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Skandinavien. Dänemark, Schweden, Norwegen, Finnland. Baukunst, Landschaft, Volksleben. Mit einer Einleitung von Valdemar Rørdam [u.a.]. (13.-22. Tsd.).
Berlin, Atlantis-Verlag, [1930]. XLVI, 280 S. Mit zahlr. Abb. in Kupfertiefdruck (= Orbis terrarum, Reihe 1,4). OHPgt. Mit Kopfgoldschnitt.
Bookseller reference : 67582
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Stalaktiten 1894-1904. Aus der Chronica des illustren und absonderlichen Männerbundes, so "Die Stalaktiten" sich benennet.
Leipzig, 1904. 79, [5] S. Mit mont. illustr. Titel u. 8 Tafeln (4 montiert), Notenbeispiel im Text sowie Schlußvignette. 19,5 cm. OHPgt m. goldgeprägter VDeckelillustr. u. Kopfgoldschnitt.
Bookseller reference : 97764
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Strahlenkranzmadonna. Prächtiger ganzseitiger Metallschnitt mit fein ausgemalter Mondsichelmadonna in den Farben Rot, Blau und Gold. Blatt aus einem gedruckten Stundenbuch auf Pergament mit Metallschnitt und auf der Rückseite mit vielfiguriger szenischer Umrahmung in Metallschnitt und Bordüre von Philippe Pigouchet für den Verleger Simon Vostre. Gotische Schrifttype, 24 Zeilen.
(Paris, um 1510). Blattgröße: 17,5 x 11,5 cm. Schriftspiegel: 16 x 9,5 cm.
Bookseller reference : 151129
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Verhandlungen und Schriften der Hamburgischen Gesellschaft zur Beförderung der Künste und nützlichen Gewerbe [Patriotische Gesellschaft von 1765]. BÄNDE 1-6 [= komplett].
Hamburg, Carl Ernst Bohn, 1792-1801. [1] 9 Bll., 420 S. Mit gestoch. Titel-Vign. u. 2 gefalt. Kpfr.-Taf. / [2] 8 Bll., 480 S. Mit Titel-Vign. u. 1 Falttaf. / [3] 6 Bll., 510 S. Mit Titel-Vign., 8 (davon 3 gefalt.) Taf. u. 1 gefalt. Tab. / [4] 4 Bll., 460 S. Mit Titel-Vign. u. 6 Falttaf. / [5] 6 Bll., 524 S. Mit Titel-Vign. / [6] 6 Bll., 572 S. Mit Titel-Vign. u. 3 Taf. (20 x 12,5 cm). HALBPERGAMENT der Zeit mit RTiteln von alter Hand.
Bookseller reference : 81154
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Violette Nozières
Bruxelles Editions Nicolas Flamel 1933 In-8 carré Broché, couverture illustrée
Bookseller reference : 015737
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"[ILLUMINATED MANUSCRIPT LEAF ON VELLUM]
""Guyot Hours"", Heures à l'usage de Nantes (?),
France c.1485-1515. Small8vo. (80 x 12 mm). 1 leaf in vellum, single column with text to both verso and recte. Fine flower ornamentation in red, blue and gold to outer margin (both verso and recte). Horisontal catchword. Small worm-hole to upper right corner, far from affecting text.
Bookseller reference : 52035
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(Alphonse Daudet, Jean du Boys, Alfred Delvau, Jules Renard, Paul Arène) :
Le Parnassiculet contemporain. Recueil de vers nouveaux précédé de L’Hôtel du Dragon Bleu et orné d’une très étrange eau-forte.
Paris, Librairie Centrale (J. Lemer, éditeur), 1867 ; in-16, bradel de vélin-parchemin rigide à recouvrement, titre manuscrit en caractères gothiques bleus, plats décorés d’un encadrement doré et rouge orné, dans les coins, d’une composition de fruits tenus par un ruban noué, dragon volant au centre du plat supérieur, d’après celui qui orne la couverture et la page de titre tête dorée, étui bordé (Levitzky) ; 36 pp. , couverture en papier sulfurisé simili parchemin, en rouge et noir, l’eau-forte serait de Delor en frontispice.
Bookseller reference : 18178
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(Arts and Crafts Vellum Gift Binding)Tennyson, Alfred
ENOCH ARDEN AND IN MEMORIAM
<p>London: Macmillan and Co. 1895. Octavo. A sensuously romantic but chaste gift binding in full vellum with the initials " J. J. de W." in gilt on the front cover and " 25. June 1895 d. d. G. B. R." on the back cover. 184 pages. The gilt titled spine has an ornament of a single gilt inverted lily blossom on a sinuous stem with the date 1895 in gilt at the foot of the spine. Small gilt lily blossoms also adorn the corners of both covers. Vellum turn-ins with double gilt rules. Top edge gilt. Although this binding is unsigned it was obviously the work of a skilled binder producing a gift volume to represent the affection of the presenter and hopefully the cherished regard of the receiver.</p> hardcover
Bookseller reference : 1464
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(Best, P.)
Hamburg, zoo als het was en is Mei 1842.
Haarlem, A. C. Kruseman, 1842. Titel, 1 Bl., 44 S. Mit 1 lithographierten Titel-Illustration von H. J. Becker. Spät. HPgt. mit marmor. Deckelbezügen.
Bookseller reference : 39743
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(BINDINGS - PAINTED VELLUM). (TENNYSON, ALFRED, LORD). CHURCH, ALFRED J.
THE LAUREATE'S COUNTRY A DESCRIPTION OF PLACES CONNECTED WITH THE LIFE OF ALFRED LORD TENNYSON
London: Seeley and Co 1891. No. 85 OF 160 COPIES ON LARGE PAPER. 382 x 275 mm. 15 x 10 3/4". 4 p.l. 111 1 pp. <br/> Publisher's gilt-stamped vellum upper cover with titling and the Tennyson coat of arms BOTH COVERS WITH LOVELY HAND-PAINTED DESIGN BY JOHN T. BEER upper cover with urn at foot and blooming rose branches emanating from a medallion bearing the date 1902 and curving around the title and escutcheon lower cover with branches of apple blossoms dividing the board into quadrants each inhabited by a bird in flight smooth spine with gilt titling edges untrimmed. With frontispiece photographic portrait of Tennyson 31 vignettes in the text and 14 copper-plate engravings after drawings by Edward Hull. Verso of title page and limitations page with ink stamp of Gloucester County Library. Weber "The Fore-Edge Paintings of John T. Beer" 195. Small scratch near head of front joint minor soiling and rubbing to edges of boards mild foxing mostly marginal and not affecting copper engravings otherwise an excellent copy clean and fresh internally with wide margins the binding especially bright the pretty decoration perfectly preserved. AN EXTREMELY ATTRACTIVE COPY.<br/> <br/> This very large format deluxe illustrated work describing the places associated with England's beloved Poet Laureate Alfred Lord Tennyson is enhanced by former owner John T. Beer's Arts & Crafts-style embellishments to the vellum binding. After retiring from a successful career as a clothier Merseyside book collector Beer ca. 1826-1903 occupied himself decorating books from his library mostly with fore-edge paintings but in a score of instances with painted bindings. Jeff Weber considers Beer "one of the most highly skilled artists of fore-edge paintings" noting that he was the first artist to put his signature to such works. Weber's catalogue raisonnée of Beer's works lists 189 fore-edge paintings 22 painted bindings including this one #195 and three bindings designed by Beer and executed by Fazakerley of Liverpool. The design here is clearly influenced by the Arts & Crafts movement and Beer owned several works by William Morris including a Kelmscott Press "Godefrey of Bologne" on the vellum covers of which he had painted a design of tulips and lilies. Among the locations discussed and pictured in the "The Laureate's Country" are Tennyson's childhood homes in Somersby and Bag Enderby Trinity College Cambridge where he matriculated and his estates Farringford on the Isle of Wight and Aldworth in West Sussex. Seeley and Co unknown
Bookseller reference : ST15049
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(Collectif)
CHASSIEU en VELIN
Un ouvrage de 269 pages, format 210 x 280 mm, illustré, relié cartonnage sous jaquette, publié en 1990, Impr. Maury, tirage limité (n° 201/500), bon état
Bookseller reference : LFA-126733649
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(ESSEX HOUSE: VELLUM PRINTING) CHAUCER, Geoffrey
The Flower and the Leaf.
London: Edwin Arnold 1902. Limited to 165 numbered copies on vellum at the Essex House Press under C. R. Ashbee. Small octavo. 45 1 pp. Hand-colored frontispiece and two full-page hand-colored illustrations and eighty-five hand-colored ornamental letters by Edith Harwood. Tail-piece. Caslon type. Publisher's vellum with rose and gilt lettering to front cover. Bit of natural mottling to vellum. Custom folding cloth chemise and slipcase. A very good copy.Great Poems Series No. 6. "In 1886 C.R. Ashbee established the Guild of Handicraft at Essex House London. Around the same time Ashbee created the Essex House Press. The Essex House Press published its first book in 1898. The work of the press was very much a part of the Arts and Crafts Movement. Ashbee continually linked the aims of the press with those of John Ruskin and William Morris and described the object of the movement as “making useful things…making them well and…making them beautiful.†The critics however were not so sure about the work of Essex House Press calling it “articraftiness.†Later booklovers came to admire much of its work. Some of the presses and some of the workmen for Essex House Press came from the Kelmscott Press after its demise in 1897 following the death of William Morris. Ashbee designed his own typeface called “Endeavor†for the press. In 1902 the press moved to Glouscestershire. The Essex House Press closed in 1910 having produced more than seventy titles." Univ. of Utah Edwin Arnold hardcover
Bookseller reference : 73377
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - ZAEHNSDORF)
CATALOGUE OF PORTRAIT MINIATURES
England ca. 1910. 392 x 287 mm. 15 3/8 x 11 1/4". 32 leaves with text in an attractive italic hand all separated by tissue guards. <br/> 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 enclosing 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.<br/> <br/> 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. unknown
Bookseller reference : ST14374
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - THE RENAISSANCE SOCIETY). NA-HUAB, SIUOL, Scribe and Illuminator. ALDRI
FRIAR JEROME'S BEAUTIFUL BOOK
Chicago: Written and Illuminated for The Renaissance Society ca. 1915. 216 x 153 mm. 8 1/2 x 6". ii 28 pp. 1 leaf colophon. Single column 18 lines in an attractive calligraphic hand. <br/> 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. Front free endpaper with bookplate of Phoebe Boyle. â—†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.<br/> <br/> Exuberantly decorated by a mysterious artist 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. Although we were unable to find any information about its scribe and illuminator Siuol Na-Huab the artist must have been highly regarded in contemporary circles. The colophon 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. Written and Illuminated for The Renaissance Society unknown
Bookseller reference : ST17129-042
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(ILLUMINATED MANUSCRIPT ON VELLUM)
Memorial Document for H. Homan Stroud of the American Dredging Company.
