modern calligrapher (7 risultati)

Condizione: Fine. The book is in fine condition.

Condizione: Fine. The book is in fine condition.

307 x 215 mm. (12 x 8 1/2"). 40 pp., [1] leaf (colophon). DAZZLING CRIMSON CRUSHED MOROCCO, GILT, INLAID, AND BEJEWELLED, BY SANGORSKI & SUTCLIFFE (stamp-signed on rear turn-in), covers with inlaid light blue morocco border, blue Celtic knot strapwork at middle of each side and at corners, those on upper cover with a ruby or sapphire at center, those on lower cover with a circle of red or blue morocco at center, cornerpieces connected by a graceful loop to the blue morocco strip framing the central oval panel, the spaces between the strapwork ornaments and the inner and outer frames filled with pointillé gilt compartments tooled with gilt vines bearing inlaid white morocco flowers (upper cover) or purple morocco thistles (lower cover), a recessed medallion of green morocco at center of upper cover set WITH BURNS' INITIALS IN METAL ENCRUSTED WITH 80 JEWELS (40 CABOCHON RUBIES AND 40 CABOCHON SAPPHIRES) of varying sizes, central oval panel on lower cover with gilt lyre at center within a laurel wreath, surrounded by swirling branches of inlaid white morocco roses; raised bands, spine compartments with inlaid green and white morocco thistle at center, enclosed by light blue strapwork, the pointillé gilt background with inlaid white morocco flowers at corners, CERULEAN BLUE MOROCCO DOUBLURES AND ENDLEAVES, the front doublure inlaid at center with Burns' personal seal of a tan and white morocco woodlark perched on a branch of bay leaves bearing red berries, a red morocco banner below the bird lettered in gilt "Woodnotes Wild," corners of doublures with three inlaid pink morocco roses and a gilt thistle, free endleaves with gilt borders, all edges gilt on the rough. In a velvet-lined navy blue morocco case by Sangorski & Sutcliffe. EXTRAVAGANTLY ILLUMINATED THROUGHOUT: title page with large decorative initial and full illuminated border of thistles and acanthus leaves enclosing title and the royal arms in Scotland, frontispiece portrait of Burns (signed with Sangorski's cipher and dated 1931) within a laurel wreath surrounded by a frame of thistles on a textured gold ground, large illuminated initials on almost every page, WITH 16 MINIATURES, EIGHT OF THEM FULL-PAGE WITHIN FULL BORDERS, nine other full borders, seven panel borders, one three-quarter border (six of the borders inhabited by a faun, various birds, a squirrel, or a lizard, the borders all with varying types of foliage in shades of blue, purple, and green with backgrounds of burnished or incised gold, the border for "Rosy Brier" containing many pink roses), all protected by the original ivory silk guards. Ratcliffe, "Alberto Sangorski Bibliography" (2015) and "Hidden Treasures" (2008) MWE 61; "The History of the Book: The Cornelius J. Hauck Collection," Christie's, 27 June 2006, lot 669 (this copy). Very minor fraying to some of the silk guards, but essentially unblemished--A LOVELY COPY IN A SPARKLING BINDING. Done during the mature years of Alberto Sangorski's career, this lavishly illustrated and illuminated manuscript reunited the artist with his late brother's bindery, restoring a working partnership after 20 years of estrangement. 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, Sangorski & Sutcliffe. Sometime around 1910, Alberto and Francis had a falling out, and the artist went to work for Riviere, the chief competitor to his brother's firm. Francis drowned in 1912, while the brothers were still estranged; in "Cinderella of the Arts," a history of Sangorski & Sutcliffe, Rob Shepherd notes that Alberto apparently did not speak to George Sutcliffe again until 1930. The men must have reconciled sometime that year, because at least four of the six works Alberto created in 1931-32 (per Stephen Ratcliffe's checklist) were bound by Sangorski & Sutcliffe. The jewelled binding George's firm created for this manuscript hearkens back to the pre-WWI glory days when an intense rivalry between Riviere and Sangorski developed, and the two began putting out intricately decorated bindings described by Nixon as having as their main aim the putting of "so much gold and color on the cover that the hue of the original leather could no longer be determined." In "Hidden Treasures: Jewelled Bookbindings and Illuminated Manuscripts in England, 1900-1939," Ratcliffe notes that this is "an exceptionally elaborate binding" for 1931; costs of materials and labor had skyrocketed in the decade before, while the Great Depression and American protectionist tariffs were shrinking the market for luxury books like this. It is truly one of the last great relics of an era that produced some of the loveliest manuscripts and bindings ever made. The contents here include the Burns poems "Tam O'Shanter," "Meg o' the Mill," "The Ploughman," "To Mary in Heaven," "The Sodger's [Soldier's] Return," "There was a Lass," "O Bonnie was Yon Rosy Brier," and a five-page life of the poet. The full page (or very large) miniatures include depictions of Tam on horseback riding through a thunderstorm, Tam dancing with pixies, Meg of the Mill, the return of the soldier, the lass and her farm, and Rosy Brier; the smaller miniatures include landscapes (mostly of the area around Burns' birthplace in Ayr), scenes from the poems, or portraits of their subjects. Like the binding, the manuscript is unusually flamboyant, with lavish borders and substantially more miniatures than is customary--as if Alberto knew the end of his career was nigh and wanted to go out with a flourish. This gem was once in the illustrious collection of Cincinnati businessman and philanthropist Cornelius J. Hauck (1893-1967); the sale of his library at Christie's in 2006 totaled more than $12.4 million (this lot--one of six Sangorski manuscripts in the sale--sold for $42,000, all in).

