8991 risultati
1711rif. ST20182London: W. Lewis 1711. FIRST EDITION First Issue. 280 x 152 mm. 8 1/8 x 6". 1 p.l. 43 1 pp. VERY PRETTY DARK GREEN CRUSHED MOROCCO ELABORATELY GILT IN PERIOD STYLE BY RIVIERE & SON stamp-signed on front turn-in covers with double frames formed of floral sprigs drawer handles and other small tools the frames enclosing an elegant central wreath; raised bands spine panels densely gilt with stippling floral tools radiating from small central flower gilt lettering turn-ins densely gilt with scrolling foliate tools all edges gilt. With an attractive woodcut headpiece and tailpiece; one foliated woodcut initial. Front pastedown with the bookplate of Winston Henry Hagen and book label of William A. Strutz. Griffith 2; Rothschild 1564; Foxon P806; Day "History of English Literature 1600-1837" pp. 73-4. Sheets uniformly a little toned because carefully washed the usual offsetting on facing flyleaves from turn-ins but a very pleasing copy--the text without signs of use and the exceptionally pretty binding lustrous and virtually unworn. This first printing of Alexander Pope’s first independent publication called by Day "one of the most quoted poems in English" offers a sumptuous binding in the style of the period retains its scarce original half-title and boasts an impressive provenance. Pope 1688-1744 composed "An Essay on Criticism" early in his career possibly when he was just 18. In this poem which introduced several expressions now common in the lexicon including "to err is human; to forgive divine" and "fools rush in where angels fear to tread" Pope provides his philosophy on what makes good criticism and by extension good poetry. Of it Day writes: "no one can claim originality for the content of 'Essay on Criticism' but all must admit the incomparable mastery of verse and language." This copy retains the half-title which is often missing primarily because it was often used as part of the volume's wrappers. Our copy does lack the final leaf of ads as almost always with copies of this edition. The strikingly attractive binding done in an elaborately gilt style reminiscent of a Roger Payne design is the work of Riviere one of the foremost names among English binderies. Our copy has belonged to two notable collectors. According to Dickinson Hagen 1859-1918 was a collector whose library especially strong in English literature "reflected a highly developed intelligent connoisseurship." Beverly Chew wrote in the foreword to the catalogue for the Hagen sale at Anderson Galleries 13 May 1918 that the library which featured high spots bought at the Lefferts and Poor sales "was one of the best ever submitted to the public at auction." William A. Strutz 1934-2024 was a North Dakota attorney and passionate bibliophile who assembled a library of over 15000 rare and important literary works. Our first printing of "Essay on Criticism" is not easy to find in the attractive condition seen here. W. Lewis unknown
1711rif. ST20182London: W. Lewis 1711. FIRST EDITION First Issue. 280 x 152 mm. 8 1/8 x 6". 1 p.l. 43 1 pp. VERY PRETTY DARK GREEN CRUSHED MOROCCO ELABORATELY GILT IN PERIOD STYLE BY RIVIERE & SON stamp-signed on front turn-in covers with double frames formed of floral sprigs drawer handles and other small tools the frames enclosing an elegant central wreath; raised bands spine panels densely gilt with stippling floral tools radiating from small central flower gilt lettering turn-ins densely gilt with scrolling foliate tools all edges gilt. With an attractive woodcut headpiece and tailpiece; one foliated woodcut initial. Front pastedown with the bookplate of Winston Henry Hagen and book label of William A. Strutz. Griffith 2; Rothschild 1564; Foxon P806; Day "History of English Literature 1600-1837" pp. 73-4. Sheets uniformly a little toned because carefully washed the usual offsetting on facing flyleaves from turn-ins but a very pleasing copy--the text without signs of use and the exceptionally pretty binding lustrous and virtually unworn. This first printing of Alexander Pope’s first independent publication called by Day "one of the most quoted poems in English" offers a sumptuous binding in the style of the period retains its scarce original half-title and boasts an impressive provenance. Pope 1688-1744 composed "An Essay on Criticism" early in his career possibly when he was just 18. In this poem which introduced several expressions now common in the lexicon including "to err is human; to forgive divine" and "fools rush in where angels fear to tread" Pope provides his philosophy on what makes good criticism and by extension good poetry. Of it Day writes: "no one can claim originality for the content of 'Essay on Criticism' but all must admit the incomparable mastery of verse and language." This copy retains the half-title which is often missing primarily because it was often used as part of the volume's wrappers. Our copy does lack the final leaf of ads as almost always with copies of this edition. The strikingly attractive binding done in an elaborately gilt style reminiscent of a Roger Payne design is the work of Riviere one of the foremost names among English binderies. Our copy has belonged to two notable collectors. According to Dickinson Hagen 1859-1918 was a collector whose library especially strong in English literature "reflected a highly developed intelligent connoisseurship." Beverly Chew wrote in the foreword to the catalogue for the Hagen sale at Anderson Galleries 13 May 1918 that the library which featured high spots bought at the Lefferts and Poor sales "was one of the best ever submitted to the public at auction." William A. Strutz 1934-2024 was a North Dakota attorney and passionate bibliophile who assembled a library of over 15000 rare and important literary works. Our first printing of "Essay on Criticism" is not easy to find in the attractive condition seen here. W. Lewis unknown books