Philadelphia: American Dredging Company 1954. A lovely calligraphic memorial resolution calligraphed by by W. G. Strickland of Philadelphia. Octavo 6 3/4 x 9 1/2 inches. 6 leaves of vellum of which four bear the memorial versos only. Capitals done in gilt and blue. Opening leaf elaborately decorated. Final leaf signed by each Member of the Board. Original black pebbled morocco gilt turn-ins white moire silk doublures matching slipcase. An excellent example of this form of the Golden Watch.The American Dredging Company of Philadelphia began operations in 1867 and soon became the largest dredging company in the country. E. Homan Stroud joined the company in 1904 and rose through the ranks to become its president in 1944. He died on June 24 1954 and this memorial was dated the day after. Apparently there were two copies as it states near the rear that a copy shall be given to his widow. [American Dredging Company] hardcover
Bookseller reference : 74499
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - JEWELLED). SANGORSKI, ALBERTO, Designer, Illustrator, and Scribe
POEMS BY JAMES I GEOFFREY CHAUCER AND SIR WALTER RALEIGH
England ca. 1930. 268 x 190 mm. 10 1/2 x 7 1/2". 31 1 pp. 1 leaf colophon. <br/> LOVELY ROSE-BROWN CRUSHED MOROCCO GILT INLAID AND BEJEWELLED front turn-in stamped in gilt "Made in England" but almost certainly by Sangorski & Sutcliffe covers framed by multiple plain and dotted gilt rules sprays of tulips at corners central panel of upper cover with animated floral design of onlaid white morocco flowers each set with a petite rose-cut diamond and of onlaid lilac and green morocco thistles all on a stippled ground raised bands spine compartments with spray of onlaid purple morocco berries green morocco label turn-ins framed with gilt ribbon roll and other decorative rolls ivory watered silk endleaves all edges gilt. In the original black pebble-grain morocco case with cushioned velvet lining upper cover detached. WITH ILLUMINATED TITLE PAGE FEATURING A VIGNETTE of the Tower of London and a border with knights on chargers SIX ADDITIONAL VIGNETTES AND FOUR FULL-PAGE MINIATURES AS WELL AS 10 FULL BORDERS THREE THREE-QUARTER BORDERS two half borders AND 13 LARGE ILLUMINATED INITIALS all executed with great imagination and skill. Pages with miniatures separated by silk guards others separated by paper. Leather with very slight naturally occurring variations in hue otherwise the volume IN PRISTINE CONDITION.<br/> <br/> This is a beautifully bound and exceptionally attractive modern illuminated manuscript celebrating English poetry and culture executed by the 20th century's undisputed master of illumination Alberto Sangorski. The text contains three early English poems: "While a Prisoner" by James I of Scotland; "Merciless Beauty" by Geoffrey Chaucer; and "The Nymph's Reply" by Sir Walter Raleigh. Each poem is followed by a brief section of biographical information about the author. In addition to the many beautiful decorated initials and sparkling borders Sangorski has also painted a total of seven vignettes and four full-page miniatures. The latter include an image of a woman dressed in Medieval garb reading a small book in a courtyard; an intimate portrait of the "Merciless Beauty" herself caught in a state of half-dress; the meeting of three young peasant women in a lush rural setting; and the boldly painted coat of arms of Scotland. Complex knotwork designs and precise gilt tooling among the borders demonstrate Sangorski's range and abilities and the text and capitals could not be more perfectly executed. The color scheme in this manuscript is particularly attractive featuring dark greens dusky blues and rich purples that contrast beautifully with the bright gold applications and white highlights. Most important the vignettes and full-page miniatures are painted with exquisite taste and exacting skill; they reward repeated and protracted viewing. 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. The lovely jewelled binding here is not described in Ratcliffe and the signature "Made in England" offers no indication of the binder's identity. The design however clearly suggests that the creator at work here must have been familiar with the work of both Sangorski and Riviere and it is possible that our binder may have been previously employed by one of these firms. The work is clearly on par with what those workshops were producing. Whatever the case may have been the binding is an appropriately fine addition to an already beautiful manuscript. unknown
Bookseller reference : ST19362
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). CHAUCER, GEOFFREY. CLARKE, JOHN WILFRED, Scribe and Illuminator
PROLOGUE TO THE CANTERBURY TALES
Preston Lancashire England September 1945. 260 x 218 mm. 10 1/4 x 8 1/2". 9 leaves illumination on rectos only. <br/> VERY ATTRACTIVE PRUSSIAN BLUE MOROCCO GILT BY SLINN stamp-signed in gilt on upper cover expertly rebacked to style upper cover with central panel containing two red morocco onlays with gilt lettering over green morocco onlays with gilt vines and flowers the center with a burgundy only containing the initials "EGS" all this surrounded by a thick frame of dark blue morocco with gilt vines each corner with a square of burgundy morocco with gilt quatrefoil and leaves multiple gilt rules and decorative rolls lower cover with a gilt medallion at the center decorated with flowers and leaves a simple blind-tooled frame and gilt ruled border with foliate decoration smooth spine with gilt head and tail gilt-tooled turn-ins muslin hinges added later as reinforcement. Housed in the original soiled and frayed blue cloth portfolio. Lettering primarily in black and occasionally in red blue or gold ILLUMINATED THROUGHOUT TITLE PAGE WITH A FULL BORDER INCORPORATING bars with colorful tile patterns or vinestem and featuring TWO SMALL MINIATURES IN THE LOWER CORNERS DEPICTING THE KNIGHT AND THE WIFE OF BATH a shield at the head and tail; the rest of the text embellished with blue and green vines and red penwork eight large ink initials as well as six large gilt initials on colored ground each leaf with either a panel border or "L" shaped border composed of leafy vines and flowers penwork embellishments colorful patterns and acanthus and gold bezants one border with three birds nesting in the decoration one with the bust of a woman dressed in Medieval garb and one with a small dragon. â—†Just a hint of rubbing to fore edge and corners but in extremely fine and attractive condition inside and out.<br/> <br/> This is a charming modern illuminated manuscript penned at the end of WWII containing excerpts from the prologue to Chaucer's "Canterbury Tales." As stated in the colophon the manuscript "was Designed Written out and Illuminated by . . . John Wilfred Clarke of Ribbleton Ho: Preston for his friend Edwin Goddard Stokes of Ringinglow at Sheffield." We have been unable to find any information about the artist but he was clearly a talented amateur with a flair for pattern and design. Though he incorporates elements found in Medieval manuscripts--trailing ivy leaves penwork decoration tessellation and illuminated initials--the style is at the same time modern utilizing bold color combinations and layered shapes and patterns. A different manuscript finished by the same artist the year prior gives his location as Ecclesall Sheffield and it seems quite possible that he may have learned his craft at the Sheffield School of Art which was founded in 1843 and offered classes in fine arts and crafts. We do know that the binder Walter Slinn d. 1964 was a staff member at the school as well as a prominent local bookbinder. This work was completed just a few months after the Allied victory in Europe making its nationalistic sentiment bright colors and exuberantly gilt binding quite moving when seen in this context as though the artist is brushing off the austerity and bleakness of the past and looking forward to a brighter more joyous future. We have no information about the recipient other than a name but it is clear that this item was carefully looked after as clearly suggested by its fine condition and the presence of its original homemade portfolio. unknown
Bookseller reference : ST19311
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). SHAKESPEARE, WILLIAM. ALBERTO SANGORSKI, Illuminator and Calligrapher
SELECTED SONGS FROM THE PLAYS OF WILLIAM SHAKESPEARE
<p>London: Designed written out and illuminated by Alberto Sangorski Colophon 1920. 255 x 212 mm. 10 1/8 x 8 1/2". 25 3 pp.</p><p>ELEGANT LIGHT OLIVE GREEN CRUSHED MOROCCO GILT AND INLAID by Riviere for London bookseller Charles J. Sawyer stamp-signed "Chas. J. Sawyer Ltd. London" on front turn-in upper cover with inlaid mahogany-brown morocco lyre at head "strung" with gilt fillets and surrounded by dense gilt stippling six gilt fillets emanating from the top of this ornament and curling extravagantly below it with inlaid green morocco leaves at the tips of its extensions and inlaid red dots accenting the perimeter raised bands spine compartments with gilt and inlaid leaf sprig gilt titling turn-ins framed with five gilt fillets stippled and inlaid cornerpieces ivory moiré silk doublures and endleaves. In a fine full morocco plush-lined box with raised bands and gilt titling. ILLUSTRATED THROUGHOUT WITH EIGHT LARGE MINIATURES within extraordinarily elaborate illuminated borders FIVE FINE ROUNDELS FOUR LARGE HISTORIATED INITIALS a portrait of a young woman a leaping stag a skull and a landscape with a castle tower AND 25 ILLUMINATED INITIALS all with burnished gold. New expertly matched silk guards. SIGNED by Sangorski in the colophon following the statement: "This manuscript will not be duplicated." With an early typescript list of the contents laid in at front. Ratcliffe "Alberto Sangorski" SJR 338 attributing the binding to Riviere. ◆Spine slightly sunned to olive brown just a hint of sunning to head and fore edges of boards spine with half a dozen barely perceptible tiny dark spots but A VERY FINE COPY OF AN EXTRAORDINARILY BEAUTIFUL MANUSCRIPT the binding unworn and lustrous and the interior pristine with vellum clean and bright and the paintings perfectly preserved.<br /><br />Written out decorated and painted by one of the most accomplished illuminators of the modern era this attractively bound work celebrates some of Shakespeare's best-known plays with sumptuous miniatures that are in a perfect state of preservation. Songs from "The Tempest" "As You Like It" "Hamlet" "A Midsummer Night's Dream" and other works provide the inspiration for the many delightful miniatures seen here which display an impressive variety of portraits outdoor views and figural scenes--everything from reclining nudes to a particularly lush scene in which a group of spirited hunters return from the woods. The illustrations are all painted with exquisite attention to detail and demonstrate the artist's innate understanding of color rendering each composition delicate yet vigorous and vibrantly hued. All Sangorski manuscripts with miniatures are painted with great skill but this one is particularly arresting. 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. <br /><br />The gracefully tooled binding here was commissioned by London bookseller Charles J. Sawyer 1876-1931 who opened his shop in 1894. According to Brown and Brett's "The London Bookshop" Sawyer provided "anything suitable for a gentleman's library" with specialties in "rare items early English literature fine bindings and sporting and colour-plate books." While the binder fulfilling the commission did not sign this work Sangorski bibliographer Stephen Ratcliffe attributes it to Riviere & Son and there are examples of Riviere bindings decorated in this Art Nouveau style. But the design here with its delicate curving lines creating uncommon shapes also resembles the work done by members of the Guild of Women Binders. Whoever the artisans involved the binding is attractively designed and executed using premium materials and it provides a pleasing cover for the glorious illuminations within.</p> [D]esigned, written out, and illuminated by Alberto Sangorski [Colophon]
