1 531 résultats
réf. ST19578Northern Italy last quarter of 15th century. Each leaf measuring 250 x 164 mm. 9 7/8 x 6 3/8". Single column 24 lines in a handsome humanist hand. Each leaf with three to four large initials one measuring two lines all others three lines in burnished gold in-filled with pink and green paint with white embellishment on blue ground with white embellishments. Insignificant wrinkling and a couple faint creases to vellum tiny snag along top edge of each leaf but IN VERY FINE CONDITION the vellum especially clean and bright the paint and ink fresh and the margins generous. Written in a beautiful humanistic script enclosed by wide margins and adorned with tasteful gilt initials these leaves come from what must have been a particularly fine manuscript made for a person of means. The text comes from the "Rhetorica ad Herennium" which was long attributed to Cicero but is now believed to have been written ca. 80 B.C. by an unknown scholar. This guide to rhetoric remained influential through the Renaissance in large part because of its thorough treatment of rhetorical devices. The style of the initials--elegant burnished gold on a ground of pale pink green and sapphire blue with whisps of white embellishments--suggest that the manuscript was executed in Northern Italy perhaps Milan Bologna or Florence by a craftsman of great technical skill. Fine examples of humanistic script are becoming increasingly difficult to find on the market and the present examples are among the loveliest we have ever acquired. unknown books
1500réf. ST20810BParis ca. 1500. 165 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. Rubrics in red line fillers in pink and blue with gilt bezants and white embellishment most leaves with one or more one-line initials in burnished gold on pink and blue ground with white embellishments many leaves with one or more two-line initials in blue or pink with white embellishments enclosing leaves or flowers on burnished gold ground each side with panel border of acanthus flowers and/or fruit and gilt bezants one leaf with a small bird perched in the border sold at this price level due to an ink smear. The odd smudge of small stain but generally quite clean fresh and well preserved. Featuring high-quality illuminated initials a fine border on every page and the liberal use of painted and burnished gold these leaves clearly come from a luxurious Book of Hours produced by an accomplished workshop. Although a common element is the appearance of prominent blue acanthus every panel border shows a slightly different design with varying flower combinations a fact that may make selecting a single favorite quite difficult!. unknown books
1500réf. ST20810GParis ca. 1500. 165 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. Rubrics in red line fillers in pink and blue with gilt bezants and white embellishment each leaf with one or more one-line initials in burnished gold on pink and blue ground with white embellishments and one two-line initial in blue or pink with white embellishments enclosing leaves or flowers on burnished gold ground EACH SIDE WITH A PANEL BORDER INCORPORATING AN ANIMAL OR HYBRID CREATURE and filled with acanthus flowers and/or fruit and gilt bezants. Light soiling or thumbing to some leaves but in uniformly excellent condition almost entirely clean fresh and bright. Whether you prefer your marginalia in the form of beautiful peacocks murderous-looking bunnies or fantastic hybrids these leaves feature pleasing creatures fanciful and charming. Featuring high-quality illuminated initials a fine border on every page and the liberal use of painted and burnished gold the leaves clearly come from a luxurious Book of Hours produced by an accomplished workshop. The marginal creatures are prominent executed with considerable skill and exhibit a great deal of personality. unknown books
1415réf. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown
1415réf. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown books
1440réf. ST19540aMetz ca. 1440. Leaf: 162 x 124 mm. 6 3/8 x 4 7/8". Frame: 308 x 258 mm. 12 1/8 x 10 1/8". Single column three lines of text under the miniature obverse with 18 ruled lines five of which contain text in a gothic book hand. Attractively matted and framed. Recto with one three-line initial in gold on pink and blue ground WITH A LARGE MINIATURE OF THE CRUCIFIXION WASHED IN BLUE Christ on a painted gold cross flanked by two thieves on painted gold crosses surrounded by throngs of people including the Virgin St. John Mary Magdalene and numerous soldiers all in an arched gold frame inside a three-sided painted and gilt baguette and a FULL BORDER of colorful vine sprays and flowers inhabited by a peacock. See: "The Jeanne Miles Blacburn Collection of Manuscript Illuminations" nos. 29-38; Avril & Reynaud pp. 182 & 190. Minor soiling/browning right at inner edge away from border and image otherwise IN VERY FINE CONDITION THE MINIATURE REMARKABLY WELL PRESERVED WITHOUT ANY LOSS OF PAINT. This stunning miniature with its memorable nocturnal scene comes from a very fine Book of Hours probably executed by Henri d'Orquevaulz or d'Orquevaulx or a member of his workshop. D'Oquevaulz was active during the second quarter of the 15th century in Metz the cultural and commercial capital of Lorraine during the period and the center of a growing book trade. According to the catalogue of the Jeanne Miles Blackburn Collection in the Cleveland Museum of Art which owns 10 leaves from the original manuscript the parent Book of Hours can be localized based on the Lorraine dialect found in the French text on some of the leaves including the present example and because the calendar singled out two bishop-saints of Metz Clement and Arnoul. Although little is known about d'Orquevaulz his dated signature in the colophon of a Livy manuscript that he illuminated for an alderman of Metz indicates that he was active in that city in 1440. Artistic affinities with