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  • Immagine del venditore per Faerie Queene. Pictured and decorated by Louis Fairfax-Muckley. venduto da Peter Harrington.  ABA/ ILAB.

    CHIVERS BINDING - SPENSER, Edmund.

    Editore: London: J. M. Dent & Co., 1897, 1897

    Da: Peter Harrington. ABA/ ILAB., London, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    Prima edizione

    EUR 14.954,74

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    First Fairfax Muckley edition, one of 100 large paper copies in three volumes rather than two, this one of an unspecified but very small number of copies bound by Cedric Chivers after a design by L. Fairfax Muckley, and a splendid example of Chivers's pioneering "vellucent" bindings, superbly executed. Patented in 1898, Chivers's "vellucent" bindings departed from traditional methods of creating hand-painted vellum bindings. The usual approach was to merely bind a book in vellum and then paint on a design, but this is prone to rubbing and flaking and such examples are often now found chipped and deteriorated. In the 18th century Chivers's great predecessor, Edwards of Halifax, painted in reverse on the underside of translucent vellum, thereby providing a layer of protection for the design. His technique was not widely copied and almost vanished with his death, and it was not until the 1890s that Chivers developed his own similar method for protecting the design underneath the vellum itself - the backing sheet of the vellum was painted, which was then covered in vellum which had been shaved to transparency. The vellum was then tooled in gilt, on occasion incorporating additional mother-of-pearl and onlays. The books which Chivers thus bound have always been a favourite of collectors, and usually still present well, the vellum having served its purpose of protecting the design for many decades, as Chivers intended. The example here is a vibrant specimen of the method, executed early in his career. As usual, the design is based around the plot, themes, and essence of the book in question. The front covers have a broad decorative border incorporating heraldic devices, the centre panel depicting a knight in armour, mounted and in flight, leading a horse upon which a woman is mounted; the rear covers with a circular centrepiece depicting a dragon in a fury; the spines depict a woman in Grecian dress, holding aloft a smoking incense burner. In this case, and unusually for Chivers (and indeed for any binder), the cover designs were cut in wood and printed onto the covers, and then afterwards coloured in by hand. In so doing, Chivers ensured a uniformity of the intrinsic design between the covers, then providing variation with a different colour scheme on each of the covers. The edition which Chivers used is that of J. M. Dent, a particularly attractive production. Adopting the influences of the arts and crafts and the private press movements - especially that of the Kelmscott Press - the book incorporates full-page woodcuts in duplicate in red and black with tissue-guards, and ornate woodcut initials, head- and tailpieces, ornaments and borders throughout. This is one of 100 large-paper copies on handmade paper, with a further trade issue of 1,250 ordinary copies. The number of copies that Chivers bound is not stated, but no more than a handful of examples could be traced in auction records, and these few and far between. 3 volumes, quarto. Original vellum by Cedric Chivers of Bath, hand-painted with design following the story and its themes, then richly enhanced with gilt tooling, turn-ins with wavy gilt roll, floral printed endpapers, top edges gilt, others uncut, vol. III partially unopened. Housed in a dark green cloth flat-back box by the Chelsea Bindery. With woodcut illustrations throughout, printed in red and in black. Leaf from a near-contemporary art catalogue loosely inserted in vol. II and vol. III. Book blocks square and firm, vellum bright and sharp, with just occasional spots of discolouration, light foxing and sporadic offsetting to contents, endpapers foxed, small instances of loss to tissue guard in vol. I, overall a beautiful copy in very good condition indeed.

  • Immagine del venditore per Morte Darthur. The Birth, Life and Acts of King Arthur of his noble knights of the round table, their marvellous enquests and adventures, the achieving of the San Greal and in the end Le Morte Darthur, with the dolorous death and departing out of this world of them all. The text as written by Sir Thomas Malory and imprinted by William Caxton. now spelled in modern style. With an introduction by Professor Rhys and embellished with many original designs by Aubrey Beardsley. venduto da Peter Harrington.  ABA/ ILAB.