Bookseller reference : ST16608
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). WILSON, VIOLET, Scribe and Illuminator
TEXT FROM THE SERMON ON THE MOUNT MATTHEW 5-7
Wimbledon Surrey September 1939. 373 x 255 mm. 14 3/4 x 10". 12 vellum leaves seven with text and illuminations. Single column approximately 30 lines in a fine calligraphic hand. <br/> Attractive contemporary dark blue crushed morocco covers with gilt and blind rules raised bands with gilt rules gilt-ruled turn-ins vellum pastedowns. Text in blue black green and red a few lines with larger lettering in gilt several two-line initials in colored ink five two-line initials in red or blue with floral decorations opening pages with eight two-line initials in gold the lines here of a larger size than rest of text six three-line initials in gold filled and surrounded by floral decoration three four- to six-line gilt initials with more intricate floral decorations one of these with gilt stippling and two surrounded by a gilt frame and ONE VERY LARGE 80 x 45 mm GILT "B" decorated with stippling filled with two-tone green leaves pink flowers and large gold bezants. First leaf with ink inscription "Presented by Dr. W J Pearson / in appreciation of the work of / Ashridge Hospital 1939-1946"; two silk guards. â—†Boards with a hint of soiling but A BEAUTIFUL MANUSCRIPT IN OUTSTANDING CONDITION the paint lovely and bright and the gold sparkling.<br/> <br/> This beautifully executed manuscript by a notable female calligrapher and illuminator features the oft-quoted and much-loved biblical text known as the "Sermon on the Mount" in which Matthew relates various moral teachings attributed to Christ. The text is written in an extremely pleasing and regular upright script throughout but the first opening listing the nine Beatitudes in capital letters is especially striking. Opening with the largest and most attractive initial in the manuscript it begins with "Blessed are the poor in spirit" in prominent gilt lettering; this is followed by the other blessings each beginning with a smaller gilt "B" initial written entirely in blue capital letters. The rest of the text penned primarily in black ink but accented with cheerful gilt initials and occasional colored lettering exudes a sense of order and simple elegance befitting the contents. Illuminator and calligrapher Violet Wilson was born in Wimbledon in 1902. She studied calligraphy under Claire G. M. Evans who had been a pupil of Graily Hewitt known for his work with the Ashendene Press and one of the principal British calligraphers and teachers of lettering in the first half of the 20th century. Wilson became a member of the Society of Scribes and Illuminators in the U.K. in the 1930s. The San Francisco Public Library has examples of her work in its Harrison Collection of Calligraphy and another illuminated copy of the "Sermon on the Mount" made in 1957 was included in the Baltimore Art Museum's 1965 exhibition and catalogue titled "Two Thousand Years of Calligraphy." The catalogue entry no. 213 notes that Wilson preferred to work on books and decorative maps and exhibited her work in many countries. According to the presentation inscription in the present work this manuscript was given to Ashridge Hospital--formerly a monastery and royal residence--by a doctor who presumably worked there in appreciation for the institution's efforts during the Second World War. unknown
Bookseller reference : ST17129-020
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). CLEGG, ERNEST COSTAIN
THE LITANY
Birmingham 1907. 312 x 275 mm. 12 3/8 x 10 3/4". 16 leaves illuminated on rectos only. <br/> Pleasing original full vellum over bevelled boards covers ruled in gilt and with gilt crosses in each corner gilt lettering on upper cover smooth spine gilt rules dividing compartments with central gilt cross thick vellum turn-ins ruled in gilt bright purple silk endpapers front joint very expertly repaired. Calligraphic lettering mostly in black green and red a few one-line initials and many three-line initials in blue or purple with red penwork several slightly larger purple or blue initials infilled with ivy of various colors and dotted with gold EACH PAGE WITH A DIFFERENT ARTS & CRAFTS-INSPIRED FLORAL BORDER consisting of multi-colored blossoms and acanthus as well as meandering vine-stems and highlighted with gold bezants or stippled gold ONE LEAF WITH A 90 MM. INITIAL INHABITED BY A REALISTIC CATHEDRAL INTERIOR the large lettering below it on a gold ground with etched patterns and painted purple ivy leaves the text and the initial surrounded by pink roses green leaves and thorny vines. â—†Corners a bit bumped vellum with a few shallow scratches slightly soiled in a few places other minor signs of use but the binding still quite clean and attractive; perhaps a hint of thumb-soiling to margins of a couple leaves but the contents in nearly perfect condition.<br/> <br/> This is a beautiful and engaging manuscript with imaginative illuminations by the little-known but extremely talented illuminator calligrapher and cartographer Ernest Costain Clegg 1876-1954. The text here reproduces the Great Litany of the Church of England derived from the Book of Common Prayer and composed of short divine petitions. Each leaf contains a different and unique border featuring stylized floral motifs often with curving vines encircling the text and a cheerful color palette consisting of clear pastels that beautifully offset the darker inks used in the text. The generous use of gold on the first leaf of text and gilt details throughout the borders provide a dimension of luxury without overshadowing the prayers themselves. Clegg draws on the Medieval tradition of manuscript illumination but this work also shows the influence of the Arts & Crafts movement of the 19th century especially in the beautiful initial inhabited by a realistic Cathedral interior pierced with light--a feature that invites comparison with the superlative work of Alberto Sangorski. But Clegg's reliance on a variety of floral decoration in his borders makes this manuscript more feminine than the typical work of Sangorski. Ernest Clegg entered the military in his early twenties serving in the Boer War 1899-1902 then returned to England to train at the Birmingham School of Art. In 1909 he went to work for Tiffany's of New York as a jewelry designer. Clegg also served in the English forces during the First World War; afterwards in America his popularity in the veteran community led to more commissions and a thriving artistic career. Clegg is perhaps best known for illustrating the poem "In Flanders Fields" written by John McCrae but he also found success as a cartographer producing among other works a well-known map of Charles Lindbergh's flight across the Atlantic in 1927. unknown
Bookseller reference : ST16456
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(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). MAUPASSANT, GUY DE. VICTOR-NICOLAS BOUTON, Scribe and Illuminator
TRIBUNAUX RUSTIQUES
Paris 1896. 200 x 135 mm. 7 7/8 x 5 3/8". 11 leaves. Single column 16 lines plus headline in a thin graceful italic script. <br/> Attractive red crushed morocco by Marcellin Lortic stamp-signed on front doublure covers framed by multiple-rule gilt strapwork raised bands spine compartments with gilt French fillet gilt titling vellum doublures with gilt frame in the Romantic style leather hinges vellum endleaves all edges gilt. In matching morocco-trimmed slipcase. Title in burnished gold embellished with red and blue penwork text with red-ruled border and burnished gold stars at corners numerous one-line burnished gold initials with red or blue penwork two-line opening initial in burnished gold on a blue white and pink background and A HALF-PAGE MINIATURE measuring 71 x 64 mm. SHOWING A COURTROOM SCENE. Front free endleaf with morocco bookplate of Robert Hoe. â—†Just the slightest hint of rubbing to joints but A VERY FINE SPECIMEN entirely fresh bright and clean inside and out.<br/> <br/> This elegant little manuscript in French recounts Guy de Maupassant's satirical tale of a trial in the provinces; it was created by a man who knew the inside of a courtroom all too well. Bouton 1819-1901 was a young rebel during the 1848 Revolution who spent five years in jail for his participation in a bombing in Paris. Oddly enough the dedicated republican was also an expert on heraldry and paleography publishing pamphlets on those subjects as well as on politics and producing manuscripts like the present one. De Maupassant 1850-1893 is generally acknowledged as one of the great masters of the short story. In the present tale a wealthy older woman who had tried to buy a young peasant's love by giving him land sues unsuccessfully for the return of her property when the object of her affection forsakes her for a younger woman. According to Beverly Chew the library of Robert Hoe 1839-1911 founding member and first president of the Grolier Club was "the finest America has ever contained." Hoe acquired illuminated manuscripts early printing he owned a Gutenberg Bible on paper and one on vellum fine bindings French and English literature and Americana and when his library was sold in 1911-12 it fetched nearly $2 million a record that held until the Streeter sale more than 50 years later. Hoe owned several Bouton manuscripts of de Maupassant stories and the Morgan Library also has Bouton creations. The Lortic name was made famous in the history of French binding by Pierre Marcellin Lortic 1822-92 a leading Parisian binder for 40 years; the binder here was Lortic's son Marcellin or "Lortic Fils" 1852-1928. unknown
Bookseller reference : ST17129-026
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(MEDIEVAL MANUSCRIPT ON PAPER AND VELLUM). PETER THE VENERABLE
CONTRA PETROBRUSIANOS HERETICOS