northern European styles make it possible that d'Orquevaulz had emigrated from the Netherlands or Germany to Lorraine; another possibility one that Avril and Renaud suggest is that the master himself was from Metz but that he had German associates perhaps from the Rhineland area. According to these two scholars the painter's use of large flat areas of colors is more typical of the Rhineland the Netherlands or Bohemia than of France; in any case they praise his "exquisite color harmonies." The artist has outdone himself in the present miniature rising to the height of pathos and making it one of the most extraordinary leaves we have ever offered for sale. In contrast to the bright colors used in Books of Hours even to depict the most serious scenes the present leaf presents a remarkable visual nocturne with the figures and buildings painted in the same shades of blue as the sky suggesting that heaven itself is darkening at the death of Christ. Mary Magdalen kneels at the foot of the cross while St. John supports the devastated Virgin as a soldier pierces the Savior's side with a lance. The miniature is crowded with figures we see well-defined faces of no fewer than 18 persons and two horses but the artist has not lost his dramatic focus as Christ on his cross of brushed gold dominates the scene. In choosing to make this a darkened composition the artist has risked obscuring detail but his skill has been equal to his concept here as he has used a diluted blue paint that allows for a very successful delineation in various shades almost like grisaille this technique not incidentally has prevented the cracking and erosion so commonly seen with the normal thick applications of typical cobalt blue. The result of the decision to show the world in eclipse at Christ's death is to heighten and universalize the drama here to such an extent that the scene leaves a powerful and lasting impression. The text on this leaf is entirely in French in rhyming verse. Roughly it translates as: "Jesus on the cross did hang / And took upon himself our sins / Gave to humankind redemption / Rendered up his soul to God. / The sunshine lost its glowing light / The earth did tremble and did crack / Grieving for the bitter death / Suffered by the son of God." Although the original Book of Hours was dismembered some time in the 20th century extant leaves suggest that its visual program was much bigger than usual and probably the result of an important commission by a wealthy patron--something likely to be painted by one of the chief artists in the workshop. Illuminated manuscripts from Metz--let alone examples of this quality--are uncommonly seen on the market. unknown
1440réf. ST19540aMetz ca. 1440. Leaf: 162 x 124 mm. 6 3/8 x 4 7/8". Frame: 308 x 258 mm. 12 1/8 x 10 1/8". Single column three lines of text under the miniature obverse with 18 ruled lines five of which contain text in a gothic book hand. Attractively matted and framed. Recto with one three-line initial in gold on pink and blue ground WITH A LARGE MINIATURE OF THE CRUCIFIXION WASHED IN BLUE Christ on a painted gold cross flanked by two thieves on painted gold crosses surrounded by throngs of people including the Virgin St. John Mary Magdalene and numerous soldiers all in an arched gold frame inside a three-sided painted and gilt baguette and a FULL BORDER of colorful vine sprays and flowers inhabited by a peacock. See: "The Jeanne Miles Blacburn Collection of Manuscript Illuminations" nos. 29-38; Avril & Reynaud pp. 182 & 190. Minor soiling/browning right at inner edge away from border and image otherwise IN VERY FINE CONDITION THE MINIATURE REMARKABLY WELL PRESERVED WITHOUT ANY LOSS OF PAINT. This stunning miniature with its memorable nocturnal scene comes from a very fine Book of Hours probably executed by Henri d'Orquevaulz or d'Orquevaulx or a member of his workshop. D'Oquevaulz was active during the second quarter of the 15th century in Metz the cultural and commercial capital of Lorraine during the period and the center of a growing book trade. According to the catalogue of the Jeanne Miles Blackburn Collection in the Cleveland Museum of Art which owns 10 leaves from the original manuscript the parent Book of Hours can be localized based on the Lorraine dialect found in the French text on some of the leaves including the present example and because the calendar singled out two bishop-saints of Metz Clement and Arnoul. Although little is known about d'Orquevaulz his dated signature in the colophon of a Livy manuscript that he illuminated for an alderman of Metz indicates that he was active in that city in 1440. Artistic affinities with northern European styles make it possible that d'Orquevaulz had emigrated from the Netherlands or Germany to Lorraine; another possibility one that Avril and Renaud suggest is that the master himself was from Metz but that he had German associates perhaps from the Rhineland area. According to these two scholars the painter's use of large flat areas of colors is more typical of the Rhineland the Netherlands or Bohemia than of France; in any case they praise his "exquisite color harmonies." The artist has outdone himself in the present miniature rising to the height of pathos and making it one of the most extraordinary leaves we have ever offered for sale. In contrast to the bright colors used in Books of Hours even to depict the most serious scenes the present leaf presents a remarkable visual nocturne with the figures and buildings painted in the same shades of blue as the sky suggesting that heaven itself is darkening at the death of Christ. Mary Magdalen kneels at the foot of the cross while St. John supports the devastated Virgin as a soldier pierces the Savior's side with a lance. The miniature is crowded with figures we see well-defined faces of no fewer than 18 persons and two horses but the artist has not lost his dramatic focus as Christ on his cross of brushed gold dominates the scene. In choosing to make this a darkened