163 x 100 mm. (6 3/8 x 3 7/8"). [51] leaves. LOVELY LATE 19TH CENTURY TAN PEBBLE-GRAIN MOROCCO, GILT, by L. Curmer (stamp-signed in gilt on front turn-in), covers with a very pretty lacy border composed of several gilt rules and repeating gilt floral tools, center with two gilt coats of arms topped with a crown, raised bands, compartments with gilt double-rule border, scrolling designs, and central floral motif, densely gilt turn-ins, ivory watered silk pastedowns and endleaves, all edges gilt. Running titles and one-line initials in red, section titles in combinations of red, gold, and/or blue, 29 two-line initials in blue on burnished gold ground (but see below) and framed in red and gold, NINE THREE-LINE INITIALS in blue with white tracery on burnished gold ground with decorative tiling pattern defined in red and framed in red and gold, each page with thin red and gold frame, TWO LEAVES WITH A FULL DECORATIVE BORDER composed of burnished gold frames with decorative tiling in red, scrolling shapes in pink or blue with white tracery, lobed tapestries with white tracery, and garlands and cornucopias of roses (one of these frames enclosing titling at top with lower half left blank, the other enclosing blank space), NINE DECORATIVE CARTOUCHES with similar but more restrained decoration, each taking up about a third of the page and one with a rough watercolor sketch inside (the others blank), AND 11 BURNISHED GOLD TAILPIECES, measuring up to a half-page tall, each decorated differently with blue or pink frames, rose garlands, lobed tapestries, tassels, and, on the final tailpiece, a small bird in flight surrounded by red rays. Front free endpaper with ex-libris of "DC" (Dominique Courvoisier); first leaf with 19th century manuscript dedication by a professional hand, noting the marriage of August Vernin and Marie Desticker on 29 August 1899. See: Roger Portalis, "Nicolas Jarry et la calligraphie au XVIIe si cle,"' in Bulletin du Bibliophile (1897), pp. 423-30. ?About half of the 29 the plain blue initials with some chipping (four of these completely or almost completely lost), some of the larger initials with a little chipping, otherwise the manuscript in very fine condition--the burnished gold intact and sparkling, the paint very fresh, the paper clean and bright--and IN A BEAUTIFUL BINDING showing no signs of wear. This is a lovely little volume featuring a typically beautiful small-format calligraphic manuscript of Jean-Pierre Rousselet, a renowned calligrapher and painter whose patrons included Louis XIV and the Richelieu family. Every aspect of this work is a study in precision, from the meticulous roman lettering (which could be mistaken for letterpress), to the exquisite blue initials on glittering gold grounds, and especially to the delicate embellishments incorporated into the cartouches. Portalis praises Rousselet's calligraphy as well as his artistic talents, calling him "an excellent draughtsman" whose "works are remarkable for the richness of their ornamentation." A close follower of the preeminent 17th century calligrapher Nicolas Jarry (1620-70), Rousselet (ca. 1677-1736) did not sign this manuscript (and Portalis does not include this item among his list of 24 known manuscripts in his article on Rousselet), but there are a sufficient number of specimens of Rousselet's work to allow for a definitive comparison. (Other examples of Rousselet's work can be found at the Biblioth que Nationale, the Morgan Library, the Getty, and many other honored locations.) It is interesting to note that the present work seems to have been left in the midst of production: the frame facing the first leaf of text, where one would expect to find a full-page miniature, is left blank, as are most of the headpiece cartouches. One exception is the first headpiece, which has been roughly sketched and partially painted, but is obviously not complete. Portalis records another very similar example in his census, noting in its description: "This book is curious because it shows Rousselet's method of decoration, several of the miniatures not being finished." It is quite possible that Rousselet produced our copy "on spec," to be filled in later with the buyer's preferred decorative program; or perhaps the original patron simply ran out of money during production. Whatever the case may be, this unfinished manuscript provides fascinating insight into Rousselet's techniques and methods of work. Although there is no evidence of who the original owners may have been, we do know that in 1899 it was put into a very pretty gilt binding and given as a gift to a pair of newlyweds.