1833rif. PHO-2302Paris, Imprimerie Royale, Arthus Bertrand, au dépôt général de la marine, 1833-1839. 5 vol. in-8 (25,5x16,5cm) demi-chevrette rouge, dos à nerfs orné (reliure de l'époque), supplément lépidoptères broché de I. [2] ff.-xli-558-[1] pp. ; II. [2] ff.-481-[1] pp., grande carte dépliante (piqûres, coupures aux pliures sans manque) ; III. [2] ff.-510-[1] pp. ; IV. [2] ff.- 480 pp. ; V. [2] ff., 195-200 pp., Supplément Lépidoptères 30pp., 70 planches dont 61 soigneusement aquarellées. Rousseurs touchant principalement le texte et très peu les planches, mouillures claires par endroits au texte, feuillets volants pour le supplément. Sans les deux grands atlas historique et hydrographique, mais bien complet du très rare 5e volume d'histoire naturelle, paru ultérieurement qui manque presque toujours et complet des planches. Ce rarissime cinquième et dernier volume de texte, qui comporte 2 parties, renferme le rapport fait à l'Académie des sciences le 4 février 1833 sur les collections d'histoire naturelle recueillies pendant le voyage de la corvette La Favorite…, les Recherches sur les marsupiaux par Fortuné Eydoux et Laurent, la 2e partie Zoologie par Fortuné Eydoux et Paul Gervais, le supplément sur les Lépidoptères nouveaux par Feisthamel.
1735rif. ST15797London: Printed for G. Hawkins and sold by T. Cooper 1735. FIRST EDITION. ONE OF 750 COPIES. 263 x 207 mm. 10 1/4 x 8 1/8". 6 p.l. 106 pp. 1 leaf errata. SUPERB OLIVE GREEN CRUSHED MOROCCO BY RIVIERE & SON stamp-signed on front turn-in cover with lettered central panel surrounded by four onlaid sections of darker green morocco outer frame of leafy vines emanating from the tips of the fan-palm-shaped cornerpieces each of these compartments with a blind-stamped leaping stag on a stippled gold ground raised bands spine with gilt-ruled compartments gilt titling gilt-ruled turn-ins all edges gilt. In a somewhat worn fleece-lined burgundy buckram chemise and marbled paper slipcase. Engraved allegorical frontispiece featuring Diana and Apollo by Scotin after Gravelot. Front pastedown with morocco ex-libris of Alfred Barmore Maclay. Foxon S-562; Hayward 158; Rothschild 1932; Schwerdt II 166. ◆Leather on spine uniformly sunned to olive brown as expected with green morocco text perhaps lightly washed and pressed in keeping with bibliophilic fashion at the time of binding occasional faint marginal smudges otherwise fine internally and in a very lustrous binding with no signs of wear. This is the first edition of the most popular work by Somerville 1675-1742 a mock-heroic poem about hunting in an apt and very striking binding by a renowned English workshop. Divided into four books of Miltonic blank verse "The Chace" is considered to be one of the finest didactic poems of the first half of the 18th century. The text covers hounds and their kennels along with the hunting of hare fox and otter and there are digressions that bring in methods of the chase in exotic localities. Most of the hunts described are accompanied by dogs and set in England past or present but the poet occasionally strays far afield to describe lion stalking or the hunting habits of Genghis Khan. According to Schwerdt the book was "highly approved of by the first literary characters of his day." The extraordinarily handsome binding by Riviere incorporates the hunting motif with four stags appearing to chase one another around the covers. Riviere is one of the foremost names in English binding partly because the firm did consistently fine work and partly because it was so long in business. 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. Our volume comes from the library of Alfred Barmore Mackay 1871-1944 who after a very brief career at his family's bank devoted himself to collecting books art and antiques engaging in equestrian sports and designing a sumptuous garden at his Florida estate now a state park. Printed for G. Hawkins, and sold by T. Cooper unknown
1735rif. ST15797London: Printed for G. Hawkins and sold by T. Cooper 1735. FIRST EDITION. ONE OF 750 COPIES. 263 x 207 mm. 10 1/4 x 8 1/8". 6 p.l. 106 pp. 1 leaf errata. SUPERB OLIVE GREEN CRUSHED MOROCCO BY RIVIERE & SON stamp-signed on front turn-in cover with lettered central panel surrounded by four onlaid sections of darker green morocco outer frame of leafy vines emanating from the tips of the fan-palm-shaped cornerpieces each of these compartments with a blind-stamped leaping stag on a stippled gold ground raised bands spine with gilt-ruled compartments gilt titling gilt-ruled turn-ins all edges gilt. In a somewhat worn fleece-lined burgundy buckram chemise and marbled paper slipcase. Engraved allegorical frontispiece featuring Diana and Apollo by Scotin after Gravelot. Front pastedown with morocco ex-libris of Alfred Barmore Maclay. Foxon S-562; Hayward 158; Rothschild 1932; Schwerdt II 166. ◆Leather on spine uniformly sunned to olive brown as expected with green morocco text perhaps lightly washed and pressed in keeping with bibliophilic fashion at the time of binding occasional faint marginal smudges otherwise fine