composition the artist has risked obscuring detail but his skill has been equal to his concept here as he has used a diluted blue paint that allows for a very successful delineation in various shades almost like grisaille this technique not incidentally has prevented the cracking and erosion so commonly seen with the normal thick applications of typical cobalt blue. The result of the decision to show the world in eclipse at Christ's death is to heighten and universalize the drama here to such an extent that the scene leaves a powerful and lasting impression. The text on this leaf is entirely in French in rhyming verse. Roughly it translates as: "Jesus on the cross did hang / And took upon himself our sins / Gave to humankind redemption / Rendered up his soul to God. / The sunshine lost its glowing light / The earth did tremble and did crack / Grieving for the bitter death / Suffered by the son of God." Although the original Book of Hours was dismembered some time in the 20th century extant leaves suggest that its visual program was much bigger than usual and probably the result of an important commission by a wealthy patron--something likely to be painted by one of the chief artists in the workshop. Illuminated manuscripts from Metz--let alone examples of this quality--are uncommonly seen on the market. unknown books
réf. ST12668bLNortheastern France probably Arras late 15th century. 146 x 95 mm. 5 3/4 x 3 3/4". Single column 15 lines in a pleasing bâtarde hand. Attractively framed leaves with full borders showing one side only and the leaf with images of saints in double-sided glass frame showing both recto and verso. All leaves with rubrics in red and one- and two-line initials in brushed gold on a red or blue ground some leaves with three-line initials on orange or green ground. Each leaf WITH EITHER A FULL BORDER OR PANEL BORDER WITH BRUSHED GOLD GROUND AND VERY PRETTY ILLUSIONISTIC FLOWERS AND FRUITS the leaf with the panel border also FEATURING TWO SMALL MINIATURES OF SAINTS. Headlines written in French in a later 18th century calligraphic hand. ◆Brushed gold a little faded in places otherwise excellent specimens generally clean and smooth. From a charmingly decorated 15th century prayer book these beautifully framed leaves are ready to hang on the wall or give as a gift to a lucky recipient. Two types of leaves are offered here: the first consists of a full border with illusionistic flowers fruit and at least one insect or creature; the second contains a panel border and two small miniatures depicting St. Anthony often called the Father of all Monks and the lesser known St. Eligius patron saint of metalworkers. For unframed leaves from this same manuscript please check our website. unknown
réf. ST15769aPerhaps France mid-12th century. Each leaf measures approximately 370 x 240 mm. 14 1/2 x 9 1/2". Double column 32 lines in a fine proto-gothic hand. See: Thompson "An Introduction to Greek and Latin Paleography" p. 436. ◆Recovered from a binding and thus with one side of each leaf somewhat browned soiled and with a few creases one leaf with several small blotches of red paint in the text not affecting overall legibility one corner of each leaf torn away affecting running title and one to two lines of text other trivial defects but still very nice specimens with clear and legible script and one side of each leaf quite clean and well preserved. Once part of a large and elegant Romanesque Bible these leaves are excellent examples of a high quality proto-gothic book hand. Sometimes referred to as "praegothica" or "late Caroline" the proto-gothic script is characterized by letterforms that are more or less unchanged from Caroline minuscule but with a number of traits starting to show elements of gothic script--most notably the addition of feet appearing here as an upward flick of the pen on the bottom of minims but also including the use of more abbreviations the fusion of certain letter combinations a more elongated "o" and a straight-backed "a." Whatever the level of its evolution the script here has very pleasing rounded letterforms that are highly legible and generously spaced. Though the vellum is not unmarred by its former life as binding material the script here has not lost any of its beauty revealing a hand that is practiced regular and distinctly pleasing to the eye. As Thompson notes "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letter was attained and that the century may be named as excelling all others for the beauty of its MSS." Our leaves come from Deuteronomy the Old Testament book consisting primarily of three sermons made by Moses just before entering the Promised Land. One leaf contains brief summaries of chapters 2-18 with some chapters numbered in the margins while the other leaf contains part of the first of Moses' speeches in which he recalls the Israelites' 40-year journey through the wilderness. unknown
réf. ST12668bLNortheastern France probably Arras late 15th century. 146 x 95 mm. 5 3/4 x 3 3/4". Single column 15 lines in a pleasing bâtarde hand. Attractively framed leaves with full borders showing one side only and the leaf with images of saints in double-sided glass frame showing both recto and verso. All leaves with rubrics in red and one- and two-line initials in brushed gold on a red or blue ground some leaves with three-line initials on orange or green ground. Each leaf WITH EITHER A FULL BORDER OR PANEL BORDER WITH BRUSHED GOLD GROUND AND VERY PRETTY ILLUSIONISTIC FLOWERS AND FRUITS the leaf with the panel border also FEATURING TWO SMALL MINIATURES OF SAINTS. Headlines written in French in a later 18th century calligraphic hand. ◆Brushed gold a little faded in places otherwise excellent specimens generally clean and smooth. From a charmingly decorated 15th century prayer book these beautifully framed leaves are ready to hang on the wall or give as a gift to a lucky recipient. Two types of leaves are offered here: the first consists of a full border with illusionistic flowers fruit and at least one insect or creature; the second contains a panel border and two small miniatures depicting St. Anthony often called the Father of all Monks and the lesser known St. Eligius patron saint of metalworkers. For unframed leaves from this same manuscript please check our website. unknown books