    First Beardsley edition, one of 1,500 copies on ordinary paper; another 300 were printed on Dutch handmade paper. This copy in a bright and spectacular example of a "vellucent" binding, by Cedric Chivers of Bath, unsigned but a characteristic example of this style. Chivers 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 this translucent vellum would be laid over it; gilt tooling would then be applied over the top of this. 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). "Commissioned by British publisher J. M. Dent in 1892 and 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. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. 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" (Lupack, chapter 4). This is a masterpiece of book illustration in a striking binding. Ray, The Illustrator and the Book in England from 1790-1914, 314. Barbara Tepa Lupack, Illustrating Camelot, D. S. Brewer, 2008. 2 volumes, large square octavo (250 x 214 mm). Contemporary full vellum over bevelled boards by Cedric Chivers of Bath for Bumpus of London, 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 (volume I) and tulips and tulip leaves (volume II), sides with two-line gilt border enclosing a frame of hand-painted intertwining roses and rose leaves (volume I) and intertwining tulips and tulip leaves (volume II), 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, top edges gilt, others untrimmed, partially uncut, gilt turn-ins, marbled endpapers. Gravure frontispieces, 18 full page wood engravings (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Front joint of Vol. 2 superficially cracked but firm, short cracks to both spine heads, dampstains to joints and lower extremities, a touch of rubbing to the front of Vol. 1, vellum a little soiled but still bright and handsome, a touch of occasional foxing to contents and some light offsetting from frontispieces, else internally clean. A very good set, bright and fresh.

  • Immagine del venditore per Works. 100 volumes in signed full morocco by Cedric Chivers. venduto da J & J House Booksellers, ABAA

    Scott, Sir Walter.

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

    Da: J & J House Booksellers, ABAA, Kennett Square, PA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 5 stelle

    Libro

    EUR 9.812,41

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    Hardcover. Condizione: 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.

  • Immagine del venditore per Midsummer Night's Dream, A. venduto da David Brass Rare Books, Inc.

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

    Editore: London: J.M. Dent & Co., 1895, 1895

    Da: David Brass Rare Books, Inc., Calabasas, CA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 3 stelle

    EUR 9.321,79

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    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 C.

  • Immagine del venditore per Marie Antoinette venduto da David Brass Rare Books, Inc.

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

    Editore: London: Arthur L. Humphreys, 1905, 1905

    Da: David Brass Rare Books, Inc., Calabasas, CA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 3 stelle

    EUR 6.378,06

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    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.

  • Immagine del venditore per The Imitation of Christ venduto da Rooke Books PBFA

    Thomas A Kempis; Cedric Chivers

    Editore: Chatto and Windus, London, 1908

    Da: Rooke Books PBFA, Bath, Regno Unito
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    Membro dell'associazione: PBFA

    Valutazione venditore: 5 stelle

    EUR 5.742,62

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    Vellum. Condizione: Fine. W Russell Flint (illustratore). 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.

  • Immagine del venditore per BLANK VISITORS' BOOK venduto da Phillip J. Pirages Rare Books (ABAA)

