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  • The Birth, Life, and Acts of King: BEARDSLEY, Aubrey (illus.);

    Descripción: First Beardsley edition of Malory's Arthurian epic, this copy in a stunning example of Cedric Chivers's "vellucent" bindings, hand-painted after Beardsley's own artwork within. This copy presents Beardsley's decadent version of Malory's Chivalric romance, noted for illustrations "shockingly overt in their sexuality and eroticism", as a thoroughly luxurious whole. Only a handful of sets were bound in this manner, and of the two others we have handled, neither were distinguished by the present green staining to the usually cream-coloured vellum, making this a particularly choice example. This is one of the 1,500 copies of Beardsley's edition printed on ordinary paper, aside from 300 produced on handmade paper. In his catalogue of Books in Beautiful Bindings (c. 1905), Chivers describes the Beardsley Morte D'Arthur as "bound in whole vellucent from a design by the illustrator of the book. A figure panel enclosed in a floral border". The hand-painted cover illustrations for this set reproduce two of Beardsley's designs, Volume One depicting "How Four Queens Found Launcelot Sleeping" (p. 184) and Volume Two "The Achieving of the Sangreal" (frontispiece). Chivers's binding style is produced by hand-painting the backing sheet of the binding, which is subsequently covered in vellum that has been shaved to transparency, and then tooled in gilt. Chivers patented his vellucent method in 1898 and used it to create some of the most beautiful books of the turn of the century. In his bindery he employed "about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour the vellum", including Dorothy C. Smyth and Jessie M. King (Tidcombe, p. 86). This style influenced, and became closely associated with, the arts and crafts movement. In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, work that took the young artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published in twelve monthly magazine instalments between June 1893, and mid-1894. "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory" which "established Beardsley as the voice of the 1890s" (Tepa Lupack, Chapter 4). "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (ibid.). Le Morte Darthur was an immediate sensation upon publication. John Lewis, The Twentieth Century Book, Herbert Press Ltd (1984), pp. 148 9; Ray, The Illustrator and the Book in England from 1790 1914, Oxford University Press (1976) 314; Barbara Tepa Lupack, Illustrating Camelot, 2008. 2 volumes, large square octavo (240 × 192 mm). Contemporary green-stained full vellum over bevelled boards by Cedric Chivers of Bath (blind stamped to binder's blank in vol. 2), gilt panelled spines with hand-painted art nouveau-style lettering and scrolling floriate motifs, below which, on a field of gilt dots, an overall pattern of stylised roses and rose leaves (vol. 1) and tulips and tulip leaves (vol. 2), sides with two-line gilt border enclosing a frame of hand-painted intertwining roses and rose leaves (vol. 1) and intertwining tulips and tulip leaves (vol. 2), both on a field of gilt dots, panel on each front cover with a hand-painted scene taken from Beardsley's designs, back covers with three-line gilt panels, gilt-ruled turn-ins with delicate cornerpieces, marbled endpapers with cream silk gutters, top edges gilt, others untrimmed. Gravure frontispieces, 18 full page wood engravings (including 5 double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Vol. 1 joints starting at both ends front joint and top edge of rear joint, spines faintly dulled compared to vivid front panels, sound and clean within, excellent condition. Nº de ref. del artículo: 140967

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  • Works. 100 volumes in signed full morocco: Scott, Sir Walter.

    Scott, Sir Walter.

    Publicado por Edinburgh: Cadell & Company; London: Simpkin & Marshall; London: Whitaker & Co.; London: J. Cochran & J. McCrone, et al, 1829-1839. (1829)

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    Vendedor: J & J House Booksellers, ABAA (Kennett Square, PA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: Hardcover. Condición: Fine. Illustrated Edition. 100 volumes, foolscap 8vo (6 7/8" x 4 1/4"), engraved frontispiece & title vignette for each volume. Full crushed red-brown morocco, gilt backs in six compartments, gilt lettering in the second & third, five faux flat bands, gilt dated at foot "Cadell 1829", sides blind stamped in frame & panel with center & corner ornaments, all edges gilt marbled endpapers. Bound by Cedric Chivers Bath England with his pallet signature on the verso of the final binder's blank in each volume. Extraordinary set in remarkably fine condition. Sheet & plates clean with just a touch of foxing to prelims, unmarked, complete. About ten feet, 3 inches shelf space. Correct shipping will be determined at time of sale. H9136. Nº de ref. del artículo: 9210

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  • Midsummer Night's Dream, A.: CHIVERS, Cedric, Binder;

    CHIVERS, Cedric, Binder; SHAKESPEARE, William; BELL, Robert Anning, illustrator

    Publicado por London: J.M. Dent & Co., 1895 (1895)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: David Brass Rare Books, Inc. (Calabasas, CA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: An Outstanding Cedric Chivers 'Vellucent' Binding Designed and Executed by Alice Shepherd with Great Dexterity and Neatness CHIVERS, Cedric, Binder. SHAKESPEARE, William. BELL, Robert Anning, illustrator. A Midsummer Night's Dream Illustrated by Robert Anning Bell. Edited with an introduction by Israel Gollancz. London: J.M. Dent & Co., 1895. First edition with the Robert Anning Bell illustrations. Small quarto ( 7 15/16 x 6 3/8 inches; 202 x 162 mm.). li, [3], 128 pp. Title-page and Act Headings printed in red and black. Profusely illustrated throughout the text including seventeen full-page. Designed and executed by Alice Shepherd ca. 1903. Full vellucent binding over beveled boards by Cedric Chivers (stamp-signed in gilt on rear turn-in). Front and back covers double ruled in gilt enclosing, a wonderfully intricate, yet very delicately hand-painted 'swirling' continuous design of pink roses with green leaves on stems, some with pink buds. The four large roses on each cover highlighted with delicate gilt pointille surrounding the green center of each flower. Smooth spine with the continuous design from the front and back covers and five blue flowers on olive green stems in the center, ruled and lettered in gilt. Gilt ruled turn-ins and pale pink and yellow vellum liners and matching paper end-leaves, top edge gilt, others untrimmed. A beautiful and very fine example housed in the original fleece-lined green cloth slipcase. "In his large bindery at Portway, Bath, Chivers employed about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. Most Vellucent bindings were designed by H. Granville Fell, but the woman most frequently employed for this kind of work was probably Dorothy Carleton Smyth" (Marianne Tidcombe, Women Bookbinders 1880-1920, p. 86). This binding is No. LVI (b) on page 22 of the Cedric Chivers catalog "Books in Beautiful Bindings". Also in vellucent, pink roses and green leaves on a yellow ground. No. LVI (a) shows another copy of the same book, but "Bound in embossed leather, designed and executed by Alice Shepherd. The design, a free treatment of roses, occupies the back and two sides of the vol. and is modelled with great dexterity and neatness." According to Bernard Middleton, the first vellucent binding dates to 1903. In these bindings the painting is on paper under the vellum, rather than on the underside of the vellum as in Edwards of Halifax bindings (History of English Craft Bookbinding Technique, pp. 146-147). Robert Anning BELL, R.A., R.W.S. (1863-1933) was educated at University College School in London. At the age of fifteen he was articled for two years to an architect uncle before studying at the Royal Academy Schools, the Westminster School of Art (under Fred Brown), in Paris (under Aimé Morot) and, later, in Italy. On his return from Paris, he shared a studio with portrait sculptor George Frampton and together they developed a line in hand-colored plaster reliefs, in imitation of Della Robbia. His early architectural training and his close friendship with architects and sculptors made him the ideal artist for decorative schemes, and by the eighteen-nineties he had become an important figure in the Arts and Crafts Movement. His early illustrative work, in pen and ink and watercolor, includes a number of Shakespeare-related volumes: A Midsummer Night's Dream (1895), Lamb's Tales from Shakespeare (1899), The Tempest (1901) and Shakespeare's Heroines (1901). These display a concern for the page as a whole of flatness and lightness similar to those found in Walter Crane and Charles Ricketts. From 1894, he was on the staff of the School of Architecture, University College, Liverpool, later becoming a Professor of both University College, Liverpool, later becoming a Professor of both Glasgow School of Art (1918-24). He was also an honorary associate of the Royal Institute of British Architects (1916), and Master of the Art Workers' Guild (1921). He began to exhibit at the Royal Academy in 1885 (ARA 1914, RA 1922) and at the New English Art Club in 1888 (NEAC 1892), while his solo shows included one at the Fine Art Society in 1907. He was also organized a number of international exhibitions of arts and crafts. His paintings were worked in both oil and tempera, but with an increasing preference for watercolor he became an active member of the Royal Society of Painters in Water-Color (ARWS 1901, RWS 1904) and, in 1925, wrote an essay in praise of the medium (Old Water-Color Society's Club, Volume 11). His death on 27 November 1933 was followed in March 1934 by a memorial exhibition at the Fine Art Society. A Midsummer Night's Dream is a comedy written by William Shakespeare in 1595/96. It portrays the events surrounding the marriage of Theseus, the Duke of Athens, to Hippolyta, the former queen of the Amazons. These include the adventures of four young Athenian lovers and a group of six amateur actors (the mechanicals) who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play was first performed on January 1st, 1605, and is one of Shakespeare's most popular and widely performed works for the stage that is constantly performed across the world. Nº de ref. del artículo: 04435

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  • PETER PAN IN KENSINGTON GARDENS: RACKHAM, Arthur; BARRIE,

    RACKHAM, Arthur; BARRIE, J.M.