réf. ST15769aPerhaps France mid-12th century. Each leaf measures approximately 370 x 240 mm. 14 1/2 x 9 1/2". Double column 32 lines in a fine proto-gothic hand. See: Thompson "An Introduction to Greek and Latin Paleography" p. 436. ◆Recovered from a binding and thus with one side of each leaf somewhat browned soiled and with a few creases one leaf with several small blotches of red paint in the text not affecting overall legibility one corner of each leaf torn away affecting running title and one to two lines of text other trivial defects but still very nice specimens with clear and legible script and one side of each leaf quite clean and well preserved. Once part of a large and elegant Romanesque Bible these leaves are excellent examples of a high quality proto-gothic book hand. Sometimes referred to as "praegothica" or "late Caroline" the proto-gothic script is characterized by letterforms that are more or less unchanged from Caroline minuscule but with a number of traits starting to show elements of gothic script--most notably the addition of feet appearing here as an upward flick of the pen on the bottom of minims but also including the use of more abbreviations the fusion of certain letter combinations a more elongated "o" and a straight-backed "a." Whatever the level of its evolution the script here has very pleasing rounded letterforms that are highly legible and generously spaced. Though the vellum is not unmarred by its former life as binding material the script here has not lost any of its beauty revealing a hand that is practiced regular and distinctly pleasing to the eye. As Thompson notes "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letter was attained and that the century may be named as excelling all others for the beauty of its MSS." Our leaves come from Deuteronomy the Old Testament book consisting primarily of three sermons made by Moses just before entering the Promised Land. One leaf contains brief summaries of chapters 2-18 with some chapters numbered in the margins while the other leaf contains part of the first of Moses' speeches in which he recalls the Israelites' 40-year journey through the wilderness. unknown books
1895Issued in twelve original parts, housed in eleven very large publisher's portfolios. 400 x 515 mm. (about 16" x 20"). Printed on Japan vellum throughout. Illustrated with wonderful monochrome photogravure engravings and plates. There are no color plates in this set, nor do any seem called for. The original paper wrappers for the parts are brittle, but this is of little concern because the portfolios act as wraps. There is some soiling and wear, here and there, but generally this is a very nice set of the most deluxe edition. Number 225 of a total edition limited to only 500 copies. Howes W79. RARE. **PRICE JUST REDUCED! PARTS5 - Large Box
1937réf. ST21066London: William Heinemann Limited 1937. FIRST EDITION. Book: 245 x 152 mm. 9 3/4 x 6"; Case: 330 x 235 mm. 13 x 9 1/4". 3 p.l. 34 pp. LOVELY CONTEMPORARY STIFF VELLUM GILT AND PAINTED covers with delicate gilt frame sprays of flower and leaves at each corner outlined in gilt and painted blue and green central lozenge outlined in gilt dots and framed by painted flowers and leaves a large initial "A" in gilt at center smooth spine divided into compartments with gilt and painted floral ornament turn-ins with gilt floral roll sky blue silk endleaves all edges gilt. Housed in a fine oversized blue morocco case designed to look like a book with gilt lettering on the upper cover raised bands gilt ruled compartments and lettering to spine the interior constructed and padded to hold the smaller book and lined with blue velvet spine of case a bit sunned corners a little rubbed clasp no longer functional. A FINE COPY clean and fresh internally in a pristine binding. With very considerable visual and tactile appeal this is a gracefully bound copy of the the final book of verse issued by Richard Aldington published before he turned exclusively to writing prose. A leading poet of the early 20th-century Imagist school Aldington né Edward Godfree Aldington 1892-1962 was a prolific writer whose 50-year career produced novels biographies translations and literary criticism as well as sharp minimalist free verse. He was part of the contemporary London avant-garde crowd being close friends with Ezra Pound T. S. Eliot Amy Lowell and D. H. Lawrence; and he was especially close to the poet H. D. Hilda Doolittle his first wife from 1913-38. As literary editor of the leading Modernist periodical "The Egoist" he was an integral part of the pre-World War I literary scene and his first largely autobiographical work "Death of a Hero" 1929 was considered by George Orwell and Lawrence Durrell to be the best of the English Great War novels. The poems here were written in the mid-1930s when Aldington had decamped to the United States after the woman he loved Netta Patmore rejected his proposal of marriage. While tracing his grief and longing the verses also build the image of a "crystal world" created by the love of an ardent couple concluding that "Only from the purity of extreme passion / And alas the purity of extreme pain / Can you build the crystal world." Happily Aldington's beloved Netta to whom the work is dedicated reversed her decision and agreed in 1938 to help him build their crystal world together. The present lovely binding is unsigned but the delicate precise tooling and elegant design indicate the work of very talented hands. The romantic contents and the rather feminine aspect of the binding suggest that this was a gift from one lover to another perhaps a recipient sharing the initial "A" with our author. And the oversized and extravagant custom case indicates how much this object was treasured. William Heinemann Limited unknown
