gold vellum (Mehr als 1.200 Ergebnisse)

Zustand: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Vellum. Zustand: Very Good Indeed. Sidney H. Meteyard (illustrator). First edition. A beautifully illustrated Limited Edition copy of Longfellow's epic poem about Lucifer, signed and illustrated in colour by Sidney H. Meteyard. A scarce, signed, Limited Edition of this poem from American Fireside poet Henry Wadsworth Longfellow, featuring the beautiful tipped in colour plates of English artist Sidney Harold Meteyard.No. 74 of 250 copies printed, signed by Meteyard to the limitation page. Meteyard worked in a late Pre-Raphaelite style heavily influenced by the Arts and Crafts Movement, with this being his most notable publication.Illustrated with twenty-five vibrant tipped in colour plates from Meteyard, each retaining their original captioned tissue guard. Collated, complete.First published in 1851, Longfellow's epic poem follows a tormented Lucifer.With the former owner's inscription of G. M. Hamblin to the front free endpaper. In the publisher's original full vellum binding, with gilt detailing. A touch of discolouration to back strip, with minor shelf wear to back strip tail. Former owner's inscription to head of front free endpaper. Internally, generally firmly bound, though slightly strained to centre of text block. Signed and numbered to limitation page. Pages generally clean and bright, with the odd area of light spotting. With the original silk tie loosely inserted to the rear, separated into three sections. Very Good Indeed. signed by author. book.

Zustand: Fair. The front and back cover is gauffered and the title which is located on the front cover is illuminated in gold writing which is only written as a half title. The design on the front cover is also illuminated in gold. The Spine follows suit and also has the title written upon it immuninated in gold, as is the gauffered designs. The tail of the spine has been edge worn. The inside end page has been inscribed and the title page is protected by a vellum. Opposite the title page, there is a colour map. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,800grams, ISBN:

Hardcover. 16mo. 16cm, viii,176,(1)pp., frontis plate, japon vellum backed blue cloth boards, gilt spine title on blue cloth label, t.e.g., very good to fine (lgc). ~ A selection of short poems for every day of the year.

Zustand: Fair. The front, back and spine are all gauffered with the title located on the spine. This is illuminated in gold. Opposite the title page, there is a portrate picture protected by a sheet of vellum. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:

Zustand: Fair. 4th Edition. The front, back and spine has been gauffered. The title is located on the spine and is illuminated in gold writing. Opposite the title page, there is a portrate picture and is protected by a sheet of vellum to prevent discolouration. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,650grams, ISBN:

Vellum. Zustand: Fine. Zustand des Schutzumschlags: near fine. Rackham, Arthur (illustrator). First and Limited Edition. First edition with Rackham illustrations, one of 575 copies, octavo size, 48 pp., signed by Arthur Rackham. A perfect convergence of "one of the earliest English examples of a fantasy written specifically for a child" (which may have had a direct effect upon George MacDonald and, subsequently, C. S. Lewis and J. R. R. Tolkien) written by the truly brilliant writer John Ruskin (1819-1900), author, art critic, and social thinker. Ruskin wrote the story for the then twelve-year old Effie Gray, later to become his wife, who challenged her friend Mr. Ruskin to write a fairy story, as it was "the least likely task for him to fulfill" - he fulfilled it wonderfully, and the story has remained a favourite with children ever since. Wonderfully illustrated by the unparalleled Arthur Rackham (1867-1939), whose "imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening" (n. b., quotes from Carpenter, "The Oxford Companion to Children's Literature", p. 294 and Houfe, "The Dictionary of 19 Century British Book Illustrators", p. 268). With four full-page illustrations in full colour and fifteen drawings in black and white by Arthur Rackham, this copy housed in the original publisher's slipcase (with the limitation number matching that in the volume), and with the original glassine wrapper. ___DESCRIPTION: Full limp vellum, gold lettering on the front, top edge gilt, fore- and bottom edges uncut, green pictorial endpapers, limitation statement on the verso of the half-title page, frontispiece a four-colour illustration, title page in red and black with vignette in the same colours, four full-colour illustrations (including frontispiece) throughout, the black and white drawings scattered through the text; octavo size (9.25" by 6"), pagination: [1-4] 5-47 [48], one of 550 copies, this number 287 (total edition 570, with 20 copies not for sale), signed by Arthur Rackham on the limitation page. In the original glassine jacket, housed in the publisher's plain original slipcase, paper spine label with brown lettering giving the title and illustrator, with the limitation number of 287 handwritten onto the label. ___CONDITION: Volume fine, the vellum binding clean and smooth, the corners straight and unrubbed, the text block strong and the hinges solid, the interior pages clean and bright with light foxing only to the endpapers, several signatures unopened, and entirely free of prior owner markings; some light dustiness to the top fore-edge corner of the text block, else fine. The glassine wrapper near fine with minor overall wear (no rips or tears), sunned around the spine. Slipcase near fine, strong and sturdy, without splits or tears, with light overall soiling and some edgewear to the paper spine label. ___CITATIONS: Riall p. 176; Latimore & Haskell p. 67. ___POSTAGE: International customers please note that additional postage may apply, please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions, we are here to help.

Vellum. Zustand: Near Fine. Arthur Rackham (illustrator). A very pleasing copy of the 1932 signed/limited. #451 OF 570 COPIES SIGNED BY ARTHUR RACKHAM at the limitation and bound in a full vellum, with bright gilt-titling to the front panel. Clean and easily VG+ to Near Fine, with much less of the bowing to the vellum than one usually encounters in this title. Octavo, 4 full-page color plates by Rackham plus lovely Rackham-illustrated pastedowns and endsheets. Also includes a sharp. well-preserved example of the publisher's printed slipcase.

Vellