomas James Cobden-Sanderson created with his own hands was bound by distinguished modern binder Sally Lou Smith (1925-2007). Born in the United States, Smith spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001). Dr. Marianne Tidcombe is a bookbinding historian and an authority on the work of Cobden-Sanderson. The text here includes a biographical introduction and a detailed account of Cobden-Sanderson's work from 1884-93, based on the binder's record-keeping in his "Time Book," now in the collection of the British Library.

Ninth Printing of the First Edition. 205 x 160 mm. (8 1/8 x 6 1/4"). 4 p.l. (first blank), 735 pp. DRAMATIC DARK BLUE-GRAY CRUSHED MOROCCO, BLIND-TOOLED AND INLAID TO AN ABSTRACT DESIGN, BY SALLY LOU SMITH (stamp-signed with her initials in gilt on rear doublure), with overall wraparound design of inlaid elongated, irregular-shaped pieces of black, gray, blue, tan, and yellow morocco with blind-tooled lines extending from these shapes, MATCHING MOROCCO DOUBLURES tooled in gilt with branch-like lines, yellow handmade free endpapers, gray flyleaves, all edges gilt. In the matching morocco-backed clamshell box. Front flyleaf INSCRIBED BY JOYCE TO H. G. WELLS: "To / H. G. Wells / Respectfully / James Joyce / 5 November 1928 / Paris." Slocum and Cahoon 17. â Isolated faint foxing or marginal spots, but a clean, fresh copy with few signs of use, in a new binding. This later printing of what is generally recognized to be the most important 20th century novel in English is inscribed by the author to one of his earliest and most important supporters, and is offered in a binding by an influential Designer Bookbinder. First issued in 1922, "Ulysses" rocked the literary world. J. B. Priestley, writing in the "Clarion" in 1934, said what most scholars and critics acknowledge--that "as a literary feat, an example of virtuosity in narration and language, it is an astounding creation. Nobody who knows anything about writing can read the book and deny its author, not merely talent, but sheer genius." Our copy was presented by Joyce to H. G. Wells (1866-1946), whose support of "Portrait of the Artist as a Young Man" was instrumental in establishing Joyce's literary reputation. Reviewing that book in 1916, Wells praised "its quintessential and unfailing reality. One believes in Stephen Dedalus as one believes in few characters in fiction." He considered "Portrait" to be "by far the most living and convincing picture that exists of an Irish Catholic upbringing," and noted how sharply it contrasted the Irish and the English: "No single book has ever shown how different they are, as completely as this most memorable novel." The two men did not meet until 12 years later, in Paris, at which time Joyce inscribed the present copy of his masterwork to Wells. At the same time, Joyce presented Wells with some excerpts of what would become "Finnegan's Wake." On 23 November 1928, Wells wrote to Joyce from his winter home in the south of France, expressing his regret that he could not promote these latest works with the same enthusiasm: "I have enormous respect for your genius dating from your earliest books and I feel now a great personal liking for you but you and I are set upon absolutely different courses. . . . I want a language and statement as simple and clear as possible. . . . Who the hell is this Joyce who demands so many waking hours of the few thousand I have still to live for a proper appreciation of his quirks and fancies and flashes of rendering?" Still, Wells acknowledged, "Your work is an extraordinary experiment and I would go out of my way to save it from destructive or restrictive interruption." The abstract binding by distinguished modern artisan Sally Lou Smith evokes a journey: as the multicolored inlays march from the rear edge around the spine and across the front against a grim, gray ground, Bloom's peregrinations through Dublin and the characters he encounters seem to be brought to mind. Born in the United States, Smith (1925-2007) spent several years in France, then settled in 1958 in London. There, she spent four and a half years learning bookbinding under John Corderoy at Camberwell School of Arts & Crafts before beginning to work out of her own bindery in 1963. Her work has been widely honored both in her early days (she won the bookbinding award given by Major J. R. Abbey in 1965) and for many years since (among others, she won three Thomas Harrison Competition prizes). In the catalogue for the "Modern British Bookbinding" exhibit held in Brussels and The Hague in 1985, five of the 50 bindings pictured were executed by Smith, who is listed in the catalogue as one of the 20 Fellows of Designer Bookbinders, the principal bookbinding society in Great Britain. She served as president of that society and was a greatly respected teacher of bookbinding. A comprehensive survey of her work appeared in "The New Bookbinder" no. 21 (2001).