    Publicado por Hodder & Stoughton (1906)

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    Cantidad disponible: 1

    Vendedor: Jonkers Rare Books (Henley on Thames, OXON, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: First edition. 4to. Finely bound by Cedric Chivers, c.1906, stamp signed to rear turn in. Full brown morocco, with five inlaid vellucent panels, containing miniature watercolours reproducing Rackham's imagery painted on vellum. A central vellucent panel depicts Peter Pan sitting in a branch, taken from illustration number 19, "Preposterus cried Soloman in a rage". Four further vellucent medallions to the corners depict hand painted animal characters from the story. The upper cover is further decorated with an Art Nouveau design in gilt and two circular green morocco onlays, accentuated by gilt punched dots. The smooth spine is decorated with Art Nouveau gilt decoration and circular amber morocco onlay. Single line gilt border on covers and a heart-shaped gilt design to the rear. Gilt ruled turn-ins and patterned endpapers. All edges gilt. A fine example of one of Cedric Chivers' magnificent beautiful bindings and as luxurious a copy of Peter Pan as one could hope to encounter. Printed map of Kensington Gardens, plus colour frontis and 49 colour plates by Arthur Rackham. Each plate is mounted onto brown art paper and protected by a captioned tissue guard. Apart from the frontis all plates are grouped together after the text. The combination of Cedric Chivers' binding at its best, J.M. Barrie's iconic story and Arthur Rackham's magnum opus create a truly remarkable book. Cedric Chivers introduced these "vellucent" style bindings in order to assist the production of beautiful hand painted watercolour bindings, which prior to this point had been subject to damage, smudging and wear. The new process involved painting an image in ink and watercolour on paper and then a thin layer of stretched vellum was laid over the illustration and sealed, thus protecting the painting. Gilt decoration, lettering and borders were then embossed onto the covers. Chivers described the process thus, ".The designs were first painted or drawn in colours with as full a palette or as subdued a richness of colouring as the artist chose to employ. Various iridescent materials and precious metals, pared to the thinness of paper or even of gold leaf, according to the fancy of the designer, were often introduced to enhance the richness of the scheme; mother-o'-pearl, shell, beetles' wings, these and other beautiful materials were utilized in the carrying out of the designs with the greatest felicity of effect. The transparent vellum was then laid upon the surface of the painting and the two pressed together till they became indisseverable. Gold tooling was now superimposed upon the surface of the subcutaneous colouring, often with results surprising in their richness and beauty. Indeed, the vellum itself, though of perfect transparency, has, from its delicate warmth of hue, the quality of rendering luminous and reconciling colours otherwise difficult to combine harmoniously in juxtaposition, its appearance being that of a beautiful enamel-like glaze. The whole field of colour, of iridescence, is thus open to the artist who elects to decorate books bound in 'Vellucent.'" (Chivers books in Beautiful Bindings). Most Vellucent bindings were designed by H. Granville Fell with the paintings done by one of a group of 5 women, Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. In many cases the name of the artist is not advertised. Bindings were offered in very small numbers due to the workmanship involved and the high cost of the books. Nº de ref. del artículo: 39777

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  • The Day-Book of John Stuart Blackie (: Stodart-Walker, A. (

    Stodart-Walker, A. ( Editor )

    Publicado por Grant Richards (1902)

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    Cantidad disponible: 1

    Vendedor: Steve Liddle, ABA PBFA ILAB (Bristol, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: Hardcover. Condición: Very Good. Second Edition. A selection from Blackie s private writings. He had, after his retirement from the chair of Greek in the University of Edinburgh, the habit of preserving in manuscript his random thoughts on life, character, literature, and general economic concerns . Blackie was a hugely respected Edinburgh academic. Thomas Carlyle described him as A man of wide speculation and acquirement, very fearless, very kindly, without ill-humour, and without guile . Blackie was not connected, as far as we know, to the publishers of the same nameThe book itself is not rare or valuable. The interest here is that the binding is of the famous vellucent type developed and marketed by Cedric Chivers, of Bath. Furthermore, the decoration of this example is pure Glasgow Style ie reflecting the art and design emanating from the Glasgow School of Art c1895-1910. The book was listed in the Chivers Catalogue of Vellucent Bindings issued in 1904. It was described thus: Whole vellucent with a simple but effective and appropriate design by Dorothy Carleton Smyth, introducing a circular panel supported by an arrangement of thistles with gold lines and mother of pearl inlays . This sells the binding rather short but, no doubt, catalogue space was limited. The circular panel is that old favourite of the Glasgow Style artists, a clock face, and the whole composition of the design looks to be strongly influenced by Smyth s Glasgow School of Art background, particularly the work of Talwin Morris and C. R. Mackintosh. It should be mentioned that a close-up photograph of another example of this binding was chosen for the front cover of Brian Cole s recent book Aspire to the Beautiful, The Life of Cedric Chivers ( Second Beck Press, Scarborough, 2020 ). Those with an interest in these remarkable bindings would be well advised to obtain a copy."In his large bindery at Portway, Bath, Chivers employed about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J. D. Dunn, Muriel Taylor, and Agatha Gales. Most vellucent bindings were designed by H. Granville Fell, but the woman most frequently employed for this kind of work was probably Dorothy Carleton Smyth" (Marianne Tidcombe, Women Bookbinders 1880-1920, p. 86).Vellucent binding by Cedric Chivers of Bath ( stamped in gilt to rear lower turn-in ), gilt ruled turn-ins with laid paper frames, original Chivers purple cloth covered slip-case with fleece lining and movable square pusher spine panel ( pushes the book out from the slip-case ). There is some foxing to the blank front and rear free endpapers but very little elsewhere. The vellum is slightly browned/yellowed, as often with these bindings, and a little spotted. There is a small fault in the spine vellum under the letters KI in BLACKIE. The slip case is sound but wearing at edges, faded in places and a touch marked and rubbed. Xii + 198pp, portrait frontispiece. top edge gilt, index. Size approx. 8" by 6". Quantity Available: 1. Category: Literature & Literary; Pictures of this item not already displayed here available upon request. Inventory No: 28272. Nº de ref. del artículo: 28272

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  • Marie Antoinette: COSWAY-STYLE BINDING; CHIVERS,