    Editore: [England, 1898

    Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 5 stelle

    EUR 5.102,45

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    240 x 188 mm. (9 1/2 x 7 1/2"). [72] blank leaves. REMARKABLY BEAUTIFUL SCULPTED CALF, STRIKINGLY GILT, BOUND BY MARY ANN BASSETT OF THE GUILD OF WOMEN BINDERS, covers with delicate floral gilt border at edges and central panel formed by two gilt rules, the panel of the back cover blank, the panel of THE FRONT COVER WITH FINELY SHAPED DECORATION, INCLUDING THREE LARGE TULIPS ENCLOSED BY GRACEFUL FOLIAGE, and, in the corners, a number of small charming cinquefoil blossoms, THE PANEL SCENE DRAMATICALLY DEFINED BY A BRILLIANT BACKGROUND OF GILT POINTILLÉ AND EMPHASIZED BY THE EXQUISITE MODELLING OF THE CALF, simply ruled smooth spine with blind-tooled "L" and a falcon perching on a branch at foot, turn-ins with multiple plain and decorative gilt rules and fleurons at corners, all edges gilt and gauffered in a very appealing diapered pattern. Housed in a fine new custom clamshell box backed with tan morocco. Verso of front free endpaper WITH THE BOOKPLATE OF LÉON GRUEL; pencilled note on front pastedown asserting that this is a "Replica of the Book purchased by H. R. H. the Prince of Wales." Skillfully applied narrow one-inch patch at top of front joint, otherwise IN VERY FINE CONDITION, with only trivial imperfections. Reminiscent of Dutch Master flower paintings, the abundant sculpted bouquet here is brought into sharp relief by its glittering gilded background, the whole design being a very successful and pleasing creation of Mary Ann Bassett, a major figure in the Guild of Women Binders. The Guild was established in 1898 by Frank Karslake to provide an organizational identity to a group of women already at work binding books in various parts of Britain, often in their own homes. With a showroom at 61 Charing Cross Road in London, the Guild was closely associated with the Hampstead Bindery, the two groups exhibiting bindings together at the Paris Exhibition in 1900 and elsewhere. Bassett was clearly a star in the Guild's firmament of binders: in the catalogue of the second exhibition of the work of the Guild (held at the Charing Cross Road premises from 1 December 1898 to 31 January 1899), nine bindings by Bassett, including the present item, are featured (there are four by Miss M. Sophia Smith, and the other bindings are listed generically, rather than by their creators). Among the pupils Bassett trained was Alice Shepherd, whose work for Cedric Chivers in Bath is well known. The present binding was exhibited in June and July of 1898 at "L'Exposition de Reliures d'Art Modernes Exécutées en Angleterre," held at Boussod, Manzi, Joyant, et Cie at 24 Boulevard des Capucines in Paris. The provenance of this volume could scarcely be more notable or appropriate. Prideaux says that the Gruel firm of bookbinders, founded in 1811, "has always had the highest reputation . . . for initiative in artistic matters, as well as for irreproachable execution in the detail of its many-sided achievements." The business was managed by several family members over the years, and the list of binders who trained at the Gruel atelier is the most distinguished in Europe. Léon Gruel (1841-1923), who took over the firm in 1891, was the single most famous person associated with this bindery. He amassed a very fine collection of early bindings, which formed the basis for his widely used "Manuel Historique et Bibliographique de l'Amateur de Reliure" (1887), and at the same time that he was an authority on binding history, he was at the forefront in the movement pressing for the acceptance of revolutionary ideas in the decoration of modern bindings.

  • Immagine del venditore per The Book Of Common Prayer And Administration Of The Sacraments And Other Rites And Ceremonies Of The Church According to the Use Of The Church of England; Together With The Psalter Or Psalms Of David Pointed As They Are To Be Sung Or Said In Churches; And The Form And Manner Of Making, Ordaining, And Consecrating Of Bishops, Priests And Deacons [Small Pica 2mo - Later Edition Full Vellum Vellucent Binding Chivers Style Binding] venduto da Louis88Books (Members of the PBFA)

    Hardcover. Condizione: Very Good. Oxford: at the University Press, London: Humphrey Milford, Not Dated, Later Edition. Beautiful and elaborate vellucent binding (hand painted to the vellum and covered with a thin layer of vellum to seal the image) undoubtedly by Cedric Chivers of Bath, but unsigned, with an angel to the covers, painted and gilt decorated. The front paste down is dedicated to Jaqueline Margaret Ingham Stokes June 6th 1933 . In its own slipcase. Approximately 6 inches tall. Condition Report Externally Spine very good condition vellucent painting of an angel. Joints very good condition. Corners very good condition. Boards very good condition with the wings of the angel to both boards and the title Common Prayer to the front board. Page edges very good condition all gilt. See above and photos. Internally Hinges very good condition very tight and sound, possibly never used. Paste downs very good condition both paste downs with vellum turn-ins decorated in gilt line, both with a gilt lined panel, front paste down with the dedication. End papers good condition plain thicker card. Title good condition. Pages good condition clean. Binding very good condition. See photos. Publisher: see above. Publication Date: Not Dated Binding: Hardback.

  • Immagine del venditore per The Book of Common Prayer And Administration of the Sacraments And Other Rites and Ceremonies of the Church According to the Use of The Church of England [Beautiful Cedric Chivers of Bath Binding in the Style of Alice Shepherd] venduto da Louis88Books (Members of the PBFA)

    Hardcover. Condizione: 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.

  • Immagine del venditore per The Book of Common Prayer, and administration of sacraments, and other rites and ceremonies of the church according to the use of the Church of England, together with the psalter or psalms of David, pointed as they are to be sung or said in churches; and the form and manner of making, ordaining, and consecrating of bishops, priests, and deacons. venduto da Peter Harrington.  ABA/ ILAB.

