Illuminated bindings (6 risultati)
Editore: Paris, Techener, 1897
- Rilegato
- Prima edizione
Da: Hünersdorff Rare Books ABA ILAB, London, Regno UnitoHünersdorff Rare Books ABA ILAB
Contatta il venditoreVenditore con 2 stelleCondizione: Usato - Buono
EUR 421,28
EUR 26,29 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 1 disponibili
Aggiungi al carrelloHardcover. Condizione: Good. No Jacket. 1st Edition. (AUCTION CATALOGUE) Pichon, Jérôme, Baron). Catalogue de la Bibliothèque de feu M. le Baron Jérôme Pichon. Président honoraire de la Sociétié des Bibliophiles français. Paris: Librairie Techener, 1897. Large 8vo. [2] f + xlvi + [2] + 459 + [1] p. Title in red & black with Pich…on's arms. Illustrations in the text. Morocco-backed marbled boards; spine gilt with gilt-lettered title morocco label; marbled endpapers; front hinge & corners lightly worn. First volume of the posthumous sale of the second library of illuminated manuscripts, illustrated books and fine bindings formed by Jérôme Pichon (1812-96), one of the most passionate French 19th century collectors and bibliographers. A first sale had already taken place in 1869. The preface contains George Vicaire's Life of Pichon and a chronological list of his publications. A very good copy.
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Editore: [Printed by the University Press for] George D. Sproul, [New Rochelle], 1902
Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.Phillip J. Pirages Rare Books (ABAA)
Contatta il venditoreVenditore con 3 stelleCondizione: Usato
EUR 16.716,74
EUR 8,67 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrello270 x 210 mm. (10 5/8 x 8 3/8"). [50] leaves (last blank). SUMPTUOUS COBALT BLUE MOROCCO, GILT AND INLAID TO AN ARABESQUE DESIGN BY TRAUTZ-BAUZONNET (stamp-signed on front doublure), covers framed in gilt and inlaid brown morocco blossoms, central panel of azure blue morocco outlined in brown morocco, large central medallion enc…losed in brown morocco and inlaid with an eight-pointed inlaid and gilt fleuron, each corner with tan and ivory morocco medallion with gilt "T" at center, outlined in brown morocco, the spaces between the medallions with curling gilt flourishes, raised bands, spine compartments with gilt lettering framed by sprays of gilt berries, SKY BLUE MOROCCO DOUBLURES inlaid with darker blue squares containing an ivory morocco polygon , these forming a frame around a central taupe morocco panel with inlaid blue morocco flowers at corners, vellum free endleaves painted with a simple blue frame, small flowers at each corner, all edges gilt. BEAUTIFULLY ILLUMINATED BY ROSS TURNER, the title page and final page with heraldic emblems, and WITH 51 LOVELY INITIALS in a range of hues, 22 with delicate extensions. Printed entirely in majuscules on rectos only. A couple of small, faint water spots to upper board, with slight dulling (where someone tried to fix these?), naturally occurring variations in the grain and color of the vellum, otherwise A FINE COPY--the vellum creamy and smooth, the colors and gilt bright, and the binding lustrous. A bookmaking tour-de-force, this item is part of the remarkable St. Dunstan series of famous works of literature produced at the turn of the century in very strictly limited and particularly luxurious editions by publisher George Sproul. Named for the English bishop Dunstan (909-88), who was known for his skills as an illuminator, the St. Dunstan volumes were printed on vellum, illuminated by different artists, and then put into bindings of striking design executed by Trautz-Bauzonnet, one of the premier French binders of the period. While the physical properties of this volume announce themselves more emphatically than the text, the narrative here is from Tennyson's "Idylls of the King," a work, Day tells us, in which the legend of King Arthur is used "to establish the Victorian virtues of marital faithfulness, fair play, gentlemanly conduct, and useful action for self and society." "Guinevere" sets forth the consequences of marital infidelity, presenting a penitent queen, now withdrawn to a convent, groveling for Arthur to pardon her affair with Lancelot. Although the injured king grants her forgiveness, he does so with little grace, appearing to modern readers as "insufferably self-righteous." (Day) Reminiscent of the designs used in 15th century illuminated books, the painted initials in our volume are well executed and attractive, combining fluid shapes and consonant combinations of colors, and the binding is a singularly elaborate achievement. German-born binder Georges Trautz (1807-79) apprenticed in Heidelberg, Stuttgart, and Witemberg before arriving in Paris in 1803. There, he trained in ?dorure? with the skilled gilder Deb?s, learning to create intricate gilt designs on bindings. In 1833, he was hired as a doreur by Bauzonnet, the successor to the celebrated Purgold, and soon achieved acclaim for his beautifully gilded bindings. According to Michon, he was "the uncontested master of the luxury binding" in 19th century France, celebrated for his "sumptuous moroccos" and "dazzling gilt." His bindings were so sought after that the term "Trautzol?trie" was coined to describe the craze for his work. In 1869, he became the first bookbinder to be named a chevalier of the Legion of Honor. The culmination (and termination) of the St. Dunstan books was a planned edition of 15 sets of the complete works of Dickens, projected to contain 130 large folio volumes?surely the most ambitious undertaking in the history of modern American fine printing. Five volumes only (comprising most of "Pic.