1937réf. ST21066London: William Heinemann Limited 1937. FIRST EDITION. Book: 245 x 152 mm. 9 3/4 x 6"; Case: 330 x 235 mm. 13 x 9 1/4". 3 p.l. 34 pp. LOVELY CONTEMPORARY STIFF VELLUM GILT AND PAINTED covers with delicate gilt frame sprays of flower and leaves at each corner outlined in gilt and painted blue and green central lozenge outlined in gilt dots and framed by painted flowers and leaves a large initial "A" in gilt at center smooth spine divided into compartments with gilt and painted floral ornament turn-ins with gilt floral roll sky blue silk endleaves all edges gilt. Housed in a fine oversized blue morocco case designed to look like a book with gilt lettering on the upper cover raised bands gilt ruled compartments and lettering to spine the interior constructed and padded to hold the smaller book and lined with blue velvet spine of case a bit sunned corners a little rubbed clasp no longer functional. A FINE COPY clean and fresh internally in a pristine binding. With very considerable visual and tactile appeal this is a gracefully bound copy of the the final book of verse issued by Richard Aldington published before he turned exclusively to writing prose. A leading poet of the early 20th-century Imagist school Aldington né Edward Godfree Aldington 1892-1962 was a prolific writer whose 50-year career produced novels biographies translations and literary criticism as well as sharp minimalist free verse. He was part of the contemporary London avant-garde crowd being close friends with Ezra Pound T. S. Eliot Amy Lowell and D. H. Lawrence; and he was especially close to the poet H. D. Hilda Doolittle his first wife from 1913-38. As literary editor of the leading Modernist periodical "The Egoist" he was an integral part of the pre-World War I literary scene and his first largely autobiographical work "Death of a Hero" 1929 was considered by George Orwell and Lawrence Durrell to be the best of the English Great War novels. The poems here were written in the mid-1930s when Aldington had decamped to the United States after the woman he loved Netta Patmore rejected his proposal of marriage. While tracing his grief and longing the verses also build the image of a "crystal world" created by the love of an ardent couple concluding that "Only from the purity of extreme passion / And alas the purity of extreme pain / Can you build the crystal world." Happily Aldington's beloved Netta to whom the work is dedicated reversed her decision and agreed in 1938 to help him build their crystal world together. The present lovely binding is unsigned but the delicate precise tooling and elegant design indicate the work of very talented hands. The romantic contents and the rather feminine aspect of the binding suggest that this was a gift from one lover to another perhaps a recipient sharing the initial "A" with our author. And the oversized and extravagant custom case indicates how much this object was treasured. William Heinemann Limited unknown books
1930réf. 011497London The Richards Press 1930 In-8 Reliure éditeur
1914réf. ST18714London 1914. 265 x 207 mm. 10 1/2 x 8 1/4". 41 3 blank pp. 1 leaf colophon. RESPLENDENT IN DARK BLUE MOROCCO RICHLY GILT AND ONLAID BY RIVIERE & SON stamp-signed on front doublure covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries bordered by strips of green and tan morocco central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center a black and red witch's hat above the horseshoe and the whole on a very densely stippled gilt ground incised with calligraphic curls and set with nine silver stars around the cat this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies raised bands spine compartments framed with tan morocco and containing a gilt and onlaid floral sprig TAN MOROCCO DOUBLURES bordered by a strip of purple morocco this with onlaid green morocco frame adorned with gilt latticework densely stippled gilt cornerpieces set with purple morocco passionflowers all accented with inlaid circles of purple navy and green in varying sizes leather hinges apricot watered silk endleaves all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red blue or burnished gold three three-line illuminated initials 11 five- to six-line initials in shades of purple blue and green with highlights of pink and burnished gold two of these with extensions running the length of the text and two incorporated into full borders four very large initials 12 lines or more in colors and gold five full borders that on title page incorporating a small oval miniature of Whittier and TWO FULL-PAGE MINIATURES one of a young nun at prayer the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed written out and illuminated by Alberto Sangorski for Messrs. R. 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. This is an outstanding example of the artistry of Alberto Sangorski and that of the binders gilders and finishers of Riviere & Son the volume being executed at the zenith of their creative powers and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr" inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter" set in Puritan New England; and "Memories" a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues purples and greens brightened with burnished gold Sangorski has created two full-page paintings one of the beautiful young nun at prayer the other of youthful sweethearts strolling arm-in-arm through a wood. Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm became attracted to the book arts at the age of 43 and began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe. Sometime around 1910 Alberto and Francis had a falling out and the artist went to work for Riviere the chief competitor to his brother's firm. Like the manuscript here our binding by Riviere is the work of many months with hundreds of individual inlays onlays and applications of gilt. Robert Riviere began as a bookseller and binder in Bath in 1829 then set up shop as a binder in London in 1840; in 1881 he took his grandson Percival Calkin into partnership at which time the firm became known as Riviere & Son and the bindery continued to do business until 1939. New York collector Phoebe A. D. Boyle was the widow of a canvas manufacturer who had made a fortune providing tents to the U.S. Army in the Civil War. George Sutcliffe described this important client as "rivalling the Medici in her patronage of the production of beautiful books." Stephen Ratcliffe deems the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts; 33 of Alberto Sangorski's creations appeared in her sale at Anderson Galleries in 1923 and during World War I she was one of the only customers for extravagant productions like the present item. Any book from the Boyle collection which was put together with the greatest taste and discrimination is recognized as desirable beyond its intrinsic literary merit. unknown
1914réf. ST18714London 1914. 265 x 207 mm. 10 1/2 x 8 1/4". 41 3 blank pp. 1 leaf colophon. RESPLENDENT IN DARK BLUE MOROCCO RICHLY GILT AND ONLAID BY RIVIERE & SON stamp-signed on front doublure covers with wide frame of swirling gilt vines bearing red morocco blossoms and blue and green berries bordered by strips of green and tan morocco central panel of upper cover with recessed oval containing a portrait of a young nun sculpted in leather with painted details this encircled by an onlaid ivory morocco rosary and surrounded by an exuberant spray of red morocco poppies with green and tan leaves central panel of lower cover with an arch-backed black morocco cat beneath the arch of a gray morocco horseshoe at center a black and red witch's hat above the horseshoe and the whole on a very densely stippled gilt ground incised with calligraphic curls and set with nine silver stars around the cat this centerpiece surrounded by curling gilt vines bearing red morocco and gilt posies raised bands spine compartments framed with tan morocco and containing a gilt and onlaid floral sprig TAN MOROCCO DOUBLURES bordered by a strip of purple morocco this with onlaid green morocco frame adorned with gilt latticework densely stippled gilt cornerpieces set with purple morocco passionflowers all accented with inlaid circles of purple navy and green in varying sizes leather hinges apricot watered silk endleaves all edges gilt. In the original silk- and velvet-lined green morocco box. Numerous two- to three-line initials in red blue or burnished gold three three-line illuminated initials 11 five- to six-line initials in shades of purple blue and green with highlights of pink and burnished gold two of these with extensions running the length of the text and two incorporated into full borders four very large initials 12 lines or more in colors and gold five full borders that on title page incorporating a small oval miniature of Whittier and TWO FULL-PAGE MINIATURES one of a young nun at prayer the other of two lovers walking in a forest. Calligraphed colophon SIGNED by Sangorski stating: "This manuscript . . . was designed written out and illuminated by Alberto Sangorski for Messrs. R. 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. This is an outstanding example of the artistry of Alberto Sangorski and that of the binders gilders and finishers of Riviere & Son the volume being executed at the zenith of their creative powers and formerly owned by the most important collector of Sangorski's manuscripts. Sangorski has written out and illuminated three poems by American author John Greenleaf Whittier: "The Female Martyr" inspired by an 18-year-old nun from the Sisters of Charity who died nursing cholera victims; "The Witch's Daughter" set in Puritan New England; and "Memories" a lover's touching reminiscences of youthful romance. In addition to elaborate initials and borders in his preferred palette of blues purples and greens brightened with burnished gold Sangorski has created two full-page paintings one of the beautiful young nun at prayer the other of youthful sweethearts strolling arm-in-arm through a wood. Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm became attracted to the book arts at the age of 43 and began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe. Sometime around 1910 Alberto and Francis had a falling out and the artist went to work for Riviere the chief competitor to his brother's firm. Like the manuscript here our binding by Riviere is the work of many months with hundreds of individual inlays onlays and applications of gilt. Robert Riviere began as a bookseller and binder in Bath in 1829 then set up shop as a binder in London in 1840; in 1881 he took his grandson Percival Calkin into partnership at which time the firm became known as Riviere & Son and the bindery continued to do business until 1939. New York collector Phoebe A. D. Boyle was the widow of a canvas manufacturer who had made a fortune providing tents to the U.S. Army in the Civil War. George Sutcliffe described this important client as "rivalling the Medici in her patronage of the production of beautiful books." Stephen Ratcliffe deems the Boyle collection as "unrivalled" for its jewelled bindings and modern illuminated manuscripts; 33 of Alberto Sangorski's creations appeared in her sale at Anderson Galleries in 1923 and during World War I she was one of the only customers for extravagant productions like the present item. Any book from the Boyle collection which was put together with the greatest taste and discrimination is recognized as desirable beyond its intrinsic literary merit. unknown books