internally and in a very lustrous binding with no signs of wear. This is the first edition of the most popular work by Somerville 1675-1742 a mock-heroic poem about hunting in an apt and very striking binding by a renowned English workshop. Divided into four books of Miltonic blank verse "The Chace" is considered to be one of the finest didactic poems of the first half of the 18th century. The text covers hounds and their kennels along with the hunting of hare fox and otter and there are digressions that bring in methods of the chase in exotic localities. Most of the hunts described are accompanied by dogs and set in England past or present but the poet occasionally strays far afield to describe lion stalking or the hunting habits of Genghis Khan. According to Schwerdt the book was "highly approved of by the first literary characters of his day." The extraordinarily handsome binding by Riviere incorporates the hunting motif with four stags appearing to chase one another around the covers. Riviere is one of the foremost names in English binding partly because the firm did consistently fine work and partly because it was so long in business. 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. Our volume comes from the library of Alfred Barmore Mackay 1871-1944 who after a very brief career at his family's bank devoted himself to collecting books art and antiques engaging in equestrian sports and designing a sumptuous garden at his Florida estate now a state park. Printed for G. Hawkins, and sold by T. Cooper unknown books
1845rif. 0002564Good. 1845. On offer is a sensational remarkable group of 1845 manuscript depositions detailing the mutinous activity and desertions during a voyage of the whaling Bark Alto between 1844 - 1845. The eyewitness testimonies are comprised of 37 pages or so of handwritten fair copies; five 5 complete and one 1 incomplete deposition all by various crew members the five complete copies each personally attested and signed at the conclusion by George William Gordon American Consul at Rio de Janeiro May 20 1845. Blunt facts display the ferocity of emotions and simmering violence provide snippets like 'Palmer said to deponent that . . . he would put one of those dirk knives into him' abound throughout the testimonies. The depositions paint a picture of unbridled upset on the ship: lawlessless violence suspicions of poisoning desertion and a final critical comment from nature itself: a calamitous lightning strike makes for a final exclamation point to the awful whaling voyage. The vessel at the center of the events described herein the Alto was built in Tiverton Rhode Island we note that research indicates the Alto was in fact the only such vessel ever built at Tiverton in 1826 and was lost near the Falkland Islands in 1870. The National Maritime Digital Library date the events related in the documents occurred during the Alto's fourth voyage under the direction of Captain Nehemiah West whose deposition is included and which lasted from September 1844 to April 1847. A successful voyage commercially as the records further note that the Alto collected 339 barrels of sperm oil 304 barrels of baleen oil and 2700 lbs. of whale bone. As a group the depositions--from the Captain First Second and Third Mates and two boat helmsmen paint a vivid often harrowing picture of a voyage fraught with tension and danger. Researchers and historians will note that at least two of the depositions document an ominous shipboard discussion of the earlier well-documented mutiny aboard the vessel Globe out of Nantucket which took place in 1827. While the general outline of the events remains consistent throughout each of the deponents provides a unique personal perspective on what transpired often with the addition of unexpected or surprising details omitted by the others. Virtually all of the crew involved are identified by name multiple times throughout the documents two however are repeatedly described only as "Portuguese". In broad overview complaints from crew members that the vessel is leaky and unseaworthy leads to refusal to perform duties; the captain administers punishment including placing crew members in irons and striking them with a piece of "rattling" ratline; a small group of crew desert with one of the boats but are caught and jailed at St. Jago Cape Verde and shipped back to the U.S. on the U.S. Sloop of War Decatur; after a few months of relative calm unrest breaks out again this time with threats of violence to fellow crew members with clubs and "dirk knives"; in the most dramatic event eleven crew members desert with the remaining two boats taking with them a large store of the whaling equipment. The Alto its crew and equipment drastically reduced suffers the final indignity of a lightning strike "breaking and splitting" the mainmast but is able to hobble into Rio de Janeiro where these eyewitness accounts were given to the American Consul and preserved in the present documents. Here is a snippet from the deposition of helmsman William Williams approx. 