    COSWAY-STYLE BINDING; CHIVERS, Cedric, binder; NOLHAC, Pierre de

    Publicado por London: Arthur L. Humphreys, 1905 (1905)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: David Brass Rare Books, Inc. (Calabasas, CA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: A Most Unusual Cosway-Style Binding by Cedric Chivers of Bath [COSWAY-STYLE BINDING]. CHIVERS, Cedric, binder. NOLHAC, Pierre de. Marie Antoinette. London: Arthur L. Humphreys, 1905. Reprinted from the Illustrated Edition of Marie Antoinette the Queen by permission of Messrs Goupil & Company. Octavo (8 1/8 x 5 3/4 inches; 208 x 146 mm.). [viii], 268 pp. Title-page printed in red & black. A most unusual Cosway-Style Binding ca. 1920 by Cedric Chivers for the London Bookseller Chas. J. Sawyer, stamp signed in gilt on rear turn-in. Full vellum over beveled boards, front cover richly decorated with a swirling floral gilt design with the flowers hand painted in red and green (colors faded). In the lower right-hand corner is an oval inlay of black morocco with the monogram of Marie Antoinette in gilt surrounded by leaves and the Queen's crown in gilt. At the top left-hand corner is a very fine hand-painted portrait miniature of Marie Antoinette, set under glass within a gilt metal frame surrounded by gilt dots and four sets of three red semi-precious stones (one stone missing). The rear cover with a similar floral design and the arms of Marie Antoinette in gilt. Smooth spine withsimilar gilt floral design, black morocco label lettered in gilt. Decorative gilt board edges and turn-ins, cream watered silk liners and endleaves, all edges rough gilt. Housed in the original velvet-lined blue buckram clamshell case, spine with black morocco label lettered in gilt. Fine. The quality of the miniature is quite superb and could most possibly have been painted by Miss C.B. Currie. We have owned this book once before in 1990. We have handled many Chivers bindings over the past fifty-five years but we have never seen another Cosway-Style binding by Cedric Chivers. Cedric Chivers (1853 - 1929), a seven-term mayor of Bath, first exhibited and patented his "vellucent" method of decorative bookbinding in 1898. "In his large bindery at Portway, Bath, [Cedric] Chivers employed about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carl[e]ton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. Most Vellucent bindings were designed by H. Granville Fell, but the woman most frequently employed for this kind of work was probably Dorothy Carl[e]ton Smyth" (Marianne Tidcombe, Women Bookbinders 1880-1920, p. 86). Chas J. Sawyer (1906-1990) was a London bookselling firm specializing in the finest books. It is most likely that they supplied the miniature to Cedric Chivers when placing the binding order. Marie-Antoinette (1755-1793) was the last queen of France before the French Revolution. She was born an archduchess of Austria and was the penultimate child and youngest daughter of Empress Maria Theresa and Emperor Francis I. She became dauphine of France in May 1770 at age 14 upon her marriage to Louis-Auguste, heir apparent to the French throne. On 10 May 1774, her husband ascended the throne as Louis XVI and she became queen. Nº de ref. del artículo: 05092

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  • Original illustrated vellum binding:] The Open Road.: RACKHAM, Arthur (illus.);

    RACKHAM, Arthur (illus.); LUCAS, E. V. (comp.)

    Publicado por London: Methuen & Co. Ltd, 1910 (1910)

    Antiguo o usado
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    Cantidad disponible: 1

    Vendedor: Peter Harrington. ABA/ ILAB. (London, Reino Unido)

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    Descripción: This fine example of Rackham's work is a test piece by the artist, practicing his technique for drawing directly onto vellum, possibly in preparation for a private commission. The illustration features two unconnected design elements - vignettes drawn in black and coloured inks, each signed by Rackham with his initials, and very much in the style he used for the headpieces in the Haddon Hall library (1899-1903). The top scene depicts a delicately-tinted castle backed by billowing clouds enclosing a partially opened scroll, with marbled colour lightly applied, a spray of brambles to the right-hand side of the image, and two swallows in flight in the foreground, with Rackham's initials next to the left-hand swallow. The scroll was evidently designed to contain lettering, though it has been left blank here. The bottom image, situated at a right-hand angle, as if to enclose a portion of text, depicts a wood nymph entwined in a thorny spray of roses and brambles, with Rackham's initials worked into the foliage below the nymph. It is probable that Rackham purchased this plain vellum-bound book for this purpose while holidaying in the village of Walberswick, Suffolk, where he often stayed (this book was originally "acquired from a private source in Southwold", the nearby town). The binding itself, executed in an amateur, though not unappealing, style, was likely originally a gift from two pupils to a governess or tutor, bearing a gift inscription on the first blank in childish handwriting, "To Miss Daniel, with love from Agatha & Edith" (the book itself was first published in 1899, and this is a later printing). The drawing has been authenticated by both Robin Greer, president of the Arthur Rackham Society, and Richard Riall, Rackham's bibliographer, and is accompanied by a letter of provenance. We have not traced any other vellum binding by Rackham illustrated with this unusual technique of applying colour directly to the surface of the vellum. The more commonly encountered method for illustrating vellum is the vellucent technique, developed by Cedric Chivers of Bath sometime around 1903. He invented a way to treat vellum so that it became translucent ("vellucent"): the cover design would be painted on a separate sheet and then a thin sheet of translucent vellum would be laid over it. This has the advantage of protecting the original artwork below, whereas applying the design directly leaves the artwork vulnerable. Several of Rackham's works have been presented in Chivers bindings, though, as far as we know, Rackham did not execute any vellucent bindings himself. See Scott, Artists at Walberswick: East Anglian Interludes 1880-2000, pp. 63-4. Octavo (164 x 108 mm). Quarter brown sheep, vellum covered boards, spine lettered in blind, two original pen-and-ink drawings by Rackham applied directly to the front cover, top edge gilt, marbled endpapers, red silk bookmark. Spine a little rubbed at extremities, a little spotting to rear cover. In excellent condition. Nº de ref. del artículo: 117312

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  • The Imitation of Christ: Thomas A Kempis;

    Thomas A Kempis; Cedric Chivers

    Publicado por Chatto and Windus, London (1908)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: Rooke Books PBFA (Bath, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: Vellum. Condición: Fine. W Russell Flint Ilustrador. A finely bound copy of Thomas A Kempis' 'Of the Imitation of Christ'. In a beautiful vellucent binding by Cedric Chivers of Bath. A fantastic vellucent binding by the noted bookbinder Cedric Chivers. Chivers created this technique of bookbinding which involved an artist painting on a thin medium. The designs included inlays of mother of pearl or gold leaf. This was then overlaid with a specially-treated sheet of vellum so that the designs were translucent. There are some beautiful inlays to this work on the front board, including a pearl inlay to the 'I' of the title.?Chivers' associate H Granville Fell designed many of the bindings, and the shop hired a number of female artists including Dorothy Carleton Smyth to paint the scenes onto the binding.?The design to this board consists of four kneeling saints within a decorative surround reminiscent of medieval illuminated manuscripts.?Binder's stamp to the rear pastedown, Cedric Chivers of Bath.?This is a 1908 reprint of the crown 4to special edition issued by Chatto and Windus in London.?Translated into English from the original Latin by Richard Whytford and illustrated throughout from designs by W Russell Flint. In a full vellucent binding. Held in custom clipcase. Externally, in an excellent condition. A few light marks to the spine. Internally, firmly bound. Pages are bright. Blind stamp to the verso of front endpaper, 'From the Library of Dana C Bradford'. Pages are bright and clean. Fine. book. Nº de ref. del artículo: 757L5

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  • The Book of Common Prayer And Administration: Church of England

    Church of England

    Publicado por Oxford: Printed at the University Press (1901)

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    Cantidad disponible: 1

    Vendedor: Louis88Books (Members of the PBFA) (Andover, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 4.777,79
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    Descripción: Hardcover. Condición: Good. Oxford: Printed at the University Press, London: Henry Frowde, early 1900s. Bound in a beautiful and elegant Cedric CHIVERS Bath cut and modelled calf binding in the Alice Shepherd style binding, with the words O Come Let Us Sing Unto the Lord cut into the calf on the rear board, spine and front board. Gilt decoration and further elaborate decoration to the spine and boards, all edges gilt. In a cloth covered box (now worn and slightly bowed) see images. From the volume Women Bookbinders by Marianne Tidcombe, page 95: . Alice Shepherd was trained by Mary Ann Bassett, and worked with her for a time. . Some of the bindings she did with Miss Bassett were bound by Fazakerley .but she is best known for her work for the trade binder Cedric Chivers. She began working for Chivers . in about 1897, where she was in charge of a department of about five women doing cut and modelled calf work. Her method was to mark the design on the damp leather, and then scrape the under (flesh) side of the leather with an ivory tool, to make a hollow within the area of the design. The hollow was filled with cement, and then, by manipulation and pressure, the design was brought into relief on the upper (hair) side of the leather. Any gilding, colouring, or finishing was done after the book was bound. Her designs, which are nearly always floral, were, according to Chivers, never repeated." Approximately 5 inches (13cm) tall. The box is approximately 5 ½ inches tall. Condition Report Externally Spine very good condition titles cut into the calf on the spine, face of an angel to the top of the spine, flowers to the base with gilt decorations, the word Sing to the top of the spine. Joints very good condition. Corners very good condition. Boards very good condition angel wings (continuing from the spine) to both boards; the words O Come Let Us to the rear board and Unto the Lord to the front board, the front board with further cut decoration to the front board embellished with gilt. Page edges good condition all gilt. See above and photos. Internally Hinges good condition sound and strong and cloth as is usual with Chivers bindings mentioned on p21 of "Aspire to the Beutiful - The Life of Cedric Chivers" by Brian Cole. Paste downs good condition marbled with leather turn-ins and gilt decoration. End papers good condition marbled, the edges with offsetting from the leather. Title good condition clean. Pages good condition clean. Binding very good condition well protected by the clamshell cloth covered box. See photos Publisher: see above. Publication Date: 1900s Binding: Hardback. Nº de ref. del artículo: ABE-1603302256831