Southern Netherlands Louvain or perhaps Northeast France first half of the 15th century likely before 1440. 284 x 217 mm. 11 1/8 x 8 1/2". 69 leaves. Each quire with a vellum bifolium in the center for a total of 12 vellum leaves. Single column approximately 38-42 lines in a handsome late gothic hand with Italian Humanist influence. <br/> Recently bound in a 16th century choir book leaf with much rubrication and several decorative initials new endleaves. Housed in a custom linen clamshell box with red morocco label and gilt lettering. Rubrics in red capitals struck in yellow many two-line initials in blue or red one six-line and even-line puzzle initial in red and blue with purple penwork extending into the margins. With a half-leaf inserted between folios 7-8 written in a cursive hand; several roughly contemporary marginal notations elsewhere. Watermarks on the paper are very close to Briquet 10015 & 10016 with dated specimens of ca. 1440-50. See: James Fearns "Contra Petrobrusianos Hereticos" Corpus Christianorum: Continuatio Mediaevalis X; Christian Coppens "The Incunabula of Parc Abbey Heverlee Leuven." ◆Vellum leaves a little wrinkled and with natural yellowing but IN VERY FINE CONDITION THROUGHOUT the paper extremely clean and crisp and with ample margins.<br/> <br/> In extraordinarily fine condition this manuscript contains an excessively rare text has notable provenance and features an unusual codicological structure combining both paper and vellum writing supports. A prominent and respected member of the Cluniac Congregation of Benedictine monks Peter the Venerable ca. 1092-1156 was elected general of his order at the age of 30. In addition to his many theological writings letters and missions on behalf of the papacy Peter was the first to have the Koran translated into Latin. Though never formally canonized by the church he was venerated as a saint by many of his contemporary followers. In the present work written sometime between 1139-41 Peter attacks a heretical sect known as the Petrobrusians. Formed in 12th century and based on the teachings of Peter of Bruys Petrobrusians rejected some of the most basic tenets of the Catholic faith including infant baptism the Mass and the Eucharist as well as prayers for the dead external worship and church buildings. Peter of Bruys even went so far as to preach violence against members of the clergy and to desecrate crosses. In fact as the Catholic Encyclopedia tells us one community in southern France became so "exasperated by his burning of crosses that they cast him into the flames." According to James Fearns just three other manuscripts contain the complete text of "Contra Petrobrusianos Hereticos": Douai Bibliothèque municipale 381; Berne Burgerbibliothek 251; and Le Mans Bibliothèque municipale 8. Apart from the great rarity of its text this manuscript is of considerable interest from a codicological perspective as it contains a regular alternating mix of paper and vellum leaves with a vellum bifolium appearing at the center of each otherwise paper quire. Medieval manuscripts not infrequently have a combination of the two materials but usually this has resulted from necessity rather than from a conspicuous plan. Though it has been recently rebound this manuscript was previously housed with another in an 18th century binding bearing the arms of Le Parc Abbey. Exactly when the codex came to be at Le Parc located about half a mile from Louvain is uncertain but it could have been there from its beginning. Le Parc Abbey was founded in 1129 and occupied by the Premonstratensian Canons an order known for their pastoral work and teaching. We know that the Abbey's library founded in the 13th century would have been impressive. Although the library had its own scriptorium Coppens says that "it was clearly not able to produce enough manuscripts for its own needs. An abbot at the beginning of the 15th century Gerard van Goetsenhoven or de Gossoncourt ordered manuscripts from another convent in the vicinity of Leuven as did his successor Walter van Beringen." The library continued to grow and become grander in appearance until the suppression of the abbey in 1797; in 1829 the library was sold by Henri Baumans in Louvain. Now in a new binding made from a genuine Medieval leaf this manuscript has a great deal going for it: it is remarkably well preserved; its wide margins fresh and clean writing supports and especially beautiful scribal hand make it an aesthetically pleasing book; and it is an item that is very deserving of additional scholarly attention. unknown
Bookseller reference : ST19399b-02
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(MODERN ILLUMINATED MANUSCRIPT ON VELLUM). (BINDINGS - JEWELLED). SANGORSKI, ALBERTO, Designer, Calligrapher, and Illuminator. B
TAM O'SHANTER AND OTHER POEMS
London 1931. 307 x 215 mm. 12 x 8 1/2". 40 pp. 1 leaf colophon. <br/> 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.<br/> <br/> 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 unreconciled; 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 $42000 all in. unknown
Bookseller reference : ST18710
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(MODERN ILLUMINATED MANUSCRIPT ON VELLUM). (BINDINGS - RIVIERE & SON). SANGORSKI, ALBERTO, Designer, Calligrapher, and Illuminat
THE FEMALE MARTYR AND OTHER POEMS
London 1914. 265 x 207 mm. 10 1/2 x 8 1/4". 41 3 blank pp. 1 leaf colophon. <br/> 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. Rivière & 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.<br/> <br/> 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. <br /> <br /> 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. unknown
Bookseller reference : ST18714
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(Painted Vellum Binding)
A Tribute: The Destiny of a tiny piece of tapestry in a Medieval City
Hardcover. Very Good. Published circa 1900 gift inscription dated 1908. 22 pp. Little book measuring apx. 5.5" x 3". Presumably very scarce. The binding is lovely: full vellum with both front and rear panels painted in colors and heightened with gold. Light wear. <br/><br/> hardcover
Bookseller reference : 3943
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(PAPAL BULL ON VELLUM). POPE ALEXANDER VI
A PAPAL MANDATE ISSUED TO THE OVERSEER OF A GERMAN CHURCH
Rome 10 August 1502. 305 x 513 mm. 12 x 20 1/4". Single column 29 lines in a papal documentary script plus signatures at bottom. <br/> First line of text much larger and with elongated letters and calligraphic flourishes. WITH THE ORIGINAL LEAD SEAL AND HEMP TIES ATTACHED. Verso with several ink notations in different contemporary and later hands recto with a long ink line in one margin and the letter "A" in the other both by a later hand. ◆Several folds to vellum as usual one-inch tear near where the hemp tie is attached a couple of small holes in the large "A" at the top of the document seal a little worn around edges and to the contours of the faces but overall in excellent condition with no major issues the vellum especially clean and bright.<br/> <br/> Issued to the overseer of a church in Frilingen probably modern Freilingen in Germany this bull orders the return of the vacated ecclesiastical seat and benefices of the church of St. James in Hergelzhausen in the diocese of Frilingen to two people. The church's rector Andrew Kuefuelz is to receive the position and things that once belonged to Leonard Walter the procurator while George Maltzel of Erding a priest of the same church is to receive the provisions and annual rents pertaining to the church. A member of the powerful Borgia family Rodrigo Borgia 1431-1503 served as vice-chancellor to five successive popes before being elected to the papacy in 1492 taking the name Alexander VI. One of two Borgias to ascend to the papacy the other was Callixtus III who died after just three years as pope Alexander held his own among a notorious family known for scandal. He led a sordid personal life--he was accused of participating in an orgy when he was a cardinal and openly admitted to fathering several children by his mistresses--and his reign was characterized by acts of nepotism and promoting his own family's interests above all else--especially with matters related to foreign policy. However he was also known as a patron of the arts having commissioned work by Raphael Michelangelo and Pinturicchio adopted a rather tolerant attitude toward Jews during this period and succeeded in cracking down on crime in Rome. The Papal Bull takes its name from the lead seals called "bullae" that were issued with official documents of the papacy as a way of ensuring their authenticity. Apart from the rare Solemn Privilege like Innocent III's famous granting of England in 1214 to his involuntary vassal King John there are three other categories of Papal Bulls: Simple Privileges also called Solemn Letters Letters of Grace which confirm privileges and rights and Mandates. The present item is of this final type differentiated by its use of hemp ties as opposed to silk. unknown
Bookseller reference : ST17895
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(PAPAL BULL ON VELLUM). POPE BENEDICT XIV
CONCERNING A MARRIAGE DISPENSATION
Rome 1740. 180 x 312 mm. 7 x 12 1/4". Single column 18 lines in an arcane "scrittura bollatica." <br/> Elaborate lettering across top line of text and at lower right corner. Lower margin with several signatures in ink; verso with brief notes in ink; remains of hemp tie for appended seal which has been cut away. With faint folds a little natural yellowing to vellum but in fine condition.<br/> <br/> Appearing almost as a dancing musical score this is Papal Bull that leaves a lot to be deciphered. The document is written in the so-called "scrittura bollatica" which the Catholic Encyclopedia calls "an archaic and very artificial type of writing . . . with manifold contractions and an absence of all punctuation which was practically undecipherable by ordinary readers." The script was used from after the Reformation until it was discontinued through papal edict by Leo XIII in 1878. Apart from the name of the issuing pope and the date the only readily identifiable part of the text here is the name of the Archbishop of Naples the addressee on the top line. We acquired this document along with several other bulls addressed to this archbishop all having to do with marriage dispensations and we suspect that the present item probably contains similar content. The esteemed polymath Pope Benedict XIV born Prospero Lorenzo Lambertini 1675-1758 headed the Catholic Church from 1740 until his death. A scholar and reformer he worked to modernize church administration promote scientific study and improve relations with secular rulers. unknown
Bookseller reference : ST12778-0377
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(PAPAL BULL ON VELLUM). POPE GREGORY XV
GRANTING A MARRIAGE DISPENSATION
Rome 1622. 295 x 410 mm. 11 5/8 x 16 1/8". Single column 23 lines in a papal chancery hand. <br/> Elaborate lettering across top line of text. Lower margin with several signatures in ink; verso with brief notes in ink; lacking the original hemp tie and lead seal. Two tears at bottom of the document where ties were removed not affecting text vellum lightly soiled but in excellent condition overall.<br/> <br/> Addressed to the Archbishop of Naples this Papal Bull grants a marriage dispensation between Fabritio Virgopia and Judith Cuono. An online search finds nothing about the couple named here but the document reveals that they were petitioning for a dispensation because they fell into the second and third degrees of consanguinity meaning that they shared at least one common ancestor. Although marrying within four degrees of consanguinity was prohibited by the church it was not uncommon for the Holy See to issue dispensations as here allowing such marriages to take place—particularly for the privileged classes. The Papal Bull takes its name from the lead seals called "bullae" lacking in the present example that were issued with official documents of the papacy as a way of ensuring their authenticity. Apart from the very rare Solemn Privilege like Innocent III's famous granting of England in 1214 to his involuntary vassal King John there are three categories of Papal Bulls: Simple Privileges also called Solemn Letters Letters of Grace which confirm privileges and rights but are somewhat smaller and Mandates which are differentiated by their use of hemp ties as opposed to silk as would have been the case here. Pope Gregory XV born Alessandro Ludovisi 1554-1623 ruled for just over two years from 1621-23. His brief papacy was marked by efforts to support the Catholic Counter-Reformation including the establishment of the Congregation for the Propagation of the Faith to oversee missionary work. He also played a key role in the election of Holy Roman Emperor Ferdinand II canonized notable saints such as Ignatius of Loyola and Francis Xavier and issued the last papal mandate concerning witchcraft. Documents issued by Gregory XV are unsurprisingly rare given the shortness of his rein: we could trace just one sold at auction since 1995. unknown
Bookseller reference : ST12778-0281
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(PAPAL BULL ON VELLUM). POPE PAUL V.