8 pages on two pairs of conjugate leaves: "William Williams . . . deposed as follows. . . . That he was born in the County of Essex in England is 29 years of age and a naturalized citizen of the United States was naturalized at Boston Mass. in July 1842. That he shipped on board the Barque 'Alto'--Nehemiah West Master at New Bedford in August 1844 as Boat steerer to proceed on a Whaling Voyage. That the Vessel sailed on the 3rd September following. That 14 or 15 days after the Vessel went out to sea all the foremost hands refused duty--alleging that the Vessel was leaky. On their refusing duty Captain West interrogated each of them separately and three of them returned to duty and eleven still refused and were sent below where they were kept about 48 hours. While the eleven men were below as aforesaid they experienced two very heavy squalls but none of said men offered to return to duty--but on the other hand made sport of them that were at work. After they had been below deck 24 hours the Master went forward and requested four of the men to come on deck. They refused to come unless all were allowed to some on deck at a time--and after a good many threats on the part of the men the Master told them that if the men he had called did not come on deck that he would have the forecastle smoked to force them out. Soon after four came on deck as the Master had directed and still refusing to go to duty on being called upon the deck and refusing duty were put in Irons and the others one being called upon deck and refusing duty were seized in the rigging there being no Irons to put upon them. That at New Bedford before sailing one of the men named Spencer who had shipped deserted and another man named Charles Shane came on board in his place--but Shane's name was not put on the Papers. That when the men were called up as aforesaid said Shane took the ground that his name was not upon the Shipping Paper and therefore he would not go to duty and obey the Master--upon which the Master gave him four blows with a piece of Rattling i.e. part of the ratline. George Ritter also who was supposed to be the instigator in the men's refusing duty and who was insolent to the Master also receive three strokes with the Rattling. Another man the steward named James Wilson also got three blows with the Rattling for insolence to the Captain. He said that he never was flogged on board of a Blubber Hunter although he had been on board of a Man of War. No others were flogged or punished in any way and they all returned to duty." Scattered light soiling a bit of staining and handling wear creases; some tears tiny holes and small chips mostly confined to edges; no substantial losses; otherwise very good to fine overall the writing dark and distinct. Overall G.; Manuscript; 4to - over 9¾" - 12" tall; KEYWORDS: HISTORY OF WHALING SHIP MUTINY BARK ALTO NEW BEDFORD MASSACHUSETTS WHALERS MUTINEERS DESERTERS BARQUE MARINE NAUTICAL NAVAL GEORGE WILLIAM GORDON AMERICAN CONSUL AT RIO DE JANEIRO CAPTAIN NEHEMIAH WEST TIVERTON RHODE ISLAND MUTINY ABOARD THE VESSEL GLOBE NANTUCKET AMERICANAHANDWRITTEN MANUSCRIPT DOCUMENT LETTER AUTOGRAPH WRITER HAND WRITTEN DOCUMENTS SIGNED LETTERS MANUSCRIPTS HISTORICAL HOLOGRAPH WRITERS AUTOGRAPHS PERSONAL MEMOIR MEMORIAL AMERICANA ANTIQUITÉ CONTRAT VÉLIN DOCUMENT MANUSCRIT PAPIER ANTIKE BRIEF PERGAMENT DOKUMENT MANUSKRIPT PAPIER OGGETTO D'ANTIQUARIATO ATTO VELINA DOCUMENTO MANOSCRITTO CARTA ANTIGÜEDAD HECHO VITELA DOCUMENTO MANUSCRITO PAPEL . unknown
rif. LCS-17951Le présent exemplaire fait partie des 288 exemplaires imprimés sur papier vélin à la cuve des manufactures Blanchet et Kléber et porte le n°83. Paris, L’édition d’art, H. Piazza, s.d. [1913]. In-4 de (2) ff.bl., 179 pp., (3) ff. Couverture supérieure, pp. 51-52, p. 107 et pp. 35-36 répétées deux fois à la fin. Conservé dans une reliure très raffinée spécialement exécutée pour cet ouvrage, veau ivoire en box mosaïqué décoré sur chaque plat d'une grande composition figurative dans les tons rouge, rose, orange et vert, figurant une scène avec un dragon, dos lisse, non rogné, tranche supérieure dorée, couverture et dos conservés. Reliure signée Georges Baudin. 229 x 159 mm.
rif. 05208Oxford: The Clarendon Press 1925. The True Art of Memory is the Art of Attention" Samuel Johnson A Superb Cosway Binding with a Remarkable Portrait by Miss C.B. Currie of Dr. Samuel Johnson COSWAY BINDING. RIVIÈRE & SON binders. MISS C.B. CURRIE miniaturist. A Bibliography of Samuel Johnson by William Prideaux Courtney and David Nichol Smith. A Reissue of the Edition of 1915 Illustrated with Facsimiles. Oxford at the Clarendon Press 1925. Limited to 350 copies. Octavo 8 3/4 x 5 1/2 inches; 223 x 140 mm. i-viii 1-186 pp. Thirty-seven facsimile plates. Limitation statement at front "This is No. 926 of the Cosway Bindings invented by J. H. Stonehouse with Miniatures on Ivory by Miss Currie. Signed in black ink 'J.H. Stonehouse' Inventor. 'C.B. Currie' Artist." Bound by Rivière & Son in full dark green crushed levant morocco. Covers with gilt double-rule border the front cover with a superb large rectangular portrait miniature set under beveled glass measuring 4 7/8 x 3 7/8 inches; 123 x 98 mm. of a mature Dr. Samuel Johnson after Sir Joshua Reynolds by Miss C.B. Currie within an elaborate gilt foliate frame. Rear cover with gilt double-rule border and large decorative gilt foliate corner pieces. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double gilt-ruled board edges decorative gilt turn-ins green moiré silk liners and endleaves top edge gilt others uncut. Stamp-signed by the binders on front turn-in: "Bound by Rivière & Son London." Stamped-signed by the artist on rear liner: Miniatures by C.B. Currie." Additionally signed on the upper and lower board edges: "Cosway Binding" and "Invented by J.H. Stonehouse." An exceptionally handsome and remarkably well-preserved Cosway binding distinguished by one of Miss C.B. Currie's finest portrait miniatures depicting Dr. Samuel Johnson after Sir Joshua Reynolds. Housed in a felt-lined green cloth clamshell case spine with leather label lettered in gilt. The unusually large miniature is particularly appropriate for what remains one of the standard bibliographies of Johnson transforming an important work of scholarship into a fitting tribute to England's greatest man of letters. Cosway Bindings: In the first decade of the twentieth century the London bookselling firm of Henry Sotheran & Co. introduced a type of binding that was decorative had historic associations and catered to the level of quality expected by connoisseurs at the time. Between 1902 and 1903 John Harrison Stonehouse 1864-1937 managing director of Sotheran's created what came to be referred to as "Cosway bindings." These were named after the celebrated eighteenth-century English portrait miniaturist Richard Cosway 1742-1821. Cosway bindings are distinguished by their attractive finely painted miniatures that are protected by glass and inset into the covers or doublures inside covers of elegantly tooled books. Stonehouse's success with the bindings was due in part to his employment of skilled miniaturist Miss C. B. Currie. It has been estimated that Miss Currie painted several thousand miniatures recognized for their delicate rendering and precision for over nine hundred bindings before her death circa 1940. For many of the more lavish Cosway bindings Currie painted multiple portraits. Occasionally landscapes and other subjects adorn the covers or doublures. To enhance Currie's miniatures Stonehouse arranged for the London firm of Rivière & Son to produce a variety of high-quality single-volume bindings. One of the best large-scale binderies active in the first quarter of the twentieth century Rivière & Son integrated the miniatures into bindings for both previously published editions and new works. Stonehouse marketed Sotheran's finished Cosway-bound volumes primarily to booksellers in the United States or to American agents. Before Sotheran's 1911 catalogue in which they identified the miniature artist as Miss Currie the miniatures are attributable only by their recognizable style. By 1913 many of the bindings were distinguished by a limitation statement on a colophon leaf where a publisher's emblem or trademark is placed which provides the number of the Cosway binding with facsimile signatures of Stonehouse and Miss Currie. The customary gilt-stamped signature on the turn-in is generally lettered: "Bound by Rivière & Son from Designs by J. H. Stonehouse" and "Miniatures by C. B. Currie." Caroline Billin Currie who professionally used the surname "Currie" December 12 1849 - April 2 1940 was the miniaturist artist of all the genuine Cosway bindings. Born in Cornwall England Caroline Billin Curry was also one of the most prominent fore-edge artists in the twentieth-century. A master of the art of miniature painting she excelled as a copyist working for Henry Sotheran Booksellers London. She became famous for her miniature paintings applied to two art forms. First mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book - called a fore-edge painting. Oxford: The Clarendon Press, 1925 unknown
rif. 05209London: Hutchinson & Co 1934. Happiness is the one Thing we Queens can never have." Catherine de' Medici A Superb Cosway Binding with an Exceptional Portrait Miniature of Catherine de' Medici COSWAY BINDING. RIVIÈRE & SON binders. MISS C.B. CURRIE miniaturist. WATSON Francis. The Life and Times of Catherine de' Medici. With 16 Illustrations. London: Hutchinson & Co 1934. First edition. Octavo 8 7/8 x 5 3/4 inches; 226 x 146 mm. 1-287 1 blank pp. Photogravure frontispiece with original tissue guard and fifteen photogravure plates. Limitation statement at front "This is No. 912 of the Cosway Bindings invented by J. H. Stonehouse with Miniatures on Ivory by Miss Currie. Signed in blue & black ink 'J.H. Stonehouse' Inventor. 'C.B. Currie' Artist." Bound by Rivière & Son in full maroon crushed levant morocco. Covers with gilt double-rule border the front cover set with an exceptionally large oval portrait miniature set under glass measuring 4 3/4 x 3 3/4 inches; 121 x 95 mm. of Catherine de' Medici by Miss C.B. Currie within an elaborate gilt scroll design. Rear cover with double-rule borders and broken gilt fillet border with gilt rococo corner ornaments. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double gilt-ruled board edges decorative gilt turn-ins light blue moiré silk liners and endleaves All edges gilt. Stamp-signed by the binders on front turn-in: "Bound by Rivière & Son." Stamped-signed by the artist on rear liner: Miniatures by C.B. Currie." Additionally signed on the upper and lower board edges: "Cosway Binding" and "Invented by J.H. Stonehouse." Housed in a felt-lined quarter red morocco over red cloth boards clamshell case by Zaehnsdorf spine with five raised bands lettered in gilt in compartments. An exceptionally fine and completely authentic Cosway binding from the library of Paul Edward Chevalier with his circular red leather bookplate on front blank. Provenance: This copy which formed part of the celebrated Paul Edward Chevalier Collection of English Twentieth-Century Bookbindings and was sold at Christie's New York 9 November 1990 lot 72. Few historical figures lend themselves more naturally to the Cosway tradition than Catherine de' Medici. Patron of the arts queen regent diplomat and one of the most