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THE FEMALE MARTYR AND OTHER POEMS
(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - RIVIERE & SON). SANGORSKI, ALBERTO, Designer, Calligrapher, and Illuminator. WHITTIER, JOHN GREENLEAF
Editore: [1914], London, 1914
Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.Phillip J. Pirages Rare Books (ABAA)
Contatta il venditoreVenditore con 3 stelleCondizione: Usato
EUR 41.791,85
EUR 8,67 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrello265 x 207 mm. (10 1/2 x 8 1/4"). 41, [3] (blank) pp., [1] leaf (colophon). RESPLENDENT IN DARK BLUE MOROCCO, RICHLY GILT AND ONLAID, BY RIVIERE & SON (stamp-signed on front doublure), covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries, bordered by strips of green and tan morocco…, central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details, this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves, central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center, a black and red witch's hat above the horseshoe, and the whole on a very densely stippled gilt ground, incised with calligraphic curls and set with nine silver stars around the cat, this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies, raised bands, spine compartments framed with tan morocco, and containing a gilt and onlaid floral sprig, TAN MOROCCO DOUBLURES bordered by a strip of purple morocco, this with onlaid green morocco frame adorned with gilt latticework, densely stippled gilt cornerpieces set with purple morocco passionflowers, all accented with inlaid circles of purple, navy, and green in varying sizes, leather hinges, apricot watered silk endleaves, all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red, blue, or burnished gold, three three-line illuminated initials, 11 five- to six-line initials in shades of purple, blue, and green, with highlights of pink and burnished gold, two of these with extensions running the length of the text and two incorporated into full borders, four very large initials (12 lines or more) in colors and gold, five full borders, that on title page incorporating a small oval miniature of Whittier, and TWO FULL-PAGE MINIATURES, one of a young nun at prayer, the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed, written out, and illuminated by Alberto Sangorski for Messrs. R. Rivi?re & Son, Bookbinders & Booksellers to his Majesty King George V. London. This manuscript will not be duplicated. This manuscript was executed by me." From the collection of Phoebe A. D. Boyle (her sale at Anderson Galleries, 19-20 November 1923, lot 368). Front flyleaf with engraved bookplate of comic book pioneer M. C. Gaines (1894-1947); typed description from "Kolb Collection" (Louis Kolb?) laid in. Ratcliffe, "Albert Sangorski Bibliography" SJR 245. Vellum a bit wavy (as is typical), but A BEAUTIFUL COPY, the leaves creamy and bright, being painted with rich colors and glittering gold, and IN A FLAWLESS BINDING. This is an outstanding example of the artistry of Alberto Sangorski and that of the binders, gilders, and finishers of Riviere & Son, the volume being executed at the zenith of their creative powers, and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr," inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter," set in Puritan New England; and "Memories," a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues, purples, and greens brightened with burnished gold, Sangorski has created two full-page paintings, one of the beautiful young nun at prayer, the other of youthful sweethearts strolling arm-in-arm through a wood. Alberto Sangorski (1862-1932) started his professional life as secretary to a goldsmith's firm, became attracted to the book arts at the age of 43, and began doing illuminated manuscripts that were then bound by his brother Francis' firm.