GRANTING A MARRIAGE DISPENSATION
Rome 1614. 203 x 319 mm. 8 x 12 5/8". Single column 25 lines in a papal chancery hand. <br/> With braided cloth tie for appended seal now gone. Elaborate lettering all across top line of text especially the first 8-line initial and at lower right corner. Lower margin with several signatures in ink behind the fold; verso with brief notes in ink; remains of hemp tie for appended seal which has been cut away. Three vertical and one horizontal fold creases faint overall yellowing to verso possible erasure correction in second line of text otherwise the page bright and the hand clear.<br/> <br/> Addressed to the Archbishop of Naples this Papal Bull grants a marriage dispensation between Pietro Palladino and Giovanna Cabalone. An online search finds nothing about the couple named in the present document but they were apparently high-ranking Neapolitan citizens who had the means to procure a Papal intercession. Likewise the particular impediment prohibiting the marriage is not apparent here. This type of document takes its name from the lead seals called "bullae" that were issued with official documents of the papacy as a way of ensuring their authenticity. Apart from the very rare Solemn Privilege like Innocent III's famous granting of England in 1214 to his involuntary vassal King John there are three categories of Papal Bulls: Simple Privileges also called Solemn Letters Letters of Grace which confirm privileges and rights but are somewhat smaller and Mandates which are differentiated by their use of hemp ties as opposed to silk as here. A member of the influential Borghese family Pope Paul V born Camillo Borghese 1550-1621 reigned as head of the Catholic Church for 16 years from 1605 until his death. As a staunch defender of the rights and privileges of the church he often came into conflict with secular leaders. He is perhaps best remembered for financing the completion of St. Peter's Basilica and for his involvement in the Galileo controversy in which he warned the scientist against advocating heliocentrism. unknown
Bookseller reference : ST12778-0352
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(PAPAL BULL ON VELLUM). POPE INNOCENT III
SETTLING A BOUNDARY DISPUTE BETWEEN THE MONASTERY ATTACHED TO THE LATERAN PALACE AND THE PRIORY OF SANTI QUATTRO CORONATI
Rome 2 December 1210. 206 x 293 mm. 8 1/8 x 11 1/2". 12 lines in a papal documentary script. <br/> Attractively framed. Lead bulla suspended on silk threads. Very light rubbing to ink in places one horizontal and three vertical creases each with a tiny hole where the folds meet lead seal showing a bit of wear around edges and to protuberances of the faces but these faults all quite minor and on the whole an excellent specimen.<br/> <br/> Beautifully preserved and with the original lead bulla still attached this document issued by one of the most powerful popes of the Middle Ages resolves a dispute between the monastery attached to the Lateran Palace and the priory of Santi Quattro Coronati Four Holy Martyrs. The two groups seem to have been in conflict over their respective parish boundaries and the inclusion or exclusion of certain churches and therefore the tithes and legal dues stemming from those churches within their particular networks of influence. According to this bull the cardinal priest of Sts. Peter and Paul was charged with hearing their petitions; based on his report Pope Innocent III decrees that the boundaries of the priory's parish will extend to the church of St. Nicholas "de formis" on one side and the arch of John the Baptist "intra formis" on the other side with "de formis" and "intra formis" possibly referring to their relative position to certain aqueducts in the city. The document also notes that it does not alter parish boundaries as formerly defined by Pope Calixtus II r. 1119-24. The present item falls into a category of papal documents known as "litterae solemnes" comprising solemn letters and simple privileges. Though somewhat shorter and less formal than the so-called "Great Bulls" which were very large and included many marks and signatures for authentication "litterae solemnes" still followed strict rules in terms of format and appearance and included a lead seal displaying the pope's name on one side and the visages of Sts. Peter and Paul on the other as here. For a full overview of papal bulls and their various formats see Clemens & Graham "Introduction to Manuscript Studies" pp. 230-36. Innocent III born Lotario dei Conti di Segni 1160 or 1161-1216 was considered the most powerful person in Europe during his reign 1198-1216 having done much to consolidate the power of the Holy See and exert influence over the affairs of nations near and far. Notably he proclaimed the supremacy of the church over secular authority launched the Fourth Crusade which ended in the sacking of Constantinople presided over the Fourth Lateran Council excommunicated King John of England and nullified the Magna Carta and vigorously suppressed heretical sects such as the Cathars. Papal bulls issued by Innocent III seem to be of the utmost rarity on the market; we could find just one other example recorded by ABPC and RBH as sold in the past 100 years going for a hammer price of €9000 $10999 in 2013. unknown
Bookseller reference : ST16379-036
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(VELLUM PRINTING). (EMBLEM BOOKS)
AMORIS DIVINI ET HUMANI EFFECTUS VARII SACRÆ SCRIPTURAE SANCTORUMQUE PP. SENTENTIIS AC GALLICIS ILLUSTRATI
Antwerp: M. Snyders 1626. FIRST EDITION. 135 x 82 mm. 5 1/4 x 3 1/4". 39 of 40 leaves lacking C4. Two volumes one as issued the other a companion volume containing related plates without any title page. <br/> Very pretty late 18th or early 19th century red morocco covers bordered by delicate cresting roll with leaf cornerpieces smooth spine gilt in compartments with leafy centerpieces gilt lettering turn-in with gilt floral roll pale blue watered silk endleaves all edges gilt. Supplemental volume in late 19th century red half morocco over red paper boards similarly tooled spine. Housed together in a custom-made modern wooden box with sliding panel closure a heart mosaic in multi-colored hard-grain leather on its sides. Amoris Divini WITH engraved title page and 38 of 39; lacking plate XXXIV ENGRAVED PLATES 35 OF THEM ON VELLUM ALL DELICATELY COLORED AND HEIGHTENED IN GOLD plates 19 29 30 31 and 36 bound after text pages for plates 31 36 29 30 and 34 respectively; second volume with 45 plates on paper though without any text including many of these same emblems apparently from a later edition of this work ALL DAINTILY HIGHLIGHTED WITH GILT. Front pastedown of first volume with monogram book label in colors and gilt verso of front free endpaper with oval armorial bookplate "Ex Museo Van Der Helle" see below. De Vries "De Nederlandsche Emblemata" 121; Landwehr "Low Countries" 33; Praz p. 254; Brunet I 240 this copy; Delbergue-Cormont "Bibliothèque de M. Van der Helle" Paris 10 Février 1868 lot 69 this copy. ◆Amoris spine very slightly dulled occasional hints of marginal thumbing but A LOVELY COPY clean and fresh internally with rich colors and glistening gold in a well-preserved binding; supplemental plates with faint marginal browning but excellent internally the engravings gently shimmering with gold and the binding with few signs of wear.<br/> <br/> The main volume here comprises a collection of emblems illustrating concepts of human and divine love; it is made all the more special by being printed on vellum beautifully hand colored and then delicately highlighted with gold. The emblems depict Divine Love as a beardless young man with nimbus who always represents love in its purest form. Human love or worldly love is variously embodied in a winged Cupid sometimes blindfolded who represents erotic love and who is accompanied by symbols of treasure or power that represent worldly desires. Landwehr Praz and De Vries make no mention of a vellum edition but Brunet describes one copy on vellum painted in colors and gold which he says sold at the Duriez auction. That book appeared as lot 3216 in "Catalogue des livres imprimés et manuscrits composant la bibliothèque de feu M. L.-M.-J. Duriez de Lille membre de la Société des Bibliophiles français" Paris J.-S. Merlin 1827 where its binding description matches our copy. Having uncovered no other hand-colored copies on vellum in auction records or in OCLC we think it quite likely that the present volume is in fact the Duriez copy. Louis Duriez 1753-1825 was a Lille lawyer of sufficient skill and cleverness to move without incident from serving as lieutenant provost for his district under King Louis XVI to becoming receiver of the district of Lille after the revolution 1791 and purchasing the estate of an aristocrat which had been seized by the state. He rose to successively more important and remunerative governmental positions and was named Knight of the Royal Order of the Legion of Honor in 1814. In 1820 he was one of the founding members of the Société des Bibliophiles français an elite group limited to 24 scholarly collectors. After his death his collection of more than 5000 carefully chosen works was dispersed at 59 auctions held between 22 January and 1 April 1828 at Maison Silvestre in Paris. A perusal of the lots on offer finds a strong emphasis on fine bindings works on vellum and illustrated books many noting hand coloring. The emblems in the second thinner book here on paper without coloring--but with gold highlighting allow the reader to experience the pleasure to be found in comparing the degrees of decoration and opulence of the two volumes. These illustrations likely come from one of the later printings of this title each of which added new emblems to the original 39 called for in Landwehr and Praz. It is not clear when or by whom this second volume was wedded to the first. After its presumed residence in the Duriez collection our copy of the 1626 edition and perhaps its sidecar volume moved to another distinguished library--that formed by the scholarly and erudite French collector M. Van Der Helle of Lille who amassed a collection particularly rich in illustrated books and works on vellum. In the catalogue for the sale of his library in 1868 Paris auction house Delbergue-Cormont described him as a bibliophile "of the school of Renouard . . . who only liked irreproachable copies." We bought this item without being warned that it is slightly defective but given its distinguished provenance and the many other features it has going for it we did not ask the seller to take it back. M. Snyders unknown
Bookseller reference : ST19298
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(VELLUM PRINTING). WILDE, OSCAR
DIE NACHTIGALL UND DIE ROSE. DREI MÄRCHEN. THE NIGHTINGALE AND THE ROSE. THREE FAIRY TALES