fascinating personalities of Renaissance Europe she has inspired generations of historians and artists alike. Miss Currie's richly painted miniature captures precisely the regal dignity and enigmatic character for which Catherine remains famous. Cosway Bindings: In the first decade of the twentieth century the London bookselling firm of Henry Sotheran & Co. introduced a type of binding that was decorative had historic associations and catered to the level of quality expected by connoisseurs at the time. Between 1902 and 1903 John Harrison Stonehouse 1864-1937 managing director of Sotheran's created what came to be referred to as "Cosway bindings." These were named after the celebrated eighteenth-century English portrait miniaturist Richard Cosway 1742-1821. Cosway bindings are distinguished by their attractive finely painted miniatures that are protected by glass and inset into the covers or doublures inside covers of elegantly tooled books. Stonehouse's success with the bindings was due in part to his employment of skilled miniaturist Miss C. B. Currie. It has been estimated that Miss Currie painted several thousand miniatures recognized for their delicate rendering and precision for over nine hundred bindings before her death circa 1940. For many of the more lavish Cosway bindings Currie painted multiple portraits. Occasionally landscapes and other subjects adorn the covers or doublures. To enhance Currie's miniatures Stonehouse arranged for the London firm of Rivière & Son to produce a variety of high-quality single-volume bindings. One of the best large-scale binderies active in the first quarter of the twentieth century Rivière & Son integrated the miniatures into bindings for both previously published editions and new works. Stonehouse marketed Sotheran's finished Cosway-bound volumes primarily to booksellers in the United States or to American agents. Before Sotheran's 1911 catalogue in which they identified the miniature artist as Miss Currie the miniatures are attributable only by their recognizable style. By 1913 many of the bindings were distinguished by a limitation statement on a colophon leaf where a publisher's emblem or trademark is placed which provides the number of the Cosway binding with facsimile signatures of Stonehouse and Miss Currie. The customary gilt-stamped signature on the turn-in is generally lettered: "Bound by Rivière & Son from Designs by J. H. Stonehouse" and "Miniatures by C. B. Currie." Caroline Billin Currie who professionally used the surname "Currie" December 12 1849 - April 2 1940 was the miniaturist artist of all the genuine Cosway bindings. Born in Cornwall England Caroline Billin Curry was also one of the most prominent fore-edge artists in the twentieth-century. A master of the art of miniature painting she excelled as a copyist working for Henry Sotheran Booksellers London. She became famous for her miniature paintings applied to two art forms. First mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book - called a fore-edge painting. Catherine de' Medici 1519-1589 was an Italian noblewoman. She also was queen consort of France from 1547 until 1559 by marriage to King Henry II and mother of kings Francis II Charles IX and Henry III. The years during which her sons reigned have been called "the age of Catherine de' Medici" as she had extensive if at times varying influence in the political life of France. London: Hutchinson & Co, [1934] unknown
rif. 05208Oxford: The Clarendon Press 1925. The True Art of Memory is the Art of Attention" Samuel Johnson A Superb Cosway Binding with a Remarkable Portrait by Miss C.B. Currie of Dr. Samuel Johnson COSWAY BINDING. RIVIÈRE & SON binders. MISS C.B. CURRIE miniaturist. A Bibliography of Samuel Johnson by William Prideaux Courtney and David Nichol Smith. A Reissue of the Edition of 1915 Illustrated with Facsimiles. Oxford at the Clarendon Press 1925. Limited to 350 copies. Octavo 8 3/4 x 5 1/2 inches; 223 x 140 mm. i-viii 1-186 pp. Thirty-seven facsimile plates. Limitation statement at front "This is No. 926 of the Cosway Bindings invented by J. H. Stonehouse with Miniatures on Ivory by Miss Currie. Signed in black ink 'J.H. Stonehouse' Inventor. 'C.B. Currie' Artist." Bound by Rivière & Son in full dark green crushed levant morocco. Covers with gilt double-rule border the front cover with a superb large rectangular portrait miniature set under beveled glass measuring 4 7/8 x 3 7/8 inches; 123 x 98 mm. of a mature Dr. Samuel Johnson after Sir Joshua Reynolds by Miss C.B. Currie within an elaborate gilt foliate frame. Rear cover with gilt double-rule border and large decorative gilt foliate corner pieces. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double gilt-ruled board edges decorative gilt turn-ins green moiré silk liners and endleaves top edge gilt others uncut. Stamp-signed by the binders on front turn-in: "Bound by Rivière & Son London." Stamped-signed by the artist on rear liner: Miniatures by C.B. Currie." Additionally signed on the upper and lower board edges: "Cosway Binding" and "Invented by J.H. Stonehouse." An exceptionally handsome and remarkably well-preserved Cosway binding distinguished by one of Miss C.B. Currie's finest portrait miniatures depicting Dr. Samuel Johnson after Sir Joshua Reynolds. Housed in a felt-lined green cloth clamshell case spine with leather label lettered in gilt. The unusually large miniature is particularly appropriate for what remains one of the standard bibliographies of Johnson transforming an important work of scholarship into a fitting tribute to England's greatest man of letters. Cosway Bindings: In the first decade of the twentieth century the London bookselling firm of Henry Sotheran & Co. introduced a type of binding that was decorative had historic associations and catered to the level of quality expected by connoisseurs at the time. Between 1902 and 1903 John Harrison Stonehouse 1864-1937 managing director of Sotheran's created what came to be referred to as "Cosway bindings." These were named after the celebrated eighteenth-century English portrait miniaturist Richard Cosway 1742-1821. Cosway bindings are distinguished by their attractive finely painted miniatures that are protected by glass and inset into the covers or doublures inside covers of elegantly tooled books. Stonehouse's success with the bindings was due in part to his employment of skilled miniaturist Miss C. B. Currie. It has been estimated that Miss Currie painted several thousand miniatures recognized for their delicate rendering and precision for over nine hundred bindings before her death circa 1940. For many of the more lavish Cosway bindings Currie painted multiple portraits. Occasionally landscapes and other subjects adorn the covers or doublures. To enhance Currie's miniatures Stonehouse arranged for the London firm of Rivière & Son to produce a variety of high-quality single-volume bindings. One of the best large-scale binderies active in the first quarter of the twentieth century Rivière & Son integrated the miniatures into bindings for both previously published editions and new works. Stonehouse marketed Sotheran's finished Cosway-bound volumes primarily to booksellers in the United States or to American agents. Before Sotheran's 1911 catalogue in which they identified the miniature artist as Miss Currie the miniatures are attributable only by their recognizable style. By 1913 many of the bindings were distinguished by a limitation statement on a colophon leaf where a publisher's emblem or trademark is placed which provides the number of the Cosway binding with facsimile signatures of Stonehouse and Miss Currie. The customary gilt-stamped signature on the turn-in is generally lettered: "Bound by Rivière & Son from Designs by J. H. Stonehouse" and "Miniatures by C. B. Currie." Caroline Billin Currie who professionally used the surname "Currie" December 12 1849 - April 2 1940 was the miniaturist artist of all the genuine Cosway bindings. Born in Cornwall England Caroline Billin Curry was also one of the most prominent fore-edge artists in the twentieth-century. A master of the art of miniature painting she excelled as a copyist working for Henry Sotheran Booksellers London. She became famous for her miniature paintings applied to two art forms. First mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book - called a fore-edge painting. Oxford: The Clarendon Press, 1925 unknown books
rif. 05209London: Hutchinson & Co 1934. Happiness is the one Thing we Queens can never have." Catherine de' Medici A Superb Cosway Binding with an Exceptional Portrait Miniature of Catherine de' Medici COSWAY BINDING. RIVIÈRE & SON binders. MISS C.B. CURRIE miniaturist. WATSON Francis. The Life and Times of Catherine de' Medici. With 16 Illustrations. London: Hutchinson & Co 1934. First edition. Octavo 8 7/8 x 5 3/4 inches; 226 x 146 mm. 1-287 1 blank pp. Photogravure frontispiece with original tissue guard and fifteen photogravure plates. Limitation statement at front "This is No. 912 of the Cosway Bindings invented by J. H. Stonehouse with Miniatures on Ivory by Miss Currie. Signed in blue & black ink 'J.H. Stonehouse' Inventor. 'C.B. Currie' Artist." Bound by Rivière & Son in full maroon crushed levant morocco. Covers with gilt double-rule border the front cover set with an exceptionally large oval portrait miniature set under glass measuring 4 3/4 x 3 3/4 inches; 121 x 95 mm. of Catherine de' Medici by Miss C.B. Currie within an elaborate gilt scroll design. Rear cover with double-rule borders and broken gilt fillet border with gilt rococo corner ornaments. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double gilt-ruled board edges decorative gilt turn-ins light blue moiré silk liners and endleaves All edges gilt. Stamp-signed by the binders on front turn-in: "Bound by Rivière & Son." Stamped-signed by the artist on rear liner: Miniatures by C.B. Currie." Additionally signed on the upper and lower board edges: "Cosway Binding" and "Invented by J.H. Stonehouse." Housed in a felt-lined quarter red morocco over red cloth boards clamshell case by Zaehnsdorf spine with five raised bands lettered in gilt in compartments. An exceptionally fine and completely authentic Cosway binding from the library of Paul Edward Chevalier with his circular red leather bookplate on front blank. Provenance: This copy which formed part of the celebrated Paul Edward Chevalier Collection of English Twentieth-Century Bookbindings and was sold at Christie's New York 9 November 1990 lot 72. Few historical figures lend themselves more naturally to the Cosway tradition than Catherine de' Medici. Patron of the arts queen regent diplomat and one of the most fascinating personalities of Renaissance Europe she has inspired generations of historians and artists alike. Miss Currie's richly painted miniature captures precisely the regal dignity and enigmatic character for which Catherine remains famous. Cosway Bindings: In the first decade of the twentieth