1805réf. ST21016London: Printed by T. Bensley 1805. APPARENTLY THE ONLY COPY PRINTED ON VELLUM. 260 x 152 mm. 10 x 1/4 x 6". 2 p.l. 146 pp. 1 leaf notes. Translated by Maria Henrietta Montolieu. Very pleasing contemporary straight-grain scarlet morocco gilt by Charles Hering binder's ticket on verso of front flyleaf covers bordered with a wide frame of multiple patterned rolls with rosette cornerpieces enclosing a delicate frame of a dotted roll cornered small floral tools raised bands spine gilt in compartments wide turn-ins sumptuously gilt cream silk endleaves with gilt borders and fleuron cornerpieces all edges gilt. WITH EIGHT ENGRAVINGS BY FRANCESCO BARTOLOZZI IN TWO STATES one on gold silk and the second on paper. EXTRA-ILLUSTRATED with two engravings depicting Princess Izabela Czartoryska and her daughter Zofia. A Large Paper Copy. Henrey 624. See also Clemens Alexander Wimmer "The Princess and the Poles" Historic Gardens Review no. 10 2002: 14-17. Spine slightly darkened joints and edges with minor barely noticeable wear vellum a bit and naturally rumpled and consequently the book yawning a bit a handful of light spots but still an extremely appealing copy with fine impressions of the plates vast margins and a special story to tell. Printed on vellum richly bound and illustrated with attractive plates on silk this is an extraordinarily luxurious copy of Delille's famous poem on gardens that almost certainly belonged to a noblewoman whose gardens are mentioned in the text. First published in 1780 our poem condemns formal gardens and broad promenades in favor of a gardening art which hides its artistry by reproducing the asymmetrical groupings of nature and careless bounty of the countryside. This view accords with the translation of Virgil's "Georgics" done by Delille 1738-1813 in 1769 a version that brought him great acclaim for its supple and sonorous versification. In fact it so pleased the Count of Artois the future Charles X that he named Delille abbot of Saint-Séverin; however revolution disrupted things and the poet for a time led a wandering life in Switzerland Germany and England where this updated and expanded version of "Gardens" was published in 1801. The present special edition includes the plates which had appeared as head- and tailpieces in the first edition but now used as stand-alone plates in two states. These were executed by Bartolozzi after originals by Portuguese neoclassical painter Francisco Vieira. In addition to the called-for suite of illustrations our copy includes two inserted plates portraits of Princess Izabela Czartoryska 1745-1835 and her daughter Zofia. Czartoryska was a major figure in the Polish Enlightenment as a writer and patron of the arts as well as an advocate for improving the lives of the poor. She is best remembered for the sprawling gardens at her palace in Pu awy which included a formal garden a "wild promenade" or landscape park and multiple structures including the neoclassical Temple of the Sibyl which became one of Poland's first museums. She made the acquaintance of the author while travelling through Paris in 1791 and the two struck up a friendship. She financially backed the second edition of the work in exchange for a mention of her gardens which duly appears in heightened verse on pp. 11-13: "Favoured Pulhavi! You from Heaven obtain / Each separate charm Earth's choicest scenes contain; / Bright glow thy features fresh from Nature's hand / Excite our wonder and our praise command." The presence of this poetic tribute--and especially the inserted plates showing the princess and her daughter-- clearly suggest that the our apparently unique luxury edition must have been a presentation copy to Czartoryska herself. The present copy is as striking outside as it is inside. Charles Hering was the most distinguished and influential English binder of the first decade of the 19th century and although his career was brief from about 1795-1812 Ramsden focuses on his work as representing the transition in binding styles from those of the German émigrés of the late 18th century to the new generation of binders headed by Charles Lewis. Dibdin states that until "the star of Charles Lewis rose above the bibliopegistic horizon no one could presume to 'measure business' with Hering. There was a strength squareness and a good style of work about his volumes which rendered him deservedly a great favourite." We have been unable to trace any other copies of the present edition on vellum. Printed by T. Bensley unknown
1805réf. ST21016London: Printed by T. Bensley 1805. APPARENTLY THE ONLY COPY PRINTED ON VELLUM. 260 x 152 mm. 10 x 1/4 x 6". 2 p.l. 146 pp. 1 leaf notes. Translated by Maria Henrietta Montolieu. Very pleasing contemporary straight-grain scarlet morocco gilt by Charles Hering binder's ticket on verso of front flyleaf covers bordered with a wide frame of multiple patterned rolls with rosette cornerpieces enclosing a delicate frame of a dotted roll cornered small floral tools raised bands spine gilt in compartments wide turn-ins sumptuously gilt cream silk endleaves with gilt borders and fleuron cornerpieces all edges gilt. WITH EIGHT ENGRAVINGS BY FRANCESCO BARTOLOZZI IN TWO STATES one on gold silk and the second on paper. EXTRA-ILLUSTRATED with two engravings depicting Princess Izabela Czartoryska and her daughter Zofia. A Large Paper Copy. Henrey 624. See also Clemens Alexander Wimmer "The Princess and the Poles" Historic Gardens Review no. 10 2002: 14-17. Spine slightly darkened joints and edges with minor barely noticeable wear vellum a bit and naturally rumpled and consequently the book yawning a bit a handful of light spots but still an extremely appealing copy with fine impressions of the plates vast margins and a special story to tell. Printed on vellum richly bound and illustrated with attractive plates on silk this is an extraordinarily luxurious copy of Delille's famous poem on gardens that almost certainly belonged to a noblewoman whose gardens are mentioned in the text. First published in 1780 our poem condemns formal gardens and broad promenades in favor of a gardening art which hides its artistry by reproducing the asymmetrical groupings of nature and careless bounty of the countryside. This view accords with the