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FRIAR JEROME'S BEAUTIFUL BOOK
(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). NA-HUAB, SIUOL (i.e., LOUIS BAUHAN, Scribe and Illuminator. (BINDINGS - THE RENAISSANCE SOCIETY). ALDRICH, THOMAS BAILEY
Editore: Written and Illuminated for The Renaissance Society ca. 1915, [Chicago], 1915
Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.Phillip J. Pirages Rare Books (ABAA)
Contatta il venditoreVenditore con 3 stelleCondizione: Usato
EUR 8822,72
EUR 8,67 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrello216 x 153 mm. (8 1/2 x 6"). [ii], 28 pp., [1] leaf (colophon). Single column, 18 lines in an attractive calligraphic hand. VERY PRETTY VIOLET CRUSHED MOROCCO, GILT AND INLAID for The Renaissance Society (stamp-signed in gilt on front doublure), smooth spine with gilt titling, FULL MOROCCO DOUBLURES consisting of a green morocco…panel framed by purple morocco with gilt dots and scrolling floral motifs at each corner, each with an inlaid white morocco flower, cream-colored watered silk endleaves. In a lavender buckram chemise and matching purple morocco-backed slipcase with raised bands and gilt lettering. With many one-line initials in pink, each leaf with a different two- to four-line initial in a different style (with both painted and gilt elements, and exuberantly decorated), most leaves with a panel or "L"-shaped border ranging from simple lines to elaborate decorative bars, a few borders with small landscapes and a total of FOUR FIGURAL SCENES, decorative title page with colorful initials, lettering, and decorative flourishes, text beginning with A HALF-PAGE MINIATURE OF ST. JEROME AT HIS DESK, surrounded by A FULL BORDER of flowers, gilt detailing, and stylized heads of putti, all by Louis Bauhan. Front free endpaper with bookplate of Phoebe Boyle. Leather with a slight chalky appearance, silk endleaves starting to fray at fore edge, a few leaves with a hint of waviness, but THE MANUSCRIPT IN BEAUTIFUL CONDITION, the vellum entirely clean, and the paint especially bright and fresh. Exuberantly decorated by a major illustrator of the period, this manuscript was commissioned and bound for The Renaissance Society of Chicago before making its way into the superb collection of American bibliophile Phoebe Boyle. The text here comes from a poem by "Atlantic Monthly" writer and editor Thomas Bailey Aldrich (1836-1907), imagining the agony and the ecstasy of St. Jerome as he sat down to write his translation of the Bible. The illumination, though certainly inspired by the decorative programs of Medieval manuscripts, is decidedly modern in appearance, drawing on the Art Nouveau movement and utilizing bold color combinations and whimsical design motifs. It is not clear why the illustrator here, Louis Bauhan (1855-1941), has used the ananym "Siuol Na-Huab," because there is no reason to hide responsibility for producing the clean, elegant script, the imaginative marginal decoration, and the finished human and animal images that enliven the manuscript. Bauhan was a very successful painter and illustrator, perhaps best known to the public as art editor of "Cosmopolitan Magazine" under John Brisben Walker, who edited and published the magazine from 1889 to 1905. In 1881, Bauhan helped to found the Kit-Kat Club of New York, a bohemian artists' and cultural association; he was persistently in demand as a book illustrator; and, among other things, he painted landscapes and portraits in oil. The colophon here states that the manuscript was written and illuminated for The Renaissance Society--an artistic group associated with the University of Chicago whose mission was to cultivate and promote modern art--and it was given an appropriately luxurious binding by the same organization. The manuscript was obviously valued highly enough to join the collection of Phoebe A. D. Boyle, a client George Sutcliffe described as "rivalling the Medici in her patronage of the production of beautiful books." (Shepherd, "The Cinderella of the Arts," p. 63) Stephen Ratcliffe describes the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts, and any book from the Boyle collection, which was put together with the greatest taste and discrimination, is recognized as desirable beyond its intrinsic literary merit.
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ORDINAIRE DE LA SAINTE MESSE. [with] CÉRÉMONIES DU MARIAGE. [and] PRIÈRES POUR LA COMMUNION
(VELLUM PRINTING). (BINDINGS - MODELLED). A HAND-PAINTED AND ILLUMINATED PRAYER BOOK ON VELLUM IN FRENCH
Editore: Bouasse-Lebel et Marrin ca. 1909], [Paris, 1909
Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.Phillip J. Pirages Rare Books (ABAA)
Contatta il venditoreVenditore con 3 stelleCondizione: Usato
EUR 6036,60
EUR 8,67 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrello188 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 th…e 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.