Bayreuth: Printed by Chr. Scheufele Offizin Stuttgart for Bear Press 1982. No. 1 OF 10 COPIES ON VELLUM plus a "special" edition of 25 copies and 185 copies on Kochi Japanese paper. 223 x 148 mm. 8 7/8 x 5 3/4". 50 pp. 2 leaves.Translated and with an afterword by Wolfram Benda. <br/> Publisher's fine burgundy morocco by Erwin Lehr upper cover with gilt rose in recessed square flat spine with gilt titling turn-ins with gilt fillet frame pale yellow silk pastedowns. In the original burgundy suede slipcase. With three large initials in burnished gold and four signed and numbered original etchings by Peter Klitsch. Printed in red and black. Signed in the colophon by the artist the binder and the publisher/translator. In mint condition.<br/> <br/> This is the splendid deluxe version of a finely crafted private press edition of Wilde's fairy tales "The Nightingale and the Rose" "The Happy Prince" and "The Selfish Giant." It is the third work issued by the Bear Press founded in 1979 by literary scholar Wolfram Benda and still in operation. According to the firm's website "at a time when the craftsmanship and ethos of the artisan in bookmaking have been damaged by ever-increasing industrialization and neglect . . . The Bear Press . . . tries to achieve the highest possible degree of technical and artistic perfection in its printed works." The font used to print the text and the artist chosen to illustrate each work are carefully selected to express "the individual author's personality and intention." Even the discriminating aesthete Wilde 1854-1900 would be pleased with the choices here especially for the luxurious vellum printing: the type is set in refined Walbaum Antiqua and shown off with special effect by the creamy leaves; the etchings by Austrian artist Peter Klitsch b. 1934 are meticulous detailed and reminiscent of the work of Wilde's friend Aubrey Beardsley; and the binding is the epitome of tasteful restraint flawlessly executed with premium materials. <br /> <br /> The three tales here first appeared in 1888 and are bittersweet in their themes of love and self-sacrifice. His stories for children were one of Wilde's early successes and DNB notes "Their permanent place in child affections refutes the vulgarism that Wilde's literary reputation arose from his legal notoriety. In all cases the fairy tales are on the child's side celebrating the courage and generosity of the poor and vulnerable while their satire mocks the kind of pomposity and hypocrisy children can recognize." We have been able to trace just two other copies of the vellum printing at auction in ABPC and RBH. [Printed by Chr. Scheufele Offizin, Stuttgart, for] Bear Press unknown
Bookseller reference : ST16482
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(VELLUM PRINTING - ILLUMINATED). (BINDINGS - TRAUTZ-BAUZONNET). SPENSER, EDMUND
EPITHALAMION
<p>New Rochelle: George D. Sproul 1902. No. 11 OF 30 COPIES 18 for America 12 for Europe of the "St. Dunstan Edition" ALL PRINTED ON VELLUM. 268 x 210 mm. 10 1/2 x 8 1/4". 48 leaves printed on recto only.</p><p>ELABORATELY ONLAID AND GILT MOROCCO BY TRAUTZ-BAUZONNET signed on front and rear doublures the latter upside-down COVERS AND DOUBLURES WITH similar intricate designs incorporating FIVE COLORS OF MOROCCO deep brown covers with double gilt fillet border enclosing triangular cornerpieces onlaid with a taupe arabesque surmounted by a Tudor rose and with an oblong octagonal triple frame of russet and citron morocco the ochre strip onlaid with 30 brick red roses linked by curling gilt stems the taupe morocco center panel with a rectangular triple gilt fillet frame featuring fleuron cornerpieces; raised bands spine with vertical gilt titling inside a curling gilt frame; TAUPE MOROCCO DOUBLURES with large onlaid dark brown arabesque centerpiece framed by russet and citron borders onlaid with 30 roses vellum endleaves printed with red single-ruled frame and turnip cornerpieces all edges gilt. In tan linen chemise in slightly worn matching slipcase backed with reddish-brown morocco raised bands gilt lettering and decoration. HANDSOMELY ILLUMINATED on every leaf by Nestore Leoni signed on limitations and title pages. ◆Design of doublure faintly offset to vellum endleaves the usual naturally occurring variations in the color of the vellum but QUITE A FINE COPY the binding lustrous and unworn and the leaves fresh and bright with rich colors and shining gold.<br /><br />This unusual "St. Dunstan Edition" was part of a beautiful series of famous literary works produced around the turn of the century in very strictly limited and particularly luxurious printings. Each "Dunstan" volume was printed on vellum with every page illuminated by hand in a unique way and put into a binding of striking design executed by Trautz-Bauzonnet one of the premier French binders of the period. The culmination and presumably the termination of this series came with the St. Dunstan edition of the complete works of Dickens 1902-03 projected to contain 130 large folio volumes produced in an edition of 15 illuminated as above—an undertaking that was surely the most ambitious in the history of modern fine printing. Five volumes only comprising most of "Pickwick" were produced before the grandeur of the project overwhelmed its sponsors. The style of the illumination here evokes Medieval manuscripts with generous use of curling acanthus leaves in soft shades of rose pink lavender slate blue and moss green swirling about brushed gilt initials. The limitations and title pages feature partial borders one employing a pattern of green and gray floral tiles the other using intricate strapwork extensions. "Epithalamion" is an ode written by Edmund Spenser d. 1599 to his bride Elizabeth Boyle on their wedding day in 1594. Day describes it as "the most beautiful nuptial poem in English and perhaps in any language." The St. Dunstan books are not common and can be difficult to find in fine shape. The present volume has been very well protected from sun dust and shelfwear by its chemise and slipcase.</p> George D. Sproul
Bookseller reference : ST19437
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(VELLUM PRINTING). (KELMSCOTT PRESS). MORRIS, WILLIAM
GOTHIC ARCHITECTURE: A LECTURE FOR THE ARTS AND CRAFTS EXHIBITION SOCIETY
Hammersmith: Kelmscott Press 1893. ONE OF 45 COPIES ON VELLUM and 1500 on paper. FIRST STATE with "Van Eyk" instead of "Van Eyck. 150 x 105 mm. 5 7/8 x 4 1/8". 1 p.l. 68 pp. <br/> 20th century black coarse-grain morocco gilt lettering on upper cover done to match that printed on publisher's boards vellum endleaves edges untrimmed and UNOPENED. Housed in later slipcase of marbled paper and black buckram. Woodcut initials and small woodcut decorations in the text. Headlines and sidenotes printed in red. Front flyleaf with ink inscription: "To Jo Knight / All good wishes for / 1898 from / Henry Arthur." Peterson A18; Sparling 18; Cockerell 18; Forman 146; Tomkinson p. 112. Naturally occurring variation in grain on vellum of final page but AN OUTSTANDING COPY entirely clean bright and obviously unread in an unworn binding with none of the bowing or splaying that so frequently affects the covers of vellum copies.<br/> <br/> This is a copy in the very rare first state of a Kelmscott Press book in the especially desirable luxury edition printed on vellum. To demonstrate the craft of hand-printing Morris and the Kelmscott printers set up their Albion press at the 1893 Arts and Crafts Exhibition held in the New Gallery to produce copies of a lecture Morris gave to the Crafts Exhibition Society in 1889. According to Sparling it "was printed in public under the eyes of an interested and constantly renewed crowd whose presence imposed a severe strain upon the pressman." Sydney Cockerell noted that it was Kelmscott's first book printed in sextodecimo it is 150 mm. tall and its four-line initials by Morris were used here for the first time. The earliest printings of this volume have a misspelling that was corrected during production: "Van Eyk" was amended to "Van Eyck." According to the usually very reliable Peterson all vellum copies were in the second state but Morris' own copy sold as "possibly unique" and at least one other copy we have seen are in the first state. We were unable to identify the Henry Arthur who presented this copy to a friend as a New Year's gift in 1898 but we know that Henry was not ungenerous. Vellum copies at the Exhibition were sold for 10 shillings paper copies for two shillings and after the exhibition the price rose to 15 shillings. The paper and vellum copies produced at the Arts and Crafts Exhibition were put in the usual Kelmscott Press bindings of holland-backed blue paper boards with the title printed on the upper cover. Our copy has been rebound in black morocco probably before the mid-20th century and judging from the presence of an acute accent above the "e" in "lecture" the binding was likely done in France. It is only goatskin and lettering but the morocco is of a high quality and any sturdy pleasing leather binding can be seen as a desirable alternative to the original very fragile and easily soiled holland-backed paper boards. All vellum copies of this work are scarce at auction: since 1976 we could trace just two other such copies sold. The extraordinarily fine unread condition here makes this copy especially attractive. Kelmscott Press unknown
Bookseller reference : ST20121
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(VELLUM PRINTING). (BINDINGS - MODELLED). A HAND-PAINTED AND ILLUMINATED PRAYER BOOK ON VELLUM IN FRENCH
ORDINAIRE DE LA SAINTE MESSE. with CÉRÉMONIES DU MARIAGE. and PRIÈRES POUR LA COMMUNION
Paris: Bouasse-Lebel et Marrin ca. 1909. 188 x 140 mm. 7 3/8 x 5 1/2". 72 pp.; 1 leaf miniature; XXXII pp. <br/> Tasteful contemporary olive green crushed morocco each cover WITH A CENTRAL RECESSED PANEL OF MODELLED AND PAINTED LEATHER that on the upper cover with a portrait of the Virgin Mary within an arched frame of acanthus leaves that on the lower cover with the coat of arms of the Deburghgraeve family. With text and decorations lithographed featuring decorative borders and initials throughout those on 55 pages COLORED AND ILLUMINATED BY HAND many of these in a Medieval or Renaissance style others with Japanese or Greek motifs with a small hand-painted miniature of the Crucifixion against a golden sky and WITH A FULL-PAGE HAND-PAINTED MINIATURE showing the Flight into Egypt within a decorative border featuring vignettes of a peasant gathering wood and a knight in armor praying. With a hand-painted ribbon bookmark "Souvenir de ma 1ère Communion" dated 6 June 1909; carbon copy of a poem "A la Memoire de ma tres chere et regrettee cousine Mathilde Deburghgraeve-Canal" by Lucy Salze-Bouchet dated February 1945 this with short curving tear into one margin. Just the most trivial signs of wear but A VERY FINE COPY the vellum leaves quite clean and very bright with shining decorations and the binding lustrous and virtually unworn.<br/> <br/> 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. Bouasse-Lebel et Marrin unknown
Bookseller reference : ST16339
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(VELLUM PRINTING). BERNIS, FRANCOIS-JOACHIM DE PIERRES, CARDINAL
POÉSIES DIVERSES DU CARDINALE DE BERNIS
