book bindings (9 risultati)

Booklet - Unbound Pages. Condizione: Very Good. 5 pages, illustrated with photographs & 1 colour plate. An authentic standalone article, extracted from a larger volume. Not a reprint or reproduction, but an original work in its own right. Supplied without title page or cover. Size: 24 x 29 cms. Category: The Connoisseur; Cosmo Books : 28 years selling on ABE; 28 years of taking care of customers on ABE; A seller you can rely on.

Frontis., 11 plates of bookbindings, orig. printed wrappers, a very good copy.

Hamburg, Maximilian-Gesellschaft, 2004. 32 x 23 cm.OLn mit Rückenetikett. 204 S. Gedruckt in 1100 Exemplaren. 1. Auflage. Prachtexemplar. Großzügig gestaltetes Buch mit Farbabbildungen von 79 Einbänden aus verschiedenen europäischen Ländern, darunter elf Belgische und ein Niederländische - mit ausführlichen Beschreibungen.

172 x 118 mm. (6 3/4 x 4 3/4"). [3], 34 leaves, 35-39, [1] pp., [2] leaves. LOVELY CRIMSON CRUSHED MOROCCO, GILT AND ONLAID, BY CAPÉ (stamp-signed on front turn-in), covers with onlaid green morocco cornerpieces and central quatrefoil, all filled and surrounded by delicate pointillé tooling in floral and paisley designs, raised bands, spine compartments tooled in pointillé, gilt lettering, richly gilt turn-ins, marbled endpapers, all edges gilt. In a felt-lined, morocco-lipped marbled paper slipcase. ENGRAVED THROUGHOUT, WITH 38 FULL-PAGE ILLUSTRATIONS, consisting of one portrait, two allegorical religious scenes (including title), and 35 illustrations of the Holy Eucharist, 40 pages of engraved text, 37 of these with text flanked by full-length figures of saints, accompanied by other religious symbols at head and foot of page, two framed with vignettes of angels or the Madonna, one page with text only. Front pastedown with "A W F" book label of bookseller Adrian Fluhmann. Duportal, "Étude sur les livres à figures," pp. 244-45; Brunet V, 624; Graesse VI, 4; Leaves perhaps (very lightly) washed and pressed, but an extremely fresh, clean copy IN A SPARKLING BINDING. Covered by a luxurious binding by Capé, this is a particularly attractive copy of a sumptuously illustrated prayer book composed entirely of engraved plates. According to Duportal, it is "One of three important publications whose engravings reveal the trend characteristic of religious illustrations in France between 1601 and 1660." The work opens with a dedication to Charles d'Aubespine, Marquis de Châteauneuf (1580-1653), with a full-page portrait by Guillame de Gheyn (b. 1610). The bulk of the book is made up of two groups of plates. Those in the first group, appearing primarily on the rectos, contain prayers in Latin and French flanked by pairs of saints; gaps in the prayers are filled by naturalistic flowers, insects, and birds. Many of these plates also include a scene (or two) in miniature, depicting the life of one or both of the saints or a vignette of angels. While just two of these engravings are signed "J. Collin," they all appear to be in the same hand, which demonstrates an impressive level of finesse and delicacy, depicting graceful figures with sure, light lines. Duportal notes that this artist had a "talent charmant," and that well-executed dry-points of this type are quite rare in French books of the period. The second group of engravings appear strictly on the versos, and depict the performance of a part of the Mass, beneath a cloud in which appears a relevant scene from the life of Christ. They are all unsigned, and clearly by a different hand with more rustic features--possibly "copies of originals published abroad," according to Duportal. The book concludes with two leaves of text framed by gamboling putti and the Virgin. Copies of this work can be found with varying numbers of leaves and engravings (apparently the result of multiple reprintings with added material produced between 1651-53), but the present item can be distinguished as an early (if not the very first) edition, as it does not contain "Privilege du Roy" dated 1652 or 1653. Furthermore, our copy also contains the earliest state of the plates, without the "I N R I" initials on the cross found on the title page, and with the earlier state of the verso engravings (before they were substantially reworked). Our edition seems to be quite rare, with OCLC finding just one other copy with the same sequence of contents, at the Bibliothèque Sainte-Genevieve. The stunning binding by Capé looks just as fresh and lustrous as the day it left its workshop. One of the most distinguished binders in France in the middle years of the 19th century, Capé (d. 1867) was especially well known for the delicacy of his work--which can be appreciated to full effect in the present example. He was the binder to the Empress Eugénie, and Béraldi calls him "the Bozérian of the second Empire." This is precisely the kind of book our former owner, the discriminating connoisseur-bookseller Fluhmann, would have owned.