century the London bookselling firm of Henry Sotheran & Co. introduced a type of binding that was decorative had historic associations and catered to the level of quality expected by connoisseurs at the time. Between 1902 and 1903 John Harrison Stonehouse 1864-1937 managing director of Sotheran's created what came to be referred to as "Cosway bindings." These were named after the celebrated eighteenth-century English portrait miniaturist Richard Cosway 1742-1821. Cosway bindings are distinguished by their attractive finely painted miniatures that are protected by glass and inset into the covers or doublures inside covers of elegantly tooled books. Stonehouse's success with the bindings was due in part to his employment of skilled miniaturist Miss C. B. Currie. It has been estimated that Miss Currie painted several thousand miniatures recognized for their delicate rendering and precision for over nine hundred bindings before her death circa 1940. For many of the more lavish Cosway bindings Currie painted multiple portraits. Occasionally landscapes and other subjects adorn the covers or doublures. To enhance Currie's miniatures Stonehouse arranged for the London firm of Rivière & Son to produce a variety of high-quality single-volume bindings. One of the best large-scale binderies active in the first quarter of the twentieth century Rivière & Son integrated the miniatures into bindings for both previously published editions and new works. Stonehouse marketed Sotheran's finished Cosway-bound volumes primarily to booksellers in the United States or to American agents. Before Sotheran's 1911 catalogue in which they identified the miniature artist as Miss Currie the miniatures are attributable only by their recognizable style. By 1913 many of the bindings were distinguished by a limitation statement on a colophon leaf where a publisher's emblem or trademark is placed which provides the number of the Cosway binding with facsimile signatures of Stonehouse and Miss Currie. The customary gilt-stamped signature on the turn-in is generally lettered: "Bound by Rivière & Son from Designs by J. H. Stonehouse" and "Miniatures by C. B. Currie." Caroline Billin Currie who professionally used the surname "Currie" December 12 1849 - April 2 1940 was the miniaturist artist of all the genuine Cosway bindings. Born in Cornwall England Caroline Billin Curry was also one of the most prominent fore-edge artists in the twentieth-century. A master of the art of miniature painting she excelled as a copyist working for Henry Sotheran Booksellers London. She became famous for her miniature paintings applied to two art forms. First mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book - called a fore-edge painting. Catherine de' Medici 1519-1589 was an Italian noblewoman. She also was queen consort of France from 1547 until 1559 by marriage to King Henry II and mother of kings Francis II Charles IX and Henry III. The years during which her sons reigned have been called "the age of Catherine de' Medici" as she had extensive if at times varying influence in the political life of France. London: Hutchinson & Co, [1934] unknown books
1578rif. 10732Rennes: J. du Clos for P. Le Bret 1578. Contemporary vellum soiled and stained later manuscript spine title evidence of four pigskin ties slightly overlapping edges ruled in red. Only Antiquarian Edition. Half in French and half in Latin the Demosterion presents an introduction to Paracelsian medicine a distillation of its principles into three hundred bilingual aphorisms a work on divination a dictionary of terms a chiromantic essay and a balneological and mineralogical description of Brittany. Together the texts address alchemy geomancy astrology ethics dietetics physiology pathology and cures for ulcers leprosy edema plague gout and paralysis. Schematic the first plate outlines ailments and their cures according to Paracelsian principles. The second plate has a large woodcut with the Moon phases of a sidereal month noting enterprises and therapies favored on each day along with astrological influences. In good condition ink spots on the plates; two contemporary title inscriptions one dated 1579 19th-century manuscript shelf labels. ¶Trevor-Roper “The sieur de la Rivière Paracelsian physician to Henri IV” in Science Medicine and Society in the Renaissance: Essays to Honor W. Pagel ed. Debus II: 227-50; Baudry Contribution à l’étude du paracelsisme en France au XVIe siècle 1560-1580…Le Demosterion de Roch Le Baillif passim & 2172; Sudhoff Bibliographia paracelsica 181a n.; Duveen Bibliotheca alchemica 343-4 “very rare”; Brunet III: 897 “rare et curieux”. [J. du Clos] for P. Le Bret unknown
1914rif. 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
1914rif. 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
rif. des12mlt2Joli petit dessin aquarellé, en très bon état, malgré la présence de quelques rousseurs au recto et épidermures et tâches au verso. Dimension 11 x 17 cm. Dessin école du Nord.
QUIMPERLE, Edité par l'Auteur - 1982 - Edition Originale numérotée survergé ivoire, celui-ci N° 100 - In-4 - Broché - Couverture illustrée - Frontispice en couleurs - Illustrations de Yann LE FEVRE - 198 pages + Table - A l'état de neuf - Envoi manuscrit de l'auteur - Envoi rapide et soigné Edition originale d'un ouvrage, fruit d'une longue enquête effectuée au bord des cours d'au de Bretagne et de Basse Normandie. L'auteur avait déjà co-signé (avec Pequegnot) en 1971 "Pêche à la mouche en Bretagne".