Paris: A. Quantin 1882. UNIQUE COPY ON VELLUM printed for M. A. Werlé. 206 x 140 mm. 8 1/8 x 5 1/2". xxxii 247 pp. 1 leaf colophon.With a bio-bibliographical notice by Fernand Drujon. <br/> Pleasing burgundy Jansenist crushed morocco by Canape et Corriez stamp-signed in gilt on front turn-in dated 1930 on rear turn-in raised bands turn-ins richly gilt marbled endpapers all edges gilt on the rough. Decorative head- and tail-pieces throughout and eight engraved plates comprised of a frontispiece portrait in four states one on vellum three on paper and an allegorical vignette also in four states. Verso of front free endpaper with ex-libris of Jean Furstenberg. ◆Two small dark spots to upper cover a couple of leaves with naturally occurring minor discoloration to vellum but A FINE COPY--especially clean fresh and bright internally and in a lustrous unworn binding.<br/> <br/> Given its illustrious provenance and its singular status as the only copy printed on vellum this is a quintessentially bibliophilic copy of the poems of French cleric and diplomat Cardinal François-Joachim de Pierre de Bernis 1715-94. Admired as a witty epigrammist at the court of Louis XV where Madame de Pompadour presided Bernis composed poems on such conventional themes as love and the natural world but also verses contemplating manners and mores fashion independence and love of country. Since none of his poems was published before his death he was not widely known as a poet during his lifetime but in another sphere he performed important service to his country as France's ambassador to Rome. He provided shelter and succour there for refugees from the French Revolution earning the papal epithet "Protector of the Church of France." The present work was printed for Count Alfred Werlé whose father had inherited the Veuve Clicquot Champagne house from the Widow Clicquot. Alfred took over the operation in 1884 and greatly expanded the Veuve Clicquot-Ponsardin vineyards. The volume subsequently passed into the library of the great collector Jean or Hans Furstenberg 1890-1982 who put together one of the finest collections of 18th century books ever assembled. In 1974 the Furstenberg collection was sold en bloc to Dr. Otto Schäfer whose marvelous library had already become distinguished for its fine and historic bindings. A. Quantin unknown
Bookseller reference : ST12705
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(VELLUM PRINTING). SZYK, ARTHUR, Illustrator
THE HAGGADAH
London: Beaconsfield Press 1939. No. 72 OF 125 COPIES SIGNED BY THE ARTIST AND THE EDITOR for sale in the British Empire. 292 x 248 mm. 11 1/2 x 9 3/4". xxvi pp. 46 leaves all leaves French fold. Edited by Cecil Roth. <br/> Elegant original blue crushed morocco by Sangorski & Sutcliffe signed on front turn-in covers with gilt French fillet border and large intricate central figure designed by Szyk of a patriarch holding a goblet and book raised bands spine gilt in double ruled compartments with ornate crown centerpiece gilt titling turn-ins with double gilt-ruled and scalloped border surrounding an illustrated silk doublure featuring a Szyk portrait of Moses with the Ten Commandments done in shades of gray within a frame of elaborate design. In an excellent velvet-lined box of blue half morocco over lighter blue cloth upper cover with central lion's head in gilt on blue morocco spine like that of the book. WITH 14 FULL-PAGE AND 32 SMALLER COLOR REPRODUCTIONS OF DESIGNS BY SZYK. English translation printed in black commentary printed in red. Front flyleaf inscribed in ink: "To Mr. and Mrs. Solomon Brachman / very cordially / Arthur Szyk / New York. April 1945." Very faint naturally occurring variations in the grain of the vellum otherwise a pristine copy.<br/> <br/> With an important Holocaust-related authorial inscription this is a very fine copy of what the London Times described as "a book worthy to be placed among the most beautiful of books that the hand of man has produced." Arthur Szyk 1894-1951 a Polish Jew is considered by scholars to be the greatest 20th century illuminator. Using the style of the Medieval illuminated manuscript artists he has here created a Haggadah for Passover that is at once a beautiful book of devotion a political protest against the rise of Nazism and a plea for England's help for the Jews of Europe. By 1939 Szyk's anti-Nazi cartoons had caused Hitler to put a price on his head forcing him to flee to England. His original illustrations for his "Haggadah" featuring the villains of the Exodus with the heads of Hitler Goebbels and other leading Nazis had to be toned down before publication. All 46 pages of the Hebrew text are illustrated with scenes from the Passover story as well as vignettes of Jewish life in modern Europe—sometimes Szyk mixes the two to great effect. Perhaps the most moving illustration in the book is the elaborately illustrated dedication to King George VI of England appealing for his mercy to European Jews. The great symbols of the British Empire—the lion and unicorn St. George defeating the dragon—surround Szyk's plea to the king: "At the feet of your most gracious majesty I humbly lay these works of my hands shewing forth the affliction of my people Israel." In the lower right corner of the painting we see Jewish refugees beside one of the ships which were usually turned away from British shores while Szyk depicts himself leaning against the painting his brush and easel in hand. The text here is enriched by the historical introduction and the commentary contributed by Cecil Roth 1899-1970 the preeminent British expert on Jewish history. This crowning achievement of Szyk's life was four years in the making and has proved to be an enduring treasure. Szyk presented this copy to Texas oilfield supply magnate Solomon "Sol" Brachman 1896-1974 and his wife Etta. The son of a Latvian Jew Brachman was the founding president of the Jewish Federation of Fort Worth in 1936 and helped arrange an emergency $100000 bank loan for Israel on the eve of statehood in 1948. His wife who served as president of the National Council of Jewish Women was known as "the mother of Hadassah." Szyk's 1945 inscription was no doubt especially meaningful to this devout family whose Latvian relatives were among the 90 percent of that country's Jews who perished in the Holocaust. Beaconsfield Press unknown
Bookseller reference : ST20331
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(VELLUM PRINTING). (BINDINGS - RAMAGE). SCOTT, ALEXANDER
THE POEMS OF ALEXANDER SCOTT
Glasgow: Printed by Robert Anderson for Private Circulation 1882. ONE OF ONLY 50 COPIES. 195 x 122 mm. 7 3/4 x 4 7/8". 1 p.l. x 103 1 pp.From George Bannatyne's manuscript compiled A.D. 1568. <br/> BEAUTIFUL CITRON CRUSHED MOROCCO ELABORATELY TOOLED IN GILT BY RAMAGE stamp-signed on front turn-in covers with six concentric frames--intricate filigree roll pointillé-tooled floral vine and alternating small ornaments--enclosing a central panel with cornerpieces semé with rows of fleurs-de-lys large oval medallion at center radiating ornate fleurons raised bands spine compartments with large central medallion containing a vase of flowers delicate tooling in corners gilt titling turn-ins framed by filigree roll and alternating small ornaments brown and tan silk jacquard endleaves patterned in a Medieval motif top edge gilt. Printer's device on title page decorative woodcut initials and headpieces. Spines evenly sunned to a warm honey brown corners lightly rubbed short faint scratch to lower board but the binding virtually unworn and happily free of the splaying that plagues vellum books. Leaves lightly rumpled but A VERY FINE COPY the vellum leaves creamy clean and bright and the binding glittering with gold.<br/> <br/> Printed on luxurious vellum and limited to just 50 copies presumably for private circulation among friends of the printer this is a lovely edition of 16th century poems by a mysterious author believed to have been a poet and musician associated with the court of Mary Queen of Scots. This work contains all 36 extant poems attributed to Scott ca. 1520-82/3 including what is considered to be his most historically important work "Ane New Yeir Gift to Quene Mary" 1562 written in support of the young Scottish queen caught between Catholic and Protestant agendas. His other poems consist largely of lyric verses on love and sexuality which DNB describes as possessing "exceptional metrical variety and vernacular directness" with "a musician's ear for rhythm and melody." Scott's poems are known to us via the Bannatyne manuscript now held in the National Library of Scotland which ranks among the most important documents of Scottish Medieval literature. Written by George Bannatyne in 1568 during a period of confinement due to an outbreak of plague it contains a mixture of both secular and religious material including the sole extant copies of several texts. In the preface to the present work the publisher notes that Scott's poetry has been faithfully reproduced from that manuscript and thus "for the first time accurately printed." Very little is known regarding the life of Alexander Scott but he seems to have been attached to the court of Mary Stuart through John Erskine a guardian and counselor to the queen. Given the very limited number of copies made it is not surprising that this work is extremely rare on the market. Printed [by Robert Anderson] for Private Circulation unknown
Bookseller reference : ST16453
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(VELLUM PRINTING). (SHAKESPEARE HEAD PRESS). HOMER
THE WHOLE WORKS OF HOMER; PRINCE OF POETTS IN HIS ILIADS AND ODYSSES
Oxford: Shakespeare Head Press 1930-31. No. 3 OF 10 COPIES PRINTED ON VELLUM from a total edition of 460. 292 x 203 mm. 11 1/2 x 8". Five volumes. Translated from the Greek by George Chapman. <br/> Publisher's limp vellum yapp edges red silk ties. IN THE ORIGINAL just slightly worn MOROCCO-BACKED SOLANDER BOXES with title label on spine. With 52 wood engravings by John Farleigh comprised of two frontispieces woodcut-framed title pages to volumes I and V and 48 full-page cuts. Ransom p. 17; Franklin p. 236; Horne p. 185. Lacking one tie half a dozen leaves with naturally occurring variations of color and grain in the vellum but A LOVELY SET quite clean fresh and bright inside and out.<br/> <br/> This is the glorious vellum printing of a major modern fine press edition of Homer with illustrations by one of the most popular woodcut artists of the period. It is one of the most beautiful modern books we have ever offered for sale. The text here is Chapman's Homer which Day calls "the greatest verse translation of the Renaissance" and perhaps "the greatest English translation of Homer." George Chapman 1559/60-1634 made his name as a poet and playwright before turning to translating classical literature. His was the first English translation of Homer to be done directly from the Greek and it remained the standard translation until Pope's 18th century version. Chapman enjoyed a renewed popularity among 19th century poets: Keats composed a much-quoted sonnet "On First Looking into Chapman's Homer" which begins "Much have I travell'd in the realms of gold"; and Swinburne said "No praise can be too warm or high for the power the freshness the indefatigable strength and inextinguishable fire which animate this exalted work." Wood engraver painter illustrator writer and teacher John Farleigh 1900-65 had a style perfectly suited to an edition of Homer. In "A History of British Wood Engraving" Albert Garrett writes that "in terms of modern engraving John Farleigh understood the purity of Greek engraving and largely formed his style upon the few known examples. Like the Greek engraver he also understood the human form and could express it." He was one of the major engravers of the new British School which focused on broadening the medium's range of expression and techniques. The creamy vellum comprising the text here provides the perfect medium for displaying these woodcuts to best advantage. Given its strictly limited print run of 10 this special edition is not surprisingly seen only rarely in the market. We were able to trace just three copies sold at auction: one in 1967 the present copy in 1971 and a third copy sold both in 2009 and 2019. Shakespeare Head Press unknown
Bookseller reference : ST20223
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--Exemplaire sur Papier parcheminé "Peau de Vélin"-- ZOLA (Emile).