    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.

  • Immagine del venditore per [Binding, Fine- Chivers] Happy England venduto da Nudelman Rare Books

    Allingham, Marjorie

    Editore: Adam and Charles Black, London, 1903

    Da: Nudelman Rare Books, Seattle, WA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 5 stelle

    Copia autografata

    EUR 3.777,78

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    4to. Superbly bound by Cedric Chivers (signed in gilt pallet rear dentelle, "Cedric Chivers Bath) in full crushed brown morocco, with tan morocco heart onlays, and with a magnificent vellucent landscape capturing a running brook, in watercolor, with part of the brook inlaid in mother of pearl to give it a reflective quality, on the upper section of the cover; and below that an attractive vellucent design with inlaid red dots and tilt stippling containing a ribbon and wreath patterning in watercolor, with title and author. Spine with heart onlays and superb Nouveau style gilt patterning; gilt dentelles with tulips at both corners. Spine slightly sunned, very slight foxing, a near fine example of one a very attractive Chivers binding. LIMITED EDITION DELUXE, signed by Allingham, with 81 color plates by Allingham and other artists of the day. Text descriptions and memoir by Marcus B. Huish. Helen Allingham (1848-1926) was an acclaimed British watercolorist who married, William Allingham, the Irish poet and editor who became closely associated with the Pre-Raphaelites.

  • Immagine del venditore per Days and Hours in a Garden venduto da Rare Illustrated Books

    [BOYLE], Eleanor Vere ] E.V.B.

    Editore: Elliot Stock, London, 1898

    Da: Rare Illustrated Books, Potts Point, Sydney, NSW, Australia
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    Valutazione venditore: 5 stelle

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    EUR 3.454,72

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    A superb example of a vellucent binding. Cedric Chivers (1853 -1929) of Bath revived the technique of painting under vellum. Chivers would execute his paintings on paper which was covered with a translucent skin to form the binding, The covers were then lightly tooled with gold. It is rare to find such a finely preserved fine binding. Signed by Chivers. In 'Days and Hours in a Garden', 19th century Scotish artist and writier, Eleanor Vere Boyle (1825 -1916) takes us through the months of the year, the cherry blossoms, the rooks, the wild ivy etc. etc., reminiscent of a modest walled-garden 'Walden' by Thoreau. VIII MAY "There have been just one or two sweet days, when the white Cherry orchards shone softly against the sky of serenest blue; days when we did not but revel in the joyous present, forgetting quite that ever it could be that "rough winds do shake the darling buds of May" Octavo, vellucent binding, top edge gilt, frontispiece, small woodcut illustrations throughout, 210 pages, a fine copy in beautiful original condition housed in a custom box with leather bands and gilt titling.

  • Eleanor Vere Gordan Boyle

    Editore: Elliot Stock, London, 1898

    Da: VANESSA PARKER RARE BOOKS, Westport, MAYO, Irlanda
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    Membro dell'associazione: IOBA

    Valutazione venditore: 1 stella

    Libro

    EUR 3.450,00

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    Vellum. Condizione: Near Fine. illustrated (illustratore). A fabulous rare vellucent binding By Cedric Chivers of Bath. This is the tenth edition of Days and Hours in a Garden the front cover has an art neuvou painting of young woman in a garden by Dorothy Vere Gordan Boyle, the picture is surounded by a beautiful frame and pink flowers between gilt ruling, title on spine running along it with more flowers and gilding, rear board with double gilt ruling and a frame of leaves around a beautiful sun dial. Internal pastedowns are ruled in gilt with gold flowers in the corners around mottled papers , binders name in gilt Cedric Chivers Bath on rear pastedown gilt top edge 210 rough cut pages.

  • Immagine del venditore per Essays of Elia, The venduto da David Brass Rare Books, Inc.

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

    Editore: London: J.M. Dent & Co, 1900, 1900

    Da: David Brass Rare Books, Inc., Calabasas, CA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 3 stelle

    EUR 3.434,34

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    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 favor.

  • Immagine del venditore per CHILD CHRISTOPHER AND GOLDILIND THE FAIR venduto da LUCIUS BOOKS (ABA, ILAB, PBFA)

    MORRIS, William; CHIVERS, Cedric

    Editore: Hammersmith: Kelmscott Press., 1895

    Da: LUCIUS BOOKS (ABA, ILAB, PBFA), York, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    Prima edizione

    EUR 3.290,04

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    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.