300 x 230 mm. (12 x 9"). 4 p.l., 91, [1] pp., [1] leaf (colophon). Translated by A. M. Burnett. WHIMSICAL PICTORIAL MOROCCO BY SUSAN ALLIX (stamp-signed on rear pastedown), the wrap-around design showing Daphnis and Chloe in blind-tooled brown morocco silhouetted against a blue morocco sea and cream morocco sky, beneath the lovers a blind-tooled vine with 11 inlaid or onlaid citron morocco leaves, blind-stamped lettering to front cover, turquoise blue pastedowns and white free endpapers painted with blue, fore edge of front free endpaper cut into wave pattern, showing a glimpse of the yellow handmade paper front flyleaf, edges untrimmed and lightly brushed with blue paint. In the original felt-lined tan linen clamshell box, blind-lettered cream and blue morocco label on back. With etched frontispiece and 20 etchings, 14 in color and six in sepia, by Allix. As new. This is a modern take on the most popular romance of ancient Greece from book artist Susan Allix, who is responsible for the binding, illustrations, and the printing, through her Willow Press imprint. The third century pastoral romance was newly translated from the Greek by Andrew M. Burnett, and illustrated with etchings based on Allix's travels in Greece. The binding, in Allix's words, "creates an atmosphere of the sea, landscape, and figures in the story." Born in 1943 and educated at the Royal College of Art, Allix began her career as a printmaker before creating her first hand-crafted book in 1973. Mark Dimunation, Chief of the Rare Book Division at the Library of Congress, wrote of Allix's work: "her books launch you on a visual journey. Each book is a voyage propelled by color, texture, image, impression, and material. . . . Because she insists on creating the entire book--from letterpress to illustration to binding--her work has a certain recognizable aesthetic; a malleable signature that responds to the particular character of a piece, but is still unquestionably hers. Allix conceives each book visually. 'I am concerned with visual things so I see books as full of colour and form in a pictorial sense as well as through the images created in my mind by the words, and through the sculptural qualities a book possesses.' The real narrative of her books is the flow of color and image as they move throughout the piece.". No. 31 OF 55 COPIES SIGNED by artist and binder Susan Allix.