Paris.
1898 P., Bibliothèque-Charpentier, 1898, 1 fort vol. in-12° (195 x 130) relié plein cartonnage moderne à la Bradel recouvert de papier anthracite à motifs noir, dos lisse orné d'une pièce de titre en maroquin noir souligné d'un filet doré, gardes de papier noir, de (2) ff. (faux-titre et titre) - 608 pp. Très bel exemplaire non rogné à grands témoins conservés.
Bookseller reference : 11052
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17th CENTURY VELLUM DOCUMENT .:
Indenture between Henry Hills and Harry Welles Edward Gray Ralph Blundell George Hill .
Kent 1663 . Large 17th century velum document with two horizontal folds and 5 vertical folds plus 3 of the original wax seals. 55cm length x 64cm width. Vellum lightly soiled and worn along the creases. Document begins with a large initial "C". English text in a contemporary hand rubbed in places. The document states that Henry Hills and Edward Gray are at Cliffords Inn London. Also that Harry Welles and Ralph Blundell are from East Greenwich Kent. Also that Ralph Blundell is a Chandler. Notes to verso of the document include an amendment in Latin dated 1664 and signed by "John Walker". Also another note in English signed by Robert Cheke; "Gills Master"; and "Thomas Bosboke Jn." Family history records show a Ralph Blundell was a churchwarden of East Greenwich in 1679. Kent, 1663 . hardcover
Bookseller reference : 46663
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17th Century Vellum Document.:
Indenture Tripartite: John Legard; Christopher Bacon; George Newmand .
Kingston upon Hull: 24th December 1667 . Folded vellum ducument. 26" x 22". Between: John Legard Kingston upon Hull; George Newman Kingston upon Hull; & Christoper Bacon. With 3 old wax seals chipped and rubbed to base. Kingston upon Hull: 24th December, 1667 . hardcover
Bookseller reference : 45375
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17th Century Vellum Document.:
Indenture. John Gladman; John Swichatt.
1695. Small rubbed vellum document. 7.25" x 8.25". 25 lines of neat text rubbed on one side .Names identified include John Gladman and John Swichatt of Watford. On the verso is a further 7 lines of text dated 1695 and signed: "Samuell Anderson". 1695 hardcover
Bookseller reference : 45386
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18th Century Vellum Document.:
Ad Curiam Baron Thomae Halsey Hemel Hempstead
1713. Small folded vellum document. 7" x 12.5". Latin text. Thomas Halsey b. abt. 1627 . The only other name identified is Johannes Randal. And the writ is examined by Carolum Pulteney. 1713 hardcover
Bookseller reference : 45397
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18TH CENTURY VELLUM DOCUMENT .:
Indenture between William Beale Brand of Polstead and Reverend Thomas Cooke Of Semer Suffolk
Polstead: 10th January 1783 . Large folded vellum document between William Beale Brand of Polstead and Reverend Thomas Cooke Of Semer. Yellowed and lightly soiled. 60cm x 90cm. All handwritten text clearly legible. . Family history records show that : "Anna Mirabella Henrietta baptized at St. James' Bury on Aug. 15 1738 was married in 1761 to William Beale Brand of Polstead in Suffolk. William Brand died in 1799 and his widow in Feb. 18 14. There was no family and after Mrs. Brand's death Polstead passed to Thomas William Cooke grandson of Thomas Cooke rector of Semer who had married William Brand's sister. Elizabeth Holworthy: baptised September 18 1753 Elsworth. Married Rev.Thomas Cooke of Elsworth clerk on May 13 1777 Elsworth. Thomas was from the small village of Semer in Suffolk where his family were the owners of the manor House and a great part of the estate in the parish.Elizabeth bore Thomas at least two children- Thomas Cooke who became the rector of Bildeston in Suffolk was born in Elsworth Cambridgeshire in 1778. He was schooled at Eton for eight years and then attended Cambridge University 1796-1798. He became Lord of the Manor at Bildeston in 1814 when he inherited the estate from his great-uncle William B. Brand Esq. He married Mary Ann Mathews daughter of Richard Mathews of Wargrave Berkshire on September 7 1803 and died without issue on July 27 1825 at Bentworth. Polstead: 10th January 1783 . hardcover
Bookseller reference : 50799
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18th Century Vellum Indenture: RALLING Samuel:
Indenture between Samuel Ralling and William Wiseman; John Chapman; John Cooke; William Boyer; William Chapman; Thomas Cooke .
<p>Clare Suffolk: 20th July 1729 . 1729 vellum Indenture. 37cm x 67cm. 2 horizontal folds and3 vertical folds. Clear English hand writing. An agreement for Samuel Ralling of Clare Suffolk occupation: Tanner to rent/lease a yard from William Wiseman of Stradishall Suffolk. Vellum with wax Seal27" x 15"</p> Clare, Suffolk: 20th July 1729 . hardcover
Bookseller reference : 49914
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18th Century Vellum Document:
Indenture between Abraham Manfield and Thomas Browne.
11th February 1723 . Folded vellum document. 16" x 24". Faded English text. Indenture between Abraham Manfield of Cavendish in the County of Suffolk and Thomas Browne of Cavendish in the County of Suffolk Bricklayer. 11th February, 1723 . hardcover
Bookseller reference : 45402
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18th Century Vellum Document:
Indenture between Strachey Cartwright and Thomas Baron
15th Dec 1735 . One sheet of folded vellum. 12" x 21". Strachey Cartwright of Anderby Lincoln son of Thomas Cartwright and Thomas Baron of Cathy Park Lynton Cambridge. - Regarding lands in the Parish of Ashdon Essex 15th Dec 1735 . hardcover
Bookseller reference : 45392
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18th Century Vellum Document:
Last Will And Testament William Haylock
Will dated 2nd May 1793 . Large folded sheet of vellum. 23" x 26". Clean English text throughout. Last Will And Testament William Haylock the Elder of Ashdon Essex. Born 30th September 1697 - Died 30th December 1793. William Haylock was a carpenter and had built a windmill. The will was proved on 20th September 1794 and the receipt and seal are also attached. Will dated 2nd May 1793 . hardcover
Bookseller reference : 45393
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18th Century Vellum Document - Katherine Sackville .:
Legal document of Katherine Sackville.
Bibury Gloucestshire: 1723 . Original vellum folded and creased document with blue seals. 28.5cm x 32cm. The document begins. "Know all men by these present that I Katherine Sackvlle of Bibury in the County of Gloucester have given and granted and do hereby give and grant unto William Easter of Arlington in the County of Gloucester Shoemaker leave and. to grant bargainand fill onto Richard Hall of Northlath in the County of Gloucester the Cottage and that part of the garden which was given and bequeathed by William Cooke Susannaht he wife of the said William Easter. Dated 1723. In the presence of Thomas Williams and Henry Boulton and the wax seal of Katherine Sackville. "Elizabeth Sackville was born in 1689 in Bibury Gloucestershire the daughter of Hester and Henry. She married Edmund Warneford on 18 July 1713 in London. They had one child during their marriage. She died on 17 May 1756 at the age of 67 and was buried in her hometown." - See Family History Records Bibury, Gloucestshire: 1723 . hardcover
Bookseller reference : 47160
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