  • Immagine del venditore per The Vicar of Wakefield. with Twenty-five Colored Illustrations by C.E. Brock venduto da Michael R. Thompson Books, A.B.A.A.

    {Chivers, Cedric, binder.] Goldsmith, Oliver.

    Editore: London: J.M. Dent, 1904., 1904

    Da: Michael R. Thompson Books, A.B.A.A., Los Angeles, CA, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 1 stella

    EUR 2.943,72

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    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.

  • Immagine del venditore per OUR LADY OF THE BEECHES venduto da Phillip J. Pirages Rare Books (ABAA)

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

    Editore: William Heinemann, London, 1907

    Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 5 stelle

    EUR 2.806,35

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    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.

  • Immagine del venditore per Our Village. venduto da McConnell Fine Books   ABA & ILAB

    MITFORD, Mary Russell

    Editore: London: Dent & Co., 1904

    Da: McConnell Fine Books ABA & ILAB, Deal, KENT, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    EUR 2.679,89

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    Hardcover. Condizione: Fine. Full vellum, 8 inches tall. One of Cedric Chivers of Bath's celebrated translucent vellum bindings in excellent condition. Particularly suited to this idyllic work, the binding has an image of the village with a mother of pearl frame within a delightful border and floral designs with red calf onlays. The title and design on the spine are also hand coloured under the vellum. The stamp of Cedric Chivers in gilt, is found on the rear turn in. Decorated with 25 colour plates by Charles E. Brock. The binding is in excellent condition with no warping having been housed in it's original, now slightly frayed, felt lined cloth case. There is some foxing, particularly to the first few pages and to the verso of the plates. The vellum itself is very slightly spotted but this is still an exceptionally nice example of this style of binding.

  • Immagine del venditore per The Romish Ecclesiastical History of Late Years. venduto da John Price Antiquarian Books, ABA, ILAB

    STEELE (Richard)

    Editore: London: Printed for J. Roberts near the Oxford-Arms in Warwick-Lane, 1714

    Da: John Price Antiquarian Books, ABA, ILAB, LONDON, Regno Unito
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    Membro dell'associazione: ABA ILAB

    Valutazione venditore: 4 stelle

    Prima edizione

    EUR 2.632,03

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    FIRST EDITION. 12mo, 170 x 116 mms.,pp. [xiv], xii, vi, 167 [168 Errata], engraved frontispiece, contemporary calf, skilfully rebacked, with sympathetic matching calf, gilt title on spine; first two end-papers frayed at edges, corners worn. As ESTC notes, "Pp. 79-80 (F8) were intended to be cancelled; the text of these pages is the same as pp. 81-82." This is an extremely rare example of a book owned by Jonathan Swift's close friend Lady Elizabeth Germain (1680-1769) in which she not only affixed her bookplate but also had her initials embossed in gilt on both covers. All books from her library are rare, but it seems most especially rare to find the double provenance markings of her bookplate plus her initials in gilt. Lady Elizabeth Germain is the "Lady Betty" of Swift's Journal to Stella. A courtier, Lady Elizabeth Germain was a lady-in-waiting to Queen Anne prior to her marriage. She was a prominent collector of art, including china, as well as gems (Oxford DNB). In his book The Love of Fame, Edward Young dedicated the long section "On Women" to Germain. The item on offer, a copy of Steele's Romish Ecclesiastical History (1714) from Germain's shelves, is that much more interesting since Richard Steele himself was of course a friend and ally of Jonathan Swift's (although they eventually had a falling out). Where are the currently known remnants of Lady Elizabeth Germain's library? They are few and far between. The ESTC finds five volumes of work by Madeleine de Scudéry, in English translation, once owned by Germain, all held by the University of Virginia at Charlottesville, and then finds only four other books: a copy of Holinshed's Chronicles (1587), held by the Igoe Library Foundation, Charleston, South Carolina; a copy of Daniel Defoe's Col. Jack (1723), held by Yale; a copy of Cervantes's Travels of Persiles and Sigismunda (1619), held by the Folger; and lastly a copy of Thucydides from 1550, held by Wadham College in Oxford. Searching beyond the ESTC, one finds another example in Oxbridge. The Library of St. John's College, Cambridge, has Germain's copy of The Lives of All the Lords Chancellors, Lords Keepers, and Lords Commissioners, of the Great Seal of England (1708), with her bookplate, which they illustrate on their website, although no mention is made of gilt initials (). One additional exemplum is in London. The copy once owned by Lady Elizabeth Germain of Eliza Haywood's Love-Letters on All Occasions (1730), is held by the British Library (shelfmark 1086.f.27), and it has Germain's bookplate. The volume lacks, however, gilt initials, although whether they were at some point present on the volume is not known to me. The Haywood work is currently clad in a modern binding, fashioned by Cedric Chivers of Bath in 1986, according to a note on the back pastedown. Notably, in terms of content, none of the books that I have located from the shelves of Lady Elizabeth Germain's library has as close a connection to Jonathan Swift as the present one, Romish Ecclesiastical History (1714) by his friend Steele. ESTC T146635. Franks 11794. See also Norna Labouchere, Ladies' Book-Plates (1895), p. 60.

