modern bindings (4 resultados)

Soft cover. Condición: Very Good. 40 pages. "Sixteenth Century Books" by S K Speirs / "A Century Of 'Beebook' In Translation" by Karl Showler / "Mary Wollstonecraft: The First Of A New Genus!" by Liz Crawford / "Modern Boy, A Story-Paper To Remember" by Norman Wright / "The Children's Books History Society" by Pat Garrett / "The Miss Margaret Sidney Davies Complete Collection Of Special Gregynog Bindings" by Michael Taylor.

Soft cover. Condición: Fine. 1st Edition. 4to. Original card covers. 210x270mm. 104 pp.,100 lot sale exstensively illustrated in colour and b/w.

265 x 207 mm. (10 1/2 x 8 1/4"). 41, [3] (blank) pp., [1] leaf (colophon). RESPLENDENT IN DARK BLUE MOROCCO, RICHLY GILT AND ONLAID, BY RIVIERE & SON (stamp-signed on front doublure), covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries, bordered by strips of green and tan morocco, central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details, this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves, central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center, a black and red witch's hat above the horseshoe, and the whole on a very densely stippled gilt ground, incised with calligraphic curls and set with nine silver stars around the cat, this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies, raised bands, spine compartments framed with tan morocco, and containing a gilt and onlaid floral sprig, TAN MOROCCO DOUBLURES bordered by a strip of purple morocco, this with onlaid green morocco frame adorned with gilt latticework, densely stippled gilt cornerpieces set with purple morocco passionflowers, all accented with inlaid circles of purple, navy, and green in varying sizes, leather hinges, apricot watered silk endleaves, all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red, blue, or burnished gold, three three-line illuminated initials, 11 five- to six-line initials in shades of purple, blue, and green, with highlights of pink and burnished gold, two of these with extensions running the length of the text and two incorporated into full borders, four very large initials (12 lines or more) in colors and gold, five full borders, that on title page incorporating a small oval miniature of Whittier, and TWO FULL-PAGE MINIATURES, one of a young nun at prayer, the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed, written out, and illuminated by Alberto Sangorski for Messrs. R. Rivi?re & Son, Bookbinders & Booksellers to his Majesty King George V. London. This manuscript will not be duplicated. This manuscript was executed by me." From the collection of Phoebe A. D. Boyle (her sale at Anderson Galleries, 19-20 November 1923, lot 368). Front flyleaf with engraved bookplate of comic book pioneer M. C. Gaines (1894-1947); typed description from "Kolb Collection" (Louis Kolb?) laid in. Ratcliffe, "Albert Sangorski Bibliography" SJR 245. Vellum a bit wavy (as is typical), but A BEAUTIFUL COPY, the leaves creamy and bright, being painted with rich colors and glittering gold, and IN A FLAWLESS BINDING. This is an outstanding example of the artistry of Alberto Sangorski and that of the binders, gilders, and finishers of Riviere & Son, the volume being executed at the zenith of their creative powers, and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr," inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter," set in Puritan New England; and "Memories," a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues, purples, and greens brightened with burnished gold, Sangorski has created two full-page paintings, one of the beautiful young nun at prayer, the other of youthful sweethearts strolling arm-in-arm through a wood. Alberto Sangorski (1862-1932) started his professional life as secretary to a goldsmith's firm, became attracted to the book arts at the age of 43, and began doing illuminated manuscripts that were then bound by his brother Francis' firm.

392 x 287 mm. (15 3/8 x 11 1/4"). [32] leaves, with text in an attractive italic hand, all separated by tissue guards. SUMPTUOUS OLIVE GREEN STRAIGHT-GRAIN MOROCCO, ELABORATELY GILT, BY ZAEHNSDORF (stamp-signed on front doublure and with their exhibition stamp on rear turn-in), covers with densely stippled floral roll border enclosing a large frame formed by drawer handle tools and floral tools on a stippled ground; central panel with large cornerpieces rampant with flower tools, circlets, volutes, and much stippling; raised bands, spine compartments heavily gilt in a similar style, gilt titling, RED MOROCCO DOUBLURES with opulent dentelle frame, surrounded by gilt-tooled green morocco turn-ins, red watered silk endleaves with gilt edging, all edges gilt.ma WITH 76 BLACK & WHITE PHOTOGRAPHIC REPRODUCTIONS OF PORTRAIT MINIATURES BY RICHARD COSWAY, ANDREW PLIMER, AND OTHERS mounted and enclosed by hand-painted burnished gold frames, EACH PORTRAIT WITH HAND-ILLUMINATED TITLE in red, blue, green, and burnished gold. Verso of front endleaf with book label of Thomas Agnew & Sons, Old Bond Street Library. A bit of wear to front joint, a little rubbing to extremities, occasional mild rumpling to head or tail of vellum leaves, isolated small marginal smudges, otherwise a fine specimen, the vellum creamy and bright, the illuminations shining, and the binding quite sound and lustrous with gold. Composed of vellum leaves, this is a unique, luxurious catalogue of a miniatures collection, with delicate script, lovely illumination, and a stately binding by one of London's foremost workshops. State-of-the-art photographic reproductions of mostly 18th century miniatures are juxtaposed here with calligraphy and illuminations harking back to Medieval bookmaking. Each portrait is surrounded by a gold frame, and accompanied by a hand-written description with an illuminated title, giving biographical details of known subjects and a physical description of the miniatures whenever they are labelled simply "Portrait of a Lady" or "Portrait of a Gentleman." The scale of this production--which is nearly twice the size of most illuminated manuscripts of the early 20th century--and the splendor of the binding point to a patron of considerable means, likely either the proprietors of, or a client of, the Agnew art dealers. The Agnew firm began as printsellers in Manchester in 1817, but over the course of the 19th century became one of the principal British galleries under the leadership of the founder's son William. A London branch opened in 1860, and the Bond Street flagship in 1875. William Agnew (1825-1910) did much to foster the careers of British artists Holman Hunt, Frederick Leighton, and Edward Burne-Jones, and his clients included Henry Tate, whom he encouraged to found the celebrated Tate Gallery. The binding here is a superb example of the work of the Zaehnsdorf firm, long a top-ranked English bindery. Born in Pest, Hungary, Joseph Zaehnsdorf (1816-86) served his apprenticeship in Stuttgart, worked at a number of European locations as a journeyman, and then settled in London, where he was hired first by Westley and then by Mackenzie before opening his own workshop in 1842. His son and namesake took over the business at age 33, when the senior Joseph died, and the firm flourished under the son's leadership, becoming a leading West End bindery. Over the years, Zaehnsdorf employed a considerable number of distinguished binders, including the Frenchman Louis Genth (who was chief finisher from 1859-84), and trained a number of others, including Roger de Coverly and Sarah Prideaux. A family-run business until 1947, the Zaehnsdorf bindery continued to produce consistently attractive and innovative designs executed with unfailing skill. It is generally understood that the firm reserved the use of its oval stamp showing a binder at work (seen here) for their finest bindings, including those entered in exhibitions.