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  • The Book of Common Prayer, and administration: CHIVERS BINDING -
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    Descripción: A lovely example of Chivers's binding style utilising both their elegantly gilt-tooled morocco and hand-painted "vellucent" styles, including choice use of mother of pearl for the crucifix. This handsome copy of the Book of Common Prayer was evidently bound for presentation, with an ink gift inscription from an "Isabel" from her uncle on the binder's blank, dated 1909. Sextodecimo (182 x 115 mm). Beautifully bound by Cedric Chivers of Bath, in contemporary dark blue morocco, titles gilt to spine direct, floral gilt tooling with coloured onlay fleurons to spine and sides, gilt ruled border, front board with a hand-painted panel in Chivers's "vellucent" style, incorporating two angels flanking a mother-of-pearl cross, triple-gilt-ruled turn-ins with coloured onlay fleuron cornerpeices, marbled endpapers, all edges gilt. Printed on India paper. Minor scuffs to tips and corners, excellent condition. Nº de ref. del artículo: 139472

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  • The Mystery of Edwin Drood (Extra-Illustrated): Dickens, Charles (Sir

    Dickens, Charles (Sir S. L. Fildes, illustrator)

    Publicado por Chapman and Hall, London (1870)

    Antiguo o usado
    Original o primera edición

    Cantidad disponible: 1

    Vendedor: Whitmore Rare Books, Inc. -- ABAA, ILAB (Pasadena, CA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: Condición: Fine. First Edition. Bound by Cedric Chivers, circa 1911, in full red crushed morocco. With the coat of arms for the city of Rocherster on the front panel and intricate details on the spine. Silk moire end papers, all edges gilt, extra-illustrated with 17 anonymously executed watercolors, depicting localites in Rochester, the inspiration for the setting of the novel, and Dickens's childhood home. Four of the original watercolors are in full color. Additional hand drawn title page; portrait of Fildes and John Forster tipped in, as well as a few leaves from Forster's "Life of Dickens" relating to this work. Book and binding in exceptional, Fine condition. Two other extra-illustrated copies in Chivers bindings appeared in the auction record (1991 and 1995), but nothing since then. This binding likely executed at the same time, c. 1911. Famed for his lush bindings involving leather, gilt, and vellum, Cedric Chivers often partnered with William Morris' Kelmscott Press. By the turn of the century, his work began to be sought out for presentation and exhibition copies of literature by authors including Charles Dickens, Dante Gabriel Rossetti, Alfred Lord Tennyson, and Charles Lamb. Dickens' final novel, left unfinished and published posthumously, breaks with some of the author's previously established literary tendencies. Present are Dickens' emphasis on the relationship among smaller family units that create a larger social ecosystem; also present are his interests in blood versus conjugal familial duties. Yet the novel takes on an even darker tone than previous works. Drood's uncle, John Jasper, sits at the book's center; and his roles as an opium addict and philanderer affect all characters in orbit around him. In love with Drood's fiancee Rosa, Jasper becomes the main suspect when Drood disappears under suspicious circumstances. Yet because the novel was left unfinished at the time of Dickens' death, no final conclusion exists. Thus, a part of the book's popularity was and continues to be derived from the ongoing mystery. "Since its publication in 1870 there have been hundreds of theories.trying to argue for how they think the story might end.the existing half of Drood spans just over 200 pages, but the non-existent half has been expanded into thousands of pages presented in letters, journal articles, monographs, novels. Dickens' book is open ended, albeit unintentionally, and that has meant a colossal opportunity for readers to engage with and explore the wide unknown of Drood's conclusion" (Orford). Fine. Nº de ref. del artículo: 2479

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  • RIP VAN WINKLE: RACKHAM, Arthur; WASHINGTON,

    RACKHAM, Arthur; WASHINGTON, Irving

    Publicado por Heinemann (1905)

    Antiguo o usado
    Original o primera edición
    Tapa dura

    Cantidad disponible: 1

    Vendedor: Jonkers Rare Books (Henley on Thames, OXON, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: First edition. 4to. Finely bound by Cedric Chivers, c.1905, stamp signed to rear turn in. Full green morocco, with five inlaid vellucent panels, containing miniature watercolours reproducing Rackham's imagery painted on vellum. The upper cover is further decorated with an Art Nouveau design in gilt and two circular green morocco onlays, accentuated by gilt punched dots. The smooth spine is decorated with Art Nouveau gilt decoration and circular amber morocco onlay. Single line gilt border on covers and a heart-shaped gilt design to the rear. Gilt ruled turn-ins and patterned endpapers. All edges gilt. A very good copy indeed of this extraordinary production, morocco binding with very slight rubs to the joints, slight fading to some panels and occasional foxing to the preliminary and terminal pages. Fifty-one colour plates by Rackham are mounted onto green art paper and protected by tissue guards, apart from the frontis they are all mounted together at the end of the text. One of the double page plates has a slight corner crease to the white border. Rip van Winkle was Rackham's first major colour plate work and the first of the opulent Christmas Gift books. Its beauty and popularity began the "Golden Age of Book Illustration," in which publishers and illustrators competed to present the most beautiful volumes to the gift market. Cedric Chivers introduced these "vellucent" style bindings in order to assist the production of beautiful hand painted watercolour bindings, which prior to this point had been subject to damage, smudging and wear. The new process involved painting an image in ink and watercolour on paper and then a thin layer of stretched vellum was laid over the illustration and sealed, thus protecting the painting. Gilt decoration, lettering and borders were then embossed onto the covers. Chivers described the process thus, ".The designs were first painted or drawn in colours with as full a palette or as subdued a richness of colouring as the artist chose to employ. Various iridescent materials and precious metals, pared to the thinness of paper or even of gold leaf, according to the fancy of the designer, were often introduced to enhance the richness of the scheme; mother-o'-pearl, shell, beetles' wings, these and other beautiful materials were utilized in the carrying out of the designs with the greatest felicity of effect. The transparent vellum was then laid upon the surface of the painting and the two pressed together till they became indisseverable. Gold tooling was now superimposed upon the surface of the subcutaneous colouring, often with results surprising in their richness and beauty. Indeed, the vellum itself, though of perfect transparency, has, from its delicate warmth of hue, the quality of rendering luminous and reconciling colours otherwise difficult to combine harmoniously in juxtaposition, its appearance being that of a beautiful enamel-like glaze. The whole field of colour, of iridescence, is thus open to the artist who elects to decorate books bound in 'Vellucent.'" (Chivers books in Beautiful Bindings). Most Vellucent bindings were designed by H. Granville Fell with the paintings done by one of a group of 5 women, Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. In many cases the name of the artist is not advertised. Bindings were offered in very small numbers due to the workmanship involved and the high cost of the books. Nº de ref. del artículo: 40114

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  • The Five Nations.: KIPLING, Rudyard

    KIPLING, Rudyard

    Publicado por London: Methuen & Co., 1903. (1903)

    Antiguo o usado
    Tapa dura

    Cantidad disponible: 1

    Vendedor: D&D Galleries - ABAA (Somerville, NJ, Estados Unidos de America)