  • Immagine del venditore per A CHANNEL PASSAGE AND OTHER POEMS venduto da Phillip J. Pirages Rare Books (ABAA)

    (BINDINGS - CHIVERS). SWINBURNE, ALGERNON CHARLES

    Editore: Chatto & Windus, London, 1904

    Da: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, U.S.A.
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    Membro dell'associazione: ABAA ILAB

    Valutazione venditore: 5 stelle

    EUR 2.551,23

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    Second Edition. 185 x 123mm. (7 1/4 x 5"). ix, [1], 213, [1] pp., [1] leaf. A VERY PLEASING VELLUCENT BINDING BY CEDRIC CHIVERS (signed on rear turn-in), front cover and smooth spine painted in an Art Nouveau style featuring twining vines, center panel of front cover with painted gilt-strung lyre at bottom and round mother-of-pearl inlay within a wreath at top, doublures of glazed vellum enclosed by a paper frame, all edges gilt. Printer's device on final leaf. Binding with a touch of soil, spine just a shade darker than the covers, a few very minor spots internally, otherwise a fine, virtually unworn copy. This is a charming example of Chivers' "vellucent" bindings, a painting-under-vellum technique inspired by Cyril Davenport's lecture on the 18th century painted vellum bindings of Edwards of Halifax, given at the Paris Exhibition of 1878. On returning to England after his life-changing visit to the exposition, Chivers (1853-1929) established binding premises in his native Bath and began producing his own work in the Edwards tradition, calling his new style "vellucent" as its chief component was translucent vellum. After rendering vellum nearly transparent, Chivers placed it over paper on which a design had been painted, thus protecting the surface of the paper and the artwork 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 inlay provides the illusion of a mirror that might reflect the reader of the volume. The title poem here was inspired by another trip to France: in 1855, Swinburne (1837-1909) made his first trip abroad with his uncle. As they were crossing the English Channel, a violent storm thrilled the young poet with its awe-inspiring display of lightning and thunder. It was an unforgettable experience that stuck with Swinburne all his life--the poem recalling that crossing was written 40 years after the event, just five years before his death.

  • Immagine del venditore per The Essays of Elia; [together with:] The Last Essays of Elia. With an introduction by Augustine Birrell and illustrations by Charles E. Brock. venduto da Peter Harrington.  ABA/ ILAB.

    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.

  • Immagine del venditore per POEMS OF SENTIMENT venduto da Jonkers Rare Books

    [CHIVERS, Cedric]; WILCOX, Ella Wheeler

    Editore: Gay and Hancock, 1909

    Da: Jonkers Rare Books, Henley on Thames, OXON, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    EUR 2.392,76

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    A fine vellucent binding by Cedric Chivers of Bath. 8vo (binding dimensions 17x11cm; page dimensions 16.5x10cm). Double gilt rules to upper cover, enclosing a painted floral design on a green background, calligraphic titles, inlaid mother of pearl hearts, and small gilt dots. Double gilt rules to spine, two inlaid mother of pearl hearts, painted design, and calligraphic titles. Double gilt rules to lower cover, with a painted thistle in the centre, and an inlaid mother of pearl heart above it. Gilt turn-ins, the rear turn-in signed "Cedric Chivers Bath". Top edge gilt. A near fine example, the binding very well preserved indeed. The contents rather foxed. Bookplate of one Cecil Francis Milsom to front pastedown, gift inscription to front free endpaper. A well-preserved Cedric Chivers vellucent binding of a most attractive design. Chivers's technique reintroduced the style of painted vellum bindings produced by Edwards of Halifax in the 18th century, but rather than have his artists paint directly onto the vellum, they would paint on paper under a transparent layer of vellum. This preserved the design, and allowed "mother of pearl and other exotic materials [to be] added as highlights under the vellum", as in the present example (Tidcombe). The gold tooling, so deftly employed here, would then be added to the surface of the vellum.