188 x 140 mm. (7 3/8 x 5 1/2"). 72 pp.; [1] leaf (miniature); XXXII pp. Tasteful contemporary olive green crushed morocco, each cover WITH A CENTRAL RECESSED PANEL OF MODELLED AND PAINTED LEATHER, that on the upper cover with a portrait of the Virgin Mary within an arched frame of acanthus leaves, that on the lower cover with the coat of arms of the Deburghgraeve family. With text and decorations lithographed, featuring decorative borders and initials throughout, those on 55 pages COLORED AND ILLUMINATED BY HAND, many of these in a Medieval or Renaissance style, others with Japanese or Greek motifs, with a small hand-painted miniature of the Crucifixion against a golden sky, and WITH A FULL-PAGE HAND-PAINTED MINIATURE showing the Flight into Egypt within a decorative border featuring vignettes of a peasant gathering wood and a knight in armor praying. With a hand-painted ribbon bookmark "Souvenir de ma 1ère Communion" dated 6 June 1909; carbon copy of a poem "A la Memoire de ma tres chere et regrettee cousine Mathilde Deburghgraeve-Canal" by Lucy Salze-Bouchet, dated February 1945 (this with short curving tear into one margin). Just the most trivial signs of wear, but A VERY FINE COPY, the vellum leaves quite clean and very bright, with shining decorations, and the binding lustrous and virtually unworn. Luxuriously lithographed on vellum, handsomely bound, and illuminated and painted by hand in vibrant colors, this charming prayer book was obviously treasured by its owners--the first of whom may have been a young lady who received it on the occasion of her First Communion. The text and decorations here have been reproduced lithographically from a manuscript of the period, being printed apparently by Bouasse-Lebel et Massin--a company specializing in devotional prints and books. (The firm's name appears in very small letters at various places in the volume.) Each leaf contains a different border design inspired by Medieval and Renaissance manuscripts, as well as artwork from around the world, in a pleasing pastiche of Western, Egyptian, Japanese, Indian, and Grecian motifs. Many of the borders have been hand-colored and present an array of distinct palettes, usually richly hued, which adds greatly to the book's appeal and the viewer's sense of discovery from page to page. The bespoke binding, featuring the Madonna in profile, beautifully modelled in leather, adds another element of luxury to the book. The coat of arms suggests that it was made for a member of the Deburghgraeve family, and the laid-in poem suggests that it remained with them through the death of the family's matriarch, Mathilde Deburghgraeve-Canal, in 1944. We know that Mathilde had three daughters all born around the turn of the century; based on the presence of a bookmark commemorating a First Communion in 1909, it is likely that the original recipient was among these three young ladies. Bouasse-Lebel was established in 1845 by Eulalie Bouasse-Lebel (1809-98) as a means of supporting herself and her children following the dissolution of her marriage. Though founded under difficult circumstances, Bouasse-Lebel became a very successful enterprise and even earned a papal commendation in 1871 for consistently excellent work. The company was highly regarded for the quality and delicacy of their productions, of which the present work is a choice example. Although individual religious cards printed by Bouasse-Lebel show up fairly frequently, far scarcer are complete books in the estimable condition seen here--particularly those with the kind of deluxe upgrades that make this particular item so desirable.

178 x 111 mm. (7 x 4 3/8"). 14 p.l., cccix pp., [13] leaves (last blank); lxxv, [10], ccxvi, [22] pp.; [2] leaves, 84 pp.; [1], 1-196, [18] pp.; 62 pp. Two works, in several parts, bound in one volume. With annotations and commentary by Antonio Augustin, Joseph Scaliger, and Fulvio Orsini. Pleasing contemporary calf, covers with central gilt wreath of olive branches, raised bands, spine panels gilt with cipher "D C G" at center flanked by a palmette and a vegetal trefoil, gilt titling, bottom panel with "OD" and "I8" on either side of the cipher. Printers' devices on the title pages, decorative woodcut initials and headpieces. Front pastedown with what appear to be early library shelf markings; one page with neat early marginalia. Adams V-590 and F-390. Covers slightly marked, spine with a bit of superficial crackling (and with one short crack in the middle of bottom panel), the text with faint browning and isolated minor soiling, a few leaves with long, shallow creases (not affecting legibility), otherwise in excellent condition, the binding solid and without significant wear, and the leaves generally clean, fresh, and smooth. This glossary of recondite Latin words and phrases was no doubt bound for a contemporary bibliophile with an extensive library. The "OD" and "I8" at the bottom of the spine appear to be the indication of a shelf location--not something frequently encountered on spines of this period. This designation and the location notation on the front pastedown that clearly relates to it ("Arm. 0. Tab 4. Loc. 18") suggest a library of some complexity and an educated owner who believed in careful organization. While we have not been able to identify "D C G," (s)he would seem also to have been a person of taste and good sense. The binding is attractively decorated while still being practical for scholarly use. The work itself has gone through a number of changes of fortune. The story begins when Verrius, who lived in the time of Augustus, compiled a valuable work, full of information on everything from grammar to mythology. Unfortunately, his text has been largely lost; the authentic fragments fill only the first few leaves of our volume. His work was epitomized by Festus, a ca. third century scholar, but Festus was not a very good epitomizer and, to make matters worse, all of his entries have been lost up to the letter "M." Luckily, an epitome of the epitome from "A" to "Z" had been made by Paul the Deacon in the eighth century. Valuing the handbook for its information on the writing of correct Latin, Renaissance scholars went to work on this puzzle in the 15th century, and a first version of Paul was published by Zarotus in Milan in 1471. Later scholars published Festus, and the great French classicist Joseph Scaliger (1540-1609) was largely responsible for bringing definitive order out of chaos. His scholarly edition reconstructs the work of Festus as far as one can, filling in the gaps caused by missing pages in the manuscript with conjectures and rectified material from Paul.