    Valoración del vendedor: Valoración 4 estrellas

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    EUR 3.398,20
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    Descripción: Hardcover. Condición: Very Good. 2nd Edition. SECOND EDITION AND A PRESENTATION COPY FROM CEDRIC CHIVERS. 1 vol., 7-5/8" x 4-15/16", inscribed on the front blank endleaf "To Mrs. Bowker from Cedric Chivers May 1924", bound in full vellum with painted and gilt decoration, the front cover composed of a roundel depicting a sailing ship at sea at sunset within a border of fish, and two fish with entwined tails, both covers with mother-of-pearl insets and gilt linear and pointille tooling, similarly decorated spine, gilt dentelles, vellum doublures, top edge gilt, by Chivers of Bath, inner and outer hinges fine, head and foot of spine fine, some minor foxing to blank endleaves, rear cover slightly cupped, we have seen other copies of this binding and they are often found in quite shabby condition, this one is overall a VERY GOOD+ copy and a presentation copy which we have never seen before. Included with this volume is a 1 page ALS dated 7/12/24 on Chivers Book Binding letterhead in the hand of Chivers which reads "Dear Mrs. Bowker Please accept this volume of Kipling with my best wishes. The color of the decoration is underneath the vellum & the design is by Mrs. D. Crlihon (sic) Smyth of Glasgow School of Art. Yours very sincerely. Cedric Chivers". Safe to assume that Mrs. Bowker was the wife of R. R. Bowker. Both Bowker (Bowker being the publishing house founded in 1868 and still operating to this day) and Cedric Chivers were both members of the American Library Assoc. of which Chivers had a close relationship with, submitting papers and such. We were also able to find a reference to Mrs. Bowker and Chivers in the Friday June 27, 1919 NJ Asbury Park Press. Nº de ref. del artículo: 001274

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  • CHILD CHRISTOPHER AND GOLDILIND THE FAIR: MORRIS, William; CHIVERS,

    MORRIS, William; CHIVERS, Cedric

    Publicado por Hammersmith: Kelmscott Press. (1895)

    Antiguo o usado
    Original o primera edición
    Tapa dura

    Cantidad disponible: 1

    Vendedor: LUCIUS BOOKS (ABA, ILAB, PBFA) (York, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: First edition. Two volumes. Contemporary full brown calf by Cedric Chivers of Bath, finely decorated in relief and gilt. Hand decorated floral endpapers. Gilt ruled and decorated inner dentelles. Top edge gilt. Woodcut title, decorative borders and woodcut initials designed by William Morris, Chaucer type printed in red and black on handmade paper. The bindings are square and firm with some rubbing to the extremities. The contents are clean and bright throughout and without previous owner's inscriptions or stamps. An exceptional example in every respect. Published on 25th September 1895 in an edition of 600 copies on paper (there were also 12 copies printed on vellum). (Peterson A35). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Nº de ref. del artículo: 17619

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  • Binding, Fine- Cedric Chivers Stunning Vellucent Binding: St. Augustine

    St. Augustine

    Publicado por Kegan Paul, Trench Tr bner & Co. Ltd, London (1900)

    Antiguo o usado
    Original o primera edición
    Ejemplar firmado

    Cantidad disponible: 1

    Vendedor: Nudelman Rare Books (Seattle, WA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 3.267,50
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    Descripción: First edition thus. First edition thus. 6 x 9" Exquisitely bound in a vellucent binding by Cedric Chivers with saints, lettering, and floral decoration done underneath the translucent vellum. As well, the binding features ,other-of-pearl accents added within the "C" of "Confessions," and as two roundels outside of the "C", and as the saints' halos, with additional gilt ruling and superb all-over gilt stippling added on top of the vellum in places. on front cover and also spine. Signed "Cedric Chivers Bath," on rear dentelle gilt pallet. Top edge gilt. Limited to 400 copies, of which this is #228. Printed at the Chiswick Press ".on Arnold and Foster's unbleached handmade paper. The illustrations have been designed by Mr. Paul Woodroffe and engraved upon wood by Miss Clemence Housman, by whom the title-page has also been engraved from the design of Mr. Lawrence [Laurence] Housman." Title page within ornamental borders; ornamented initials. Printed throughout in red and black. Nice gilt dentelles and signature mottled pink doublures and matching endpapers. Fine condition. Nº de ref. del artículo: 5055

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  • Essays of Elia, The: CHIVERS, Cedric, binder;

    CHIVERS, Cedric, binder; LAMB, Charles; BROCK, Charles E., illustrator

    Publicado por London: J.M. Dent & Co, 1900 (1900)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: David Brass Rare Books, Inc. (Calabasas, CA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: A Fine Cedric Chivers Vellucent Binding CHIVERS, Cedric, binder. LAMB, Charles. BROCK, Charles E., illustrator. The Essays of Elia. [and] The Last Essays of Elia. With an Introduction by Augustine Birrell and Illustrations by Charles E. Brock. London: J.M. Dent & Co., 1900. Two volumes bound in one. Small octavo (6 15/16 x 4 1/16 inches; 177 x 103 mm.). xxii, 294, [1, imprint], [1, blank];, xii, 254, [1, imprint], [1, blank] pp. Two engraved frontispieces and one hundred and sixty-two black & white illustrations, including decorative head and tailpieces, all by Charles E. Brock. Bound ca. 1906 in a fine pastel "vellucent" binding by Cedric Chivers (stamp-signed in gilt on rear lower turn-in), with a delicately hand-painted 'Art Nouveau' floral design. The front cover with three red flowers and a green vine design enclosing the title "The Essays And The Last Essays of Elia. Charles Lamb". Lower cover with a similar design but with just one red flower. Smooth spine similarly decorated and lettered in watercolor and gilt, gilt ruled turn-ins, mottled pale-green liners and end-papers, all edges gilt. Neat ink inscription dated "Xmas 1906" on front blank. A very fine example housed in the original fleece-lined, green cloth slipcase (missing the movable spine panel). This binding is No. LXXXV on page 34 of the Cedric Chivers catalog "Books in Beautiful Bindings" "In his large bindery at Portway, Bath, Chivers employed about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales. Most Vellucent bindings were designed by H. Granville Fell, but the woman most frequently employed for this kind of work was probably Dorothy Carleton Smyth" (Marianne Tidcombe, Women Bookbinders 1880-1920, p. 86). According to Bernard Middleton, the first vellucent binding dates to 1903. In these bindings the painting is on paper under the vellum, rather than on the underside of the vellum as in Edwards of Halifax bindings (History of English Craft Bookbinding Technique, pp. 146-147). Essays of Elia is a collection of essays written by Charles Lamb; it was first published in book form in 1823, with a second volume, Last Essays of Elia, issued in 1833 by the publisher Edward Moxon. The essays in the collection first began appearing in The London Magazine in 1820 and continued to 1825. Lamb's essays were very popular and were printed in many subsequent editions throughout the nineteenth century. The personal and conversational tone of the essays has charmed many readers; the essays "established Lamb in the title he now holds, that of the most delightful of English essayists." Lamb himself is the Elia of the collection, and his sister Mary is "Cousin Bridget." Charles first used the pseudonym Elia for an essay on the South Sea House, where he had worked decades earlier; Elia was the last name of an Italian man who worked there at the same time as Charles, and after that essay the name stuck. Critics have traced the influence of earlier writers in Lamb's style, notably Sir Thomas Browne and Robert Burton- writers who also influenced Lamb's contemporary and acquaintance, Thomas De Quincey. Some of Lamb's later pieces in the same style and spirit were collected into a body called Eliana. Charles Lamb (1775-1834) was born in London in 1775. He studied at Christ's Hospital where he formed a lifelong friendship with Samuel Taylor Coleridge. When Lamb was twenty years old he suffered a period of insanity and was confined to a psychiatric hospital. His sister, Mary Ann Lamb, had similar issues and in 1796 murdered her mother in a fit of madness. Mary was confined to an asylum but was eventually released into the care of her brother. Lamb became friends in London with a group of young writers who favored political reform including Percy Bysshe Shelley, William Hazlitt, Henry Brougham, Lord Byron, Thomas Barnes and Leigh Hunt. In 1796 Lamb contributed four sonnets to Coleridge's Poems on Various Subjects (1796). This was followed by Blank Verse (1798) and Pride's Cure (1802). Lamb worked for the East India Company in London but managed to contribute articles to several journals and newspapers including London Magazine, The Morning Chronicle, Morning Post and the The Quarterly Review. He is best known for his pseudonymous essays for London Magazine, collected and published as Essays of Elia (1823), and for the popular evergreen Tales From Shakespeare (1807), his collaboration with his sister. Nº de ref. del artículo: 04448

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  • Marmontel's Moral Tales. Selected with a revised: CHIVERS BINDING -

    CHIVERS BINDING - SAINTSBURY, George.