  • Immagine del venditore per The Vicar of Wakefield By Oliver Goldsmith With a Preface by Austin Dobson And Illustrations by Hugh Thomson [Vellucent (Painted Vellum) Binding by Cedric Chivers   Reprint Edition] venduto da Louis88Books (Members of the PBFA)

    EUR 2.273,12

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    Hardcover. Condizione: 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.

  • (O Brian). Cunningham, A.E. (Editor).

    Editore: The British Library, 1994

    Da: Francis Edwards ABA ILAB, Hay on Wye, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    Prima edizione Copia autografata

    EUR 1.645,02

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    1st Ed. 175pp. + [i]. Colour port. frontis., 8 ills., 4 poems, text devices. Marbled e.ps., bound by Cedric Chivers in blue crushed morocco with blue cloth boards, gilt lettered green patch label to spine, a.e.g., enclosed in matching blue slipcase with colour pictorial title laid down to side of case. No. 28 of a Limited Edition of 50 Copies signed by Patrick O Brian.Published in April 1994 in a printing of 1,300 copies of which 1,000 copies comprised the trade edition, 250 copies the collectors edition; and 50 copies the limited edition, bound by Cedric Chivers of Bath. US$1636.

  • Immagine del venditore per CRANFORD. With a preface by Anne Thackeray Ritchie. venduto da Paul Foster. - ABA & PBFA Member.

    GASKELL. MRS. ; THOMSON. HUGH. Illustrates.

    Editore: Macmillan and Co. London. 1891, 1891

    Da: Paul Foster. - ABA & PBFA Member., London, Regno Unito
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    Membro dell'associazione: ABA ILAB PBFA

    Valutazione venditore: 5 stelle

    Libro

    EUR 1.495,47

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    Hardcover. Condizione: 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.

  • Immagine del venditore per A Treatise on the Maritime Laws of Rhodes [Bound With] An Historical. venduto da The Lawbook Exchange, Ltd., ABAA  ILAB

    Schomberg, Alexander Croucher

    Data di pubblicazione: 1786

    Da: The Lawbook Exchange, Ltd., ABAA ILAB, Clark, NJ, U.S.A.
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    Membro dell'associazione: ABAA ESA ILAB

    Valutazione venditore: 4 stelle

    Prima edizione

    EUR 9,05 Spese di spedizione

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    2 titles in 1. (illustratore). 2 titles in 1. Studies of Rhodian and Roman Law by a Notable Oxford Poet-Scholar Schomberg, Alexander Croucher [1756-1792]. A Treatise on the Maritime Laws of Rhodes. Oxford: Sold by D. Prince and J. Cooke. J.F. And C. Rivington, P. Elmsly, And T. Payne and Son, London, 1786. 109, [3] pp. [Bound with] Schomberg, Alexander Croucher. An Historical and Chronological View of Roman Law. With Notes and Illustrations. Oxford: Printed for D. Prince And J. Cooke. Sold by J.F. And C. Rivington, P. Elmsly, And T. Payne and Son, London, 1785. [viii], 204, [4] pp. Octavo (7-1/2" x 4-1/2"). Nineteenth-century morocco by Cedric Chivers of Bath, blind rules to boards, raised bands, gilt fillets and lettering piece to spine, "1786" and "Schomberg" gilt-stamped to foot, edges rouged, marbled endpapers. Moderate rubbing to extremities, front joint just starting at ends, front hinge starting, armorial bookplate to front pastedown. Moderate toning, light foxing in a few places, owner signature, "Arthur Schomberg/ Send, Wilts/ 1895," to verso of front free endpaper, small embossed Chivers stamp to following endleaf. $850. * First editions. Schomberg, a fellow of Magdalen College, Oxford, was a notable poet and scholar of law and political economy. Our volume, which was probably compiled by a relative, contains his two principal works on legal history. The study of Roman law was a well-received work that had two editions in French published in Paris in 1793 and 1808. The study of the maritime laws of Rhodes is scarce. OCLC locates 15 copies, 6 in North America, 3 in law libraries (Harvard, Library of Congress, Social Law). It was reprinted in John R. McCulloch, Ed., A Select Collection of Scarce and Valuable Economic Tracts (1859). English Short-Title Catalogue T116248, T146944.