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CATALOGUE OF PORTRAIT MINIATURES
(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - ZAEHNSDORF)
Editore: ca. 1910, England, 1910
Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.Phillip J. Pirages Rare Books (ABAA)
Contatta il venditoreVenditore con 3 stelleCondizione: Usato
EUR 5107,89
EUR 8,67 spedizioneSpedito in U.S.A.Quantità: 1 disponibili
Aggiungi al carrello392 x 287 mm. (15 3/8 x 11 1/4"). [32] leaves, with text in an attractive italic hand, all separated by tissue guards. SUMPTUOUS OLIVE GREEN STRAIGHT-GRAIN MOROCCO, ELABORATELY GILT, BY ZAEHNSDORF (stamp-signed on front doublure and with their exhibition stamp on rear turn-in), covers with densely stippled floral roll border enc…losing a large frame formed by drawer handle tools and floral tools on a stippled ground; central panel with large cornerpieces rampant with flower tools, circlets, volutes, and much stippling; raised bands, spine compartments heavily gilt in a similar style, gilt titling, RED MOROCCO DOUBLURES with opulent dentelle frame, surrounded by gilt-tooled green morocco turn-ins, red watered silk endleaves with gilt edging, all edges gilt.ma WITH 76 BLACK & WHITE PHOTOGRAPHIC REPRODUCTIONS OF PORTRAIT MINIATURES BY RICHARD COSWAY, ANDREW PLIMER, AND OTHERS mounted and enclosed by hand-painted burnished gold frames, EACH PORTRAIT WITH HAND-ILLUMINATED TITLE in red, blue, green, and burnished gold. Verso of front endleaf with book label of Thomas Agnew & Sons, Old Bond Street Library. A bit of wear to front joint, a little rubbing to extremities, occasional mild rumpling to head or tail of vellum leaves, isolated small marginal smudges, otherwise a fine specimen, the vellum creamy and bright, the illuminations shining, and the binding quite sound and lustrous with gold. Composed of vellum leaves, this is a unique, luxurious catalogue of a miniatures collection, with delicate script, lovely illumination, and a stately binding by one of London's foremost workshops. State-of-the-art photographic reproductions of mostly 18th century miniatures are juxtaposed here with calligraphy and illuminations harking back to Medieval bookmaking. Each portrait is surrounded by a gold frame, and accompanied by a hand-written description with an illuminated title, giving biographical details of known subjects and a physical description of the miniatures whenever they are labelled simply "Portrait of a Lady" or "Portrait of a Gentleman." The scale of this production--which is nearly twice the size of most illuminated manuscripts of the early 20th century--and the splendor of the binding point to a patron of considerable means, likely either the proprietors of, or a client of, the Agnew art dealers. The Agnew firm began as printsellers in Manchester in 1817, but over the course of the 19th century became one of the principal British galleries under the leadership of the founder's son William. A London branch opened in 1860, and the Bond Street flagship in 1875. William Agnew (1825-1910) did much to foster the careers of British artists Holman Hunt, Frederick Leighton, and Edward Burne-Jones, and his clients included Henry Tate, whom he encouraged to found the celebrated Tate Gallery. The binding here is a superb example of the work of the Zaehnsdorf firm, long a top-ranked English bindery. Born in Pest, Hungary, Joseph Zaehnsdorf (1816-86) served his apprenticeship in Stuttgart, worked at a number of European locations as a journeyman, and then settled in London, where he was hired first by Westley and then by Mackenzie before opening his own workshop in 1842. His son and namesake took over the business at age 33, when the senior Joseph died, and the firm flourished under the son's leadership, becoming a leading West End bindery. Over the years, Zaehnsdorf employed a considerable number of distinguished binders, including the Frenchman Louis Genth (who was chief finisher from 1859-84), and trained a number of others, including Roger de Coverly and Sarah Prideaux. A family-run business until 1947, the Zaehnsdorf bindery continued to produce consistently attractive and innovative designs executed with unfailing skill. It is generally understood that the firm reserved the use of its oval stamp showing a binder at work (seen here) for their finest bindings, including those entered in exhibitions.