    Publicado por London: George Allen, 1895 (1895)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: Peter Harrington. ABA/ ILAB. (London, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 3.023,92
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    Descripción: An exquisitely bound copy, and a fine example of Cedric Chivers's vellucent style, where the backing sheet of the binding is hand-painted before being covered in vellum which has been shaved to transparency, which is then tooled in gilt. This technique is in contrast to the previous great binder of painted vellum, Edwards of Halifax, who painted in reverse on the underside of translucent vellum. Chivers had patented his vellucent method in 1898, and used it to create some of the most beautiful books of the turn of the century. His style influenced, and became closely associated with, the arts and crafts movement. The book itself is an attractive edition of Jean-François Marmontel's 18th-century tales, as selected and edited by the literary scholar George Saintsbury, with illustrations by Christine Hammond, a prolific female illustrator of the 1890s. The binding design is after Hammond's illustrations for Marmontel's tale The Shepherdess of the Alps. Small quarto (184 x 124 mm). Contemporary vellum by Cedric Chivers of Bath with his stamp to rear turn-in, spine and front cover lettered by hand, spine and front cover with hand-painted design incorporating gilt tooling and mother of pearl inlay, the front cover with a centrepiece of a shepherdess and her dog, gilt ruled turn-ins, vellum doublures, top edge gilt, detached red and green silk bookmark loosely inserted. With 45 black and white illustrations by Hammond. Vellum on front cover warped, small pink mark to rear cover, short closed tear at edge of first couple of leaves and to pp. 415/416, many leaves unopened. A very good copy. Nº de ref. del artículo: 138908

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  • PRAYERS WRITTEN AT VAILIMA: BINDINGS - CHIVERS).

    BINDINGS - CHIVERS). (ILLUMINATED MANUSCRIPT FACSIMILE). SANGORSKI, ALBERTO, Scribe and Illuminator. STEVENSON, ROBERT LOUIS

    Publicado por Reproduced by the Graphic Engraving Co. for Chatto & Windus, London (1910)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, Estados Unidos de America)

    Valoración del vendedor: Valoración 4 estrellas

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    Descripción: Second Impression. 265 x 210 mm. (10 1/4 x 8 1/4"). [13] French-fold leaves mounted on tabs. Introduction by Mrs. R. L. Stevenson. EXCELLENT "VELLUCENT" BINDING BY CEDRIC CHIVERS (stamp-signed on rear turn-in), upper cover with title and author written in the style of a Medieval illuminated manuscript, the title featuring a large ornamental "P" adorned with grapevines and fruit, the whole enclosed by delicate rinceau border with numerous leaves and blossoms in colors and gilt, smooth spine with colored titling in a similar style, vellum doublures, top edge gilt. Title page with an elaborate frame dominated by a "P" in shades of blue and purple with grapevine decoration on a gilt ground, this forming one side of a frame of similar style that encloses the title information and an oval miniature portrait of Stevenson; Introduction with decorative opening initials in colors and gilt, illuminated floral tailpiece; 16 pages of prayers with large opening initials and full borders in purple, blue, burgundy, and pink profusely highlighted with gilt. Text in red and black. Vellum a bit soiled and with a few small, light dampstains in frame of upper cover, corners lightly bumped, but the binding solid, pleasing, and without the bowing or splaying that often afflicts vellucent bindings; a couple of trivial spots or finger smudges to margins, but a fine copy internally, clean, fresh, and bright with vivid colors. The present facsimile reproduces Alberto Sangorski's illuminated manuscript tribute to the last four years of Stevenson's short life, a period of great literary output spent at Vailima on Samoa with his American wife, and it is offered here in a splendid Chivers binding with a design that was clearly inspired by its contents. The work begins with a preface written by Mrs. Stevenson, followed by prayers for different times of day and purposes, all richly decorated in the Medieval style. The handsome initials, thick floral borders, and delicate gilding are echoed in the design of the upper cover, a splendid production by Cedric Chivers, the master of vellucent bindings. Chivers (1853-1929) established binding premises in his native Bath after an inspiring visit to the Paris Exhibition of 1878, and a short time later, after hearing a lecture by Cyril Davenport on the 18th century painted vellum bindings of Edwards of Halifax, he began producing his own work in this tradition, creating the so-called "vellucent" binding. The innovative part of these bindings, as seen here, was accomplished by rendering vellum transparent, then placing it over painted pieces of paper, thereby protecting the surface of the paper from soiling and abrasion. Prideaux says that the process achieves the effect of enriched enamel. Although the facsimile comes on the market regularly, it is rarely (if ever) found in such a handsome binding by a leading craftsman, let alone in one that reflects and enhances its contents so well. Nº de ref. del artículo: ST15501

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  • The Vicar of Wakefield. with Twenty-five Colored: Chivers, Cedric, binder.]

    Chivers, Cedric, binder.] Goldsmith, Oliver.

    Publicado por London: J.M. Dent, 1904. (1904)

    Antiguo o usado
    Tapa dura

    Cantidad disponible: 1

    Vendedor: Michael R. Thompson Books, A.B.A.A. (Los Angeles, CA, Estados Unidos de America)

    Valoración del vendedor: Valoración 2 estrellas

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    EUR 2.614,00
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    Descripción: Cedric Chivers (1853-1920) developed the technique of "vellucent binding," whereby an artist would paint on a thin surface, and a sheet of vellum, shaved to translucent thinness, was laid over it, with the result bound over boards. The significant achievement is that "for the first time in the history of the bibliopegistic art the actual work of the artist, undiluted by a translation through the hands of mechanics, is here visible in the decoration of the book" (Chivers catalogue, Books in Beautiful Bindings). Octavo. [xviii], 242, [2] pp. Colored frontispiece and title-page and twenty-three colored plates. In a full velucent binding by Cedric Chivers of Bath. Spine and front cover gilt-tooled in architectural design. Front cover features classical columns, with decoration at top and bottom, including flower ornaments and an urn with fruit, back cover gilt paneled. The front cover and spine are richly colored in shades of pink, purple, green, and yellow. Top edge gilt, pink patterned endpapers. Edges lightly foxed. A near fine copy. Nº de ref. del artículo: 16663

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  • OUR LADY OF THE BEECHES: BINDINGS - CHIVERS).

    BINDINGS - CHIVERS). HUTTEN, BARONESS [BETTINA] VON

    Publicado por William Heinemann, London (1907)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, Estados Unidos de America)

    Valoración del vendedor: Valoración 4 estrellas

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    EUR 2.492,01
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    Descripción: 190 x 130 mm. (7 1/2 x 5"). 4 p.l., 245, [1] pp., [1] leaf. A VERY PRETTY VELLUCENT BINDING BY CEDRIC CHIVERS (stamp-signed on rear turn-in), upper cover with large central panel outlined in gilt, depicting an idyllic grove of trees, with a large marbled sundial in the foreground, this highlighted with mother-of-pearl inlays, smooth spine with painted title panel, gilt-ruled turn-ins, vellum doublures. With frontispiece portrait of the author. A little light soiling to vellum, occasional minor spots of foxing to margins, otherwise a fine, fresh copy, the binding well preserved and without the splaying that often affects vellum boards. This romance by a scandalous American heiress who married into a noble German family and then became a popular novelist was beautifully bound by Cedric Chivers, using a tranquil garden scene invoking the beloved woods of the title character. Clearly with autobiographical elements, "Beeches" involves the love story between a celebrated scientist and a clever American woman who is the wife of an Austrian nobleman. Our author, Bettina Riddle (1874-1957), was born into a wealthy Pennsylvania family and, like other American heiresses of her day, married a title--Friedrich Karl August, Baron von Hutten zum Stolzenberg. Her first novel appeared in 1898--the same year as her first child--and she went on to produce 25 novels over the next 40 years, including a series featuring her most famous character, Pam. She and the baron divorced in 1909, reputedly over her infatuation with an Italian tenor, and she settled in London (though wintering in Rome). Cedric Chivers (1853-1929) established binding premises in his native Bath after an inspiring visit to the Paris Exhibition of 1878, and a short time later, after hearing a lecture by Cyril Davenport on the 18th century painted vellum bindings of Edwards of Halifax, he began producing his own work in this tradition, creating what he called the "vellucent" binding. The innovative part of these bindings, as seen here, was accomplished by rendering vellum transparent, then placing it over painted pieces of paper, thereby protecting the surface of the paper from soiling and abrasion. Prideaux says that the process achieves the effect of enriched enamel. Chivers often used mother-of-pearl inlays on his vellucent bindings, and here the inlays give the sundial on the cover a more three-dimensional aspect. Nº de ref. del artículo: ST13988

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  • Our Village (with vellucent binding by Cedric: Mitford, Nancy Russell:

    Mitford, Nancy Russell:

    Publicado por J M Dent & Co, London & E P Dutton & Co, New York (1904)

    Antiguo o usado
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    Cantidad disponible: 1