  • Desborough, Lord (Edited by A.C.M. Croome.)

    Editore: Walter Southwood & Co., London

    Da: Burton Lysecki Books, ABAC/ILAB, Winnipeg, MB, Canada
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    Membro dell'associazione: ABAC ILAB

    Valutazione venditore: 5 stelle

    Copia autografata

    EUR 15,72 Spese di spedizione

    Da: Canada a: U.S.A.

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    1913. (Folio) Near fine. 332, 325pp. A fine signed binding sturdily bound in red morocco, elaborately tooled in blind, each with a painted round vellum inlay on the front cover and enclosed in a circular legend in gilt and blind. Cloth reinforced inner hinges, gilt rulled border on the inner covers, marbled endpapers, top edges gilt, includes many photographs, team lists and biographies of Blues, Half-Blues, and Others. A very handsome set. Edited by A.C.M. Croome. Binding by Cedric Chivers Bath. Locale:. (Sets, Athletics, Cambridge University, Cricket, Oxford University, Rowing, Sets, Sports).

  • Immagine del venditore per Holy Bible - Containing the Old and New Testament & The Apocrypha. Genesis to Esther. Job to the minor prophets, Saint Matthew - In Three Volumes venduto da Barberry Lane Booksellers
    EUR 7,14 Spese di spedizione

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    Hardcover. Condizione: Near Fine. Three large volumes. Fine original publishers full black morocco with arts and crafts style elaborate borders and boxes design with gilt and blind stamping to both covers and spine. The Gilt lettering to spine and covers is very bright. Blue marbled end papers. Limited edition, only 750 sets published. Numerous color plates throughout with views of the Holy Land. All text block edges in bright gilt. Binding designed by Cedric Chivers of Bath. Volume 1 Genesis to Esther, Volume II Job to the Minor Prophets, Volume III Saint Matthew to revelations Apocrypha.

  • Immagine del venditore per LES CONFESSIONS Nouvelle Édition Illustré De Quatre-vingt-seize Compositions par Maurice Leloir Tome Premier [&] Tome Deuxième venduto da Rothwell & Dunworth (ABA, ILAB)

    ROUSSEAU Jean-Jacques, LELOIR Maurice

    Editore: Paris: Librairie Artistique H. Launette et Cie., 1889, 1889

    Da: Rothwell & Dunworth (ABA, ILAB), Dulverton, Regno Unito
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    Membro dell'associazione: ABA ILAB

    Valutazione venditore: 5 stelle

    EUR 11,62 Spese di spedizione

    Da: Regno Unito a: U.S.A.

    Quantità: 1

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    Edition de Grand Luxe. 2 vols. 4to. Rebound by Cedric Chivers of Bath in vellucent- vellum binding incorporating original paper wraps, top edges gilt, remainder untrimmed, marbled endpapers (near Fine), in cardboard slipcases (some light surface wear and a little scuffed at edges, small splits at corners for vol. 1). Pp. xxiv + 273 [&] 383, illus with 96 engraved plates with tissue guards and in text (no inscriptions).

  • Thompson, James

    Editore: LONDON: for Vernor, Hood & Sharp, 1806

    Da: D&D Galleries - ABAA, Somerville, NJ, U.S.A.
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    Membro dell'associazione: ABAA ILAB PBFA

    Valutazione venditore: 3 stelle

    EUR 4,05 Spese di spedizione

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    Condizione: Good. WITH A CONTEMPORARY FOREDGE PAINTING. 1 volume, small 8vo, illustrated, with a fine contemporary foredge painting depicting an illumination of the title of the book. Bound in full red morocco, ribbed gilt decorated spine, covers ruled in gilt, gilt dentells, all edges gilt, by Cedric Chivers of Bath.