265 x 207 mm. (10 1/2 x 8 1/4"). 41, [3] (blank) pp., [1] leaf (colophon). RESPLENDENT IN DARK BLUE MOROCCO, RICHLY GILT AND ONLAID, BY RIVIERE & SON (stamp-signed on front doublure), covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries, bordered by strips of green and tan morocco, central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details, this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves, central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center, a black and red witch's hat above the horseshoe, and the whole on a very densely stippled gilt ground, incised with calligraphic curls and set with nine silver stars around the cat, this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies, raised bands, spine compartments framed with tan morocco, and containing a gilt and onlaid floral sprig, TAN MOROCCO DOUBLURES bordered by a strip of purple morocco, this with onlaid green morocco frame adorned with gilt latticework, densely stippled gilt cornerpieces set with purple morocco passionflowers, all accented with inlaid circles of purple, navy, and green in varying sizes, leather hinges, apricot watered silk endleaves, all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red, blue, or burnished gold, three three-line illuminated initials, 11 five- to six-line initials in shades of purple, blue, and green, with highlights of pink and burnished gold, two of these with extensions running the length of the text and two incorporated into full borders, four very large initials (12 lines or more) in colors and gold, five full borders, that on title page incorporating a small oval miniature of Whittier, and TWO FULL-PAGE MINIATURES, one of a young nun at prayer, the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed, written out, and illuminated by Alberto Sangorski for Messrs. R. Rivi?re & Son, Bookbinders & Booksellers to his Majesty King George V. London. This manuscript will not be duplicated. This manuscript was executed by me." From the collection of Phoebe A. D. Boyle (her sale at Anderson Galleries, 19-20 November 1923, lot 368). Front flyleaf with engraved bookplate of comic book pioneer M. C. Gaines (1894-1947); typed description from "Kolb Collection" (Louis Kolb?) laid in. Ratcliffe, "Albert Sangorski Bibliography" SJR 245. Vellum a bit wavy (as is typical), but A BEAUTIFUL COPY, the leaves creamy and bright, being painted with rich colors and glittering gold, and IN A FLAWLESS BINDING. This is an outstanding example of the artistry of Alberto Sangorski and that of the binders, gilders, and finishers of Riviere & Son, the volume being executed at the zenith of their creative powers, and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr," inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter," set in Puritan New England; and "Memories," a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues, purples, and greens brightened with burnished gold, Sangorski has created two full-page paintings, one of the beautiful young nun at prayer, the other of youthful sweethearts strolling arm-in-arm through a wood. Alberto Sangorski (1862-1932) started his professional life as secretary to a goldsmith's firm, became attracted to the book arts at the age of 43, and began doing illuminated manuscripts that were then bound by his brother Francis' firm, Sangorski & Sutcliffe. Sometime around 1910, Alberto and Francis had a falling out, and the artist went to work for Riviere, the chief competitor to his brother's firm. Like the manuscript here, our binding by Riviere is the work of many months, with hundreds of individual inlays, onlays, and applications of gilt. Robert Riviere began as a bookseller and binder in Bath in 1829, then set up shop as a binder in London in 1840; in 1881, he took his grandson Percival Calkin into partnership, at which time the firm became known as Riviere & Son, and the bindery continued to do business until 1939. New York collector Phoebe A. D. Boyle was the widow of a canvas manufacturer who had made a fortune providing tents to the U.S. Army in the Civil War. George Sutcliffe described this important client as "rivalling the Medici in her patronage of the production of beautiful books." Stephen Ratcliffe deems the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts; 33 of Alberto Sangorski's creations appeared in her sale at Anderson Galleries in 1923, and during World War I, she was one of the only customers for extravagant productions like the present item. 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.

Albumblatt (1 S. kl. 8 to), mit E.ORIGINAL-ZEICHNUNG, eigenhändiger Unterschrift signiert (Teheran 1972) - RARE ! (autograph album page signed in person by iranian painter, PROVENIENZ : aus Reisealbum / from autograph album of world traveller ROLF ITALIAANDER (1913-91, Professor Dr., deutscher Schriftsteller und Völkerkundler / german writer and folklorist ).

Albumblatt (1 S. kl. 8 to), mit E.ORIGINAL-ZEICHNUNG, eigenhändiger Unterschrift signiert (Teheran 1972) - RARE ! (autograph album page signed in person by iranian painter, PROVENIENZ : aus Reisealbum / from autograph album of world traveller ROLF ITALIAANDER (1913-91, Professor Dr., deutscher Schriftsteller und Völkerkundler / german writer and folklorist ).