    Vendedor: Gerald Baker (Bristol, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 2.419,13
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    Descripción: Hardcover. Condición: Very Good. xv + 309pp, top edge gilt, 25 colour illustrations by Charles E. Brock (including tissue-guarded frontispiece and title page), vellucent binding by Cedric Chivers of Bath (stamped in gilt to rear lower turn-in), gilt lined turn-ins with laid paper frames, light brown Chivers slip case with lining and movable square spine panel. The front board has a circular view of a village within an ornamental border of mother of pearl and the spine is complementarily decorated. There is some moderate foxing to the first few pages and sporadically elsewhere (mainly to the verso of the illustrations) and the vellum is a little spotted but generally the book is in very good order, as is the slip case, which is a touch marked and rubbed. The Chivers stamp is partially obscured by a small bookseller's sticker.This edition of Our Village comes from the 'English Idylls' series published by J.M. Dent. For this series, Dent commissioned his long-time illustrator Charles E. Brock to create over twenty new watercolour illustrations for each novel. Chivers bound a number of other books from the English Idylls series in vellucent bindings, including Cranford, Christmas at Bracebridge Hall and The Vicar of Wakefield, the design of the last of which was the same as that of our copy of Our Village except for a different colourway and image. A variant design for Our Village was also produced with the same design but with a different image. Nº de ref. del artículo: 5648

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  • The Essays of Elia; [together with:] The: CHIVERS BINDING -

    CHIVERS BINDING - LAMB, Charles.

    Publicado por London: J. M. Dent & Co., 1902 (1902)

    Antiguo o usado

    Cantidad disponible: 1

    Vendedor: Peter Harrington. ABA/ ILAB. (London, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    Descripción: A highly attractive copy in a beautiful example of a "vellucent" binding, by Cedric Chivers of Bath, of Charles Lamb's largely autobiographical pseudonymous essays, dealing with mankind at large through the medium of his own experiences and impressions. Chivers's binding style is produced by hand-painting the backing sheet of the binding, which is subsequently covered in vellum that has been shaved to transparency, and then tooled in gilt. Chivers patented his vellucent method in 1898 and used it to create some of the most beautiful books of the turn of the century. In his bindery he employed "about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour the vellum", including Dorothy C. Smyth and Jessie M. King (Tidcombe, p. 86). This style influenced, and became closely associated with, the arts and crafts movement. These Essays remained widely popular for decades, establishing Lamb, both at the time and since, as one of the leading essayists of the 19th-century. The Essays were first published in 1823 and 1833 respectively, this edition with Brock's illustrations in 1899. Octavo (181 x 103 mm). Contemporary full vellum over bevelled boards by Cedric Chivers of Bath, titles and heart motifs in gilt to gilt-panelled spine and front board, within decorative background of blue, green foliage, and pink flowers with delicate gilt tooling, single gilt fillet frame to rear board, gilt-panelling to pastedowns, all edges gilt. Numerous line-drawing illustrations by Brock, title pages printed in blue and light brown. Neat ink ownership inscription to first blank. The binding sharp, minor foxing to endpapers, else internally clean and fresh; a superb copy. Nº de ref. del artículo: 144785

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  • The Vicar of Wakefield By Oliver Goldsmith: Oliver Goldsmith

    Oliver Goldsmith

    Publicado por London: Macmillan and Co. (1894)

    Antiguo o usado
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    Cantidad disponible: 1

    Vendedor: Louis88Books (Members of the PBFA) (Andover, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 2.298,18
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    Descripción: Hardcover. Condición: Good. London: Macmillan & Co, London, 1894, Reprinted Edition. Preface by Austin Dobson. Full vellum vellucent binding by Cedric Chivers of Bath with their name blind stamped to the first front free end paper. Boards, as is often the case, bowed and tight, the spine slightly faded and the boards with an aged patina, slightly yellowed to the front board and reddish to the rear board with marks and wear consistent with the age of the volume. The spine has faded. Images of olive trees to the spine and both boards. Marbled end papers and paste downs with gilt edges to the inside boards, a signature to the second end paper followed by the half-title, some minimal folding to the page edges, visible to the top edge, and smog tanning and foxing. xxiv,[2],305,[7]pp, with 182 illustrations by Hugh Thomson. James Edwards of Halifax patented a technique for painted vellum bindings in 1785. He soaked the area to be painted with water to which a small quantity of pearl ash had been added and pressed the vellum which made the skin virtually transparent. The vellum was then painted to the flesh side of the skin, so that whe the book was bound, the painting was protectedbetween the vellum and the cover of the book . Chivers revisited the technique of using transparent vellum, but bound over painted paper panels, giving the name vellucent to this technique Brian Cole [Aspire to the Beautiful p78]. Approximately 7 ¾ inches tall. Condition Report Externally Spine good condition structurally sound, gilt titles to slightly faded spine, the I in Vicar is dark, minor marks, panel with olive tree in art nouveau style. Joints good condition sound. Corners god condition gently worn. Boards fair to good condition bowed and unevenly faded, with olive tree panels in an art nouveau style. Page edges good condition top edge darkened gilt, others untrimmed. See above and photos. Internally Hinges good condition tight and secure, in the classic duro-flexile Cedric method with jaconette hinges (see page 21 of B. Cole Aspire to the Beautiful ). Paste downs good condition marbled, gilt dentelles. End papers good condition marbled, blind stamp for 'Cedric Chivers, Bookbinders, Gay St. Bath' to a front free end paper. Title good condition gently tanned and foxed. Pages good condition gently tanned with some foxing throughout, some folded edges. Binding good condition attractive. See photos Publisher: see above. Publication Date: 1894 Binding: Hardback. Nº de ref. del artículo: ABE-1613425827730

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  • Irving, Washington

    Publicado por George Newnes, London (1902)

    Antiguo o usado
    Original o primera edición
    Ejemplar firmado

    Cantidad disponible: 1

    Vendedor: Nudelman Rare Books (Seattle, WA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 2.178,33
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    Descripción: First edition thus. First edition thus. Bound by Chivers in full maroon levant with exquisite front vellucent panels hand-painted with gold embellishment, gilt ruling both covers, and intricate gilt-ruled spine with floral detailsSigned in gilt pallet, rear dentelle, "Cedric Chivers, Bath, England." #15 of only 30 Copies, Signed by Edmund Sullivan, the illustrator, printed on Japan Vellum. Near fine. A nice vellucent binding by Chivers. Nº de ref. del artículo: 2268

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  • Binding, Fine- Alice Shepherd] Charles I.: Skelton, Sir John

    Skelton, Sir John

    Publicado por Goupil & Co, London, Paris and Edinburgh (1898)

    Antiguo o usado
    Original o primera edición

    Cantidad disponible: 1

    Vendedor: Nudelman Rare Books (Seattle, WA, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 1.960,50
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    Descripción: First edition. First edition. Tall, thick quarto. (10.5" x 13") Superbly bound in full light brown modeled calf by Alice Shepherd (her initials tooled in the design, lower left of front cover), exquisitely tooled and modeled using rectilinear framing motif wiith central crown and arms, and elegant flowing vine and blossom patterning, gilt dots and circles as blossoms intermixed as well as stippled borders and framing; similar modeling pattern on spine, but with added all-over gold dot pattern in areas. Gilt interlocking design on edges of calf boards. Attractive pastedowns and endsheets with light blue stencilled design. Exquisite color portrait frontispiece and 23 plates, 18 vignettes to the text, all with tissue guards with descriptive letterpress; decorative initials at head of each chapter. Spotting to covers and wear to edges & spine tips; rubbing to outer hinges and inner hinges slightly cracked, binding still solid. "Some of the bindings [Alice Shepherd] did.were bound by Fazakerley. but she is best known for her work for the trade binder Cedric Chivers. She began working for Chivers. in about 1897, where she was in charge of a department of about five women doing cut and modelled calf work. Her method was to mark the design on the damp leather, and then scrape the under (flesh) side of the leather with an ivory tool, to make a hollow within the area of the design. The hollow was filled with cement, and then, by manipulation and pressure, the design was brought into relief on the upper (hair) side of the leather. Any gilding, colouring, or finishing was done after the book was bound." (Women Bookbinders, Tidcombe, p. 95). Bindings by Shepherd are quite scarce, and this is certainly one of the more prodigious ones we have seen. Nº de ref. del artículo: 3903

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  • CHIVERS BINDING - HOOD, Thomas.