178 x 114 mm. (7 x 4 1/2"). 584 pp. Early 20th century celluloid resembling carved ivory, with two cameos on the upper cover, cutouts revealing red velvet underneath, gold and silver accents and edges lined with gold, three dangling gold chains with small medallions, smooth spine, gold clasp, all edges gilt. Engraved frontispiece portrait with decorated border printed in blue ink, 14 engraved illustrations within the text representing the Stations of the Cross. Ownership stamp on front pastedown reads "Roth C. Julius, Phillipsburg, New Jersey." A touch of mild scuffing to the celluloid, negligible, light browning to edges of leaves, otherwise IN VERY FINE CONDITION inside and out. Straddling the line between craft and kitsch, this modest prayer book has been elevated to an entirely different level with the addition of an exuberant binding meant to imitate the look of high-end materials. It is primarily made of celluloid, a hard plastic first developed in the 1870's as a viable alternative to ivory, which had become increasingly scarce and expensive due to high demand. Being easy to mold, it was used in a wide variety of consumer products in the 19th and early 20th centuries, including billiard balls, knife handles, jewelry, fountain pens, buttons, and musical instrument parts. Some factories even specialized in producing celluloid with striations meant to mimic the natural grain found in ivory, examples of which can be seen in the thin, carved plates found on the present binding. Celluloid was eventually replaced by less-hazardous-to-produce materials like Bakelite, making products like this, in desirable condition, increasingly difficult to find.

165 x 83 mm. (6 1/2 x 3 1/4"). 2 p.l., 649 pp., [1] (colophon) leaf. STRIKING CONTEMPORARY BURGUNDY MOROCCO, ELABORATELY GILT, BY GRUEL (stamp-signed at tail of spine), UPPER COVER WITH A LARGE AND RICHLY DETAILED OVAL BAS-RELIEF PLAQUETTE OF THE LAST SUPPER framed above and below by a large panel of interlacing open strapwork comprised of abstracted gilt floral and foliate curls and other decorative elements, lower cover similarly decorated, with its central medallion containing a gilt cipher in intertwined majuscules, raised bands, spine gilt in double-ruled compartments with central arabesque, gilt filigree turn-ins, claret moiré silk endleaves, all edges gilt, original brass clasps with strapwork decoration. With 26 illustrations, comprised of 22 large black and white woodcut headpieces, and four chromolithographed plates with gold highlights, along with numerous uncolored woodcut initials. Front free endleaf gilt-stamp "24 Mai 1891"; first Communion card of Andre Gallien, dated 9 May 1895, laid in. A VERY FINE COPY, the morocco lustrous and the leaves entirely crisp and clean. Gruel and Engelmann published and bound numerous works of devotion, like the present impressively adorned "Paroissien," a service book that includes the texts and prayers (in Latin and French) used to celebrate Mass throughout the year. The very pleasing plaquette on the front cover showing the Last Supper is reminiscent of the celebrated Apollo and Pegasus bindings done for collector Giovanni Battista Grimaldi (ca. 1524-ca. 1612). In her "Bookbinders and their Craft," Sarah Prideaux says that the Gruel firm, founded in 1811, "always had the highest reputation . . . for initiative in artistic matters, as well as for irreproachable execution in the detail of its many-sided achievements." Paul Gruel (1864-1954) took over the firm after the death of his father, the great Léon Gruel, in 1923 and ably directed the operation until his own death, maintaining the atelier's reputation for excellence. Over the years, the firm employed some of the most skillful artisans in the trade, including Prideaux herself.