translation of Virgil's "Georgics" done by Delille 1738-1813 in 1769 a version that brought him great acclaim for its supple and sonorous versification. In fact it so pleased the Count of Artois the future Charles X that he named Delille abbot of Saint-Séverin; however revolution disrupted things and the poet for a time led a wandering life in Switzerland Germany and England where this updated and expanded version of "Gardens" was published in 1801. The present special edition includes the plates which had appeared as head- and tailpieces in the first edition but now used as stand-alone plates in two states. These were executed by Bartolozzi after originals by Portuguese neoclassical painter Francisco Vieira. In addition to the called-for suite of illustrations our copy includes two inserted plates portraits of Princess Izabela Czartoryska 1745-1835 and her daughter Zofia. Czartoryska was a major figure in the Polish Enlightenment as a writer and patron of the arts as well as an advocate for improving the lives of the poor. She is best remembered for the sprawling gardens at her palace in Pu awy which included a formal garden a "wild promenade" or landscape park and multiple structures including the neoclassical Temple of the Sibyl which became one of Poland's first museums. She made the acquaintance of the author while travelling through Paris in 1791 and the two struck up a friendship. She financially backed the second edition of the work in exchange for a mention of her gardens which duly appears in heightened verse on pp. 11-13: "Favoured Pulhavi! You from Heaven obtain / Each separate charm Earth's choicest scenes contain; / Bright glow thy features fresh from Nature's hand / Excite our wonder and our praise command." The presence of this poetic tribute--and especially the inserted plates showing the princess and her daughter-- clearly suggest that the our apparently unique luxury edition must have been a presentation copy to Czartoryska herself. The present copy is as striking outside as it is inside. Charles Hering was the most distinguished and influential English binder of the first decade of the 19th century and although his career was brief from about 1795-1812 Ramsden focuses on his work as representing the transition in binding styles from those of the German émigrés of the late 18th century to the new generation of binders headed by Charles Lewis. Dibdin states that until "the star of Charles Lewis rose above the bibliopegistic horizon no one could presume to 'measure business' with Hering. There was a strength squareness and a good style of work about his volumes which rendered him deservedly a great favourite." We have been unable to trace any other copies of the present edition on vellum. Printed by T. Bensley unknown books
1939réf. ST20331London: 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. 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. 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
1939réf. ST20331London: 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. 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. 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 books
réf. ria9788199216105_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; What if the future you believe in was never truly yours to imagine From ancient empires to Silicon Valley those in power have always used the illusion of "what comes next" to shape belief behavior and control. This book uncovers the hardcover
1891réf. ST15049London: 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. 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. 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
1891réf. ST15049London: 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. 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. 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 books
réf. ST20509a-bGermany Late 11th or early 12th century. Largest bifolium measures 221 x 275 mm. 8 7/8 x 10 3/4". Single column 25-27 lines in a late Caroline hand. Rubrics in orange each bifolium with one or more one one-line initial in orange and one or more large four- to five-line initials in orange. With marginal notations in a later hand. Recovered from a binding and thus with some soiling abrasions glue residue and other small problems; the pages nearly complete but with a couple of letters and/or lines cut away from one side of each bifolia with more extensive abrasions on one side affecting legibility but very good specimens overall the better side in each case quite clear and readable. Once part of a Lectionary a collection of scriptural readings appropriate for Masses through the year and other ceremonial occasions these attractive mostly legible binding fragments display an excellent transitional script with both Caroline minuscule and proto-gothic characteristics. The present examples include short lessons or "lectiones" taken from the Old and New Testaments including among other passages excerpts from John in which Christ casts the sellers out of the temple and Daniel relating the prayers of the three men who refused to bow to Nebuchadnezzar's golden idol. The lovely script here shares much in common with the pure Caroline miniscule of earlier centuries--particularly in the overall legibility of the text the space between individual letters and the limited use of ligatures and abbreviations; also of note is the exclusive use of the long "s" unless at the beginning of a sentence and the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word e.g. "propheta" written "proph&a" here. Evidence of a progression toward proto-gothic script can also be observed here in the appearance of certain letter forms such as the closed "g" a more oval "o" and the use of two forms of "d" both upright and Uncial the latter with a sloping shaft. There is added interest here in the form of marginal notations in a later hand--probably dating from the time these bifolia were in situ as binding waste. unknown