    Publicado por London: George Newnes, 1901 (1901)

    Antiguo o usado
    Ejemplar firmado

    Cantidad disponible: 1

    Vendedor: Peter Harrington. ABA/ ILAB. (London, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 1.814,35
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    Descripción: Signed limited edition, number 19 of 30 copies on Japanese vellum signed by the illustrator. A beautiful example of Chivers's vellucent technique, which he developed in the early 1900s. In contrast to the earlier method used by Edwards of Halifax, the painting was not done on the underside of the transparent vellum, but on paper which was attached to the binding and covered with vellum. The surface of the vellum was then tooled in gold, thus enhancing the impressive effect. Octavo (200 x 130 mm). Contemporary art nouveau-style "vellucent" binding by Cedric Chivers of Bath in green full morocco with a hand-painted vellum vignette of an angel surrounded by doves to the front board, with the calligraphic caption "We make all melodies our care", smooth spine with gilt titles direct, decoration to spine and boards in gilt and blind, bevelled boards, turn-ins ruled in gilt, top edge gilt, marbled enpapers. Black and white frontispiece, illustrated title page, 12 plates and 4 decorative borders in the text by H. Granville Fell. Spine and front board a little faded, spine with some minor scuffing, tanning to outer edges of free endpapers, mild finger-marking to limitation page, else contents exceptionally bright. An excellent copy. Nº de ref. del artículo: 99343

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  • A Complete Body of Heraldry: Joseph Edmondson

    Joseph Edmondson

    Publicado por J. Dodsley, London (1780)

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    Original o primera edición
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    Cantidad disponible: 1

    Vendedor: Rooke Books PBFA (Bath, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 1.645,01
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    Descripción: Leather. Condición: Very Good. Not Stated Ilustrador. First edition. The first edition of Joseph Edmondson's extensive work on heraldry, accompanied by an additional scrapbook containing many colour illustrations. The first edition of this work.Complete in two volumes, with an additional volume.Volume I illustrated with a frontispiece, and six plates.Volume II illustrated with eighteen plates.Collated, complete. Collated from Jisc from a copy held at the London Library.The additional volume is genealogical scrapbook, containing clippings of colour illustrations and text from other works, with a decorative hand painted title page. The scrapbook is arranged alphabetically. One large cloth-backed colour folding plate is bound in, 'The Roll of the Highland Clans of Scotland'. Some blank leaves to this additional volume. Seven typed leaves titled 'Notes on Heraldic Book-Binding' loosely inserted.The illustrations show coats of arms of many countries and cities in England, Scotland, Wales, and Ireland, as well as South Africa, Austria, Austarlia, Germany, India, Canada, France, Denmark, and more. They also show the coat of arms of the Church of England, city companies arms, the arms of Cambridge colleges, and the arms of saints. There are pages of handwritten notes, titled 'Arms of American States'. Many typed letters are pasted in, addressed to Samuel Poole, Cedric Chivers, and Walter H. Harris. The letters include: a letter from Horace Muirhead dated 13th April 1921 regarding Eton College; two letters from Reginald Gould, one on the 10th April 1913 regarding borough arms, and one dated 5th April 1921 regarding the Glastonbury corporation arms; one letter dated 25th May 1911 regarding illuminated address; one letter dated 15th March 1911 regarding the coat of arms of Tunbridge Wells; one letter dated 16th March 1921 regarding the Taunton coat of arms; and one letter dated 8th April 1921 regarding the Yeovil coat of arms.?'An Investigation into the Right of the County Palatine of Chester to Bear a Coat of Arms', by Sir Edward Cust, published by T. Brakell in 1849, is bound in, as is a handbook by G. W. Eve titled 'Decorative Heraldry'.ESTC citation number T137070.List of subscribers to Volume I.Unpaginated, however a prior owner has put page numbers to the head of the leaves of Volume I.?An extensively detailed look at British heraldry, an important work.This was an early example of public British genealogical work?Written by Joseph Edmondson, a noted herald and genealogist, who is best known for his work 'Baronagium Genealogicum'.Volume I was partly written by Sir Joseph Ayloffe.Bookplate to the recto to the front endpapers, 'Reverend Dr. G. B. Westwood'. In a half morocco binding with cloth to the boards. Externally, generally smart. Light rubbing and marks to the boards and spines. Minor bumping to the extremities. A little fading to the spines. Bookplate to the front pastedowns of Volume I and II. Internally, firmly bound. Pages are lightly age-toned and generally clean with some spots. Ink mark to the head of the frontispiece. Ink numbers to the contents page of Volume I. Tape repairs to leaves Hhhh1 and Kkkk2 of Volume I. The occasional ink annotations to the margins, including to some of the plates. Small repair to the title page of Volume II. A couple of pages in the additional volume have segments excised. Very Good. book. Nº de ref. del artículo: 730P17

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  • CRANFORD. With a preface by Anne Thackeray: GASKELL. MRS. ;

    GASKELL. MRS. ; THOMSON. HUGH. Illustrates.

    Publicado por Macmillan and Co. London. 1891 (1891)

    Antiguo o usado
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    Cantidad disponible: 1

    Vendedor: Paul Foster. - ABA & PBFA Member. (London, Reino Unido)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 1.511,96
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    Descripción: Hardcover. Condición: Near Fine. Limited Edition. FIRST THOMSON EDITION, Large paper issue. One of only 300 copies issued. Large 8vo. (10.5 x 7.4 inches). Illustrated throughout with 101 fine line drawings by Thomson. Finely bound by Cedric Chivers of bath in early twentieth century binding of full plum morocco. Spine with raised bands, the compartments ruled, decorated and lettered in gilt. Decorative line and floral design to both boards. Board edges double ruled in gilt. Mottled coloured endpapers. Turn ins with double ruled lines and floral design. Top edge gilt, others untrimmed. Two previous owner bookplates on the front paste down endpaper. A little fading to the spine but overall a very near fine copy. Nº de ref. del artículo: 10387

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  • Fifty Years of Sport at Oxford, Cambridge: DESBOROUGH, Lord

    DESBOROUGH, Lord

    Publicado por Walter Southwood & Co. (1922)

    Antiguo o usado
    Original o primera edición
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    Cantidad disponible: 1

    Vendedor: The Cary Collection (Bristol, CT, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 1.045,60
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    Descripción: Hardcover. Condición: Very Good. No Jacket. 1st Edition. Oxford, Cambridge and the Great Public Schools beautifully custom Morocco leather bound by Cedric Chivers Bath 505 pp. 13" x 10" 1922 Walter Southwood & Co. Nº de ref. del artículo: 33882

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  • Vellucent binding by Kenneth Hobson. 1927 Golden: Francis Palgrave

    Francis Palgrave

    Publicado por Macmillan and Co., London (1927)

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    Cantidad disponible: 1

    Vendedor: Rare Tome (Newberg, OR, Estados Unidos de America)

    Valoración del vendedor: Valoración 5 estrellas

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    EUR 871,32
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    Descripción: Hardcover. Condición: Good. A playful vellucent binding, signed "Kenneth Hobson, 1931", decorates this 1927 edition of Francis Palgrave's Golden Treasury. The bagpipe playing putto's concentrated expression contrasts wonderfully with his mirthful symbolism. Also, a fitting binding decoration for Palgrave's classic Treasury of English song and poem lyrics. The vellucent binding technique was invented by Cedric Chivers, who himself adapted it from a style invented and patented by Edwards of Halifax; in extreme short, transparent vellum is bound over artwork producing the effect exhibited here. Kenneth Hobson was a leading bookbinder of the early 20th century; at the time of this binding (1931) he was part owner in the firm of H.T. Wood, which later in the decade merged with Sangorski and Sutcliffe. Physical Attributes - Measures approx. 15.5 x 10 x 3 cm. Vellum hardcover binding with (small) Yapp edges. Vellucent front board, with a putto playing bagpipes under the vellum of the front board, lightly colored. Title in gilt on spine. Central fleuret, in gilt, on rear board. All edges gilt (AEG). 524 numbered pages. Condition - See pictures. A handsome little book. A little soiling to binding (light). Slightest splaying to boards. Lengthy graphite inscription regarding the binding on pastedown. Bookseller graphite marks erased from flyleaf (but remnants visible). Some foxing to blank unpaginated endpapers. Thumb mark to frontis. Red dot at fore-edge margin of pages 410-430, no text affected. Mostly a clean and attractive book. 365 grams. Nº de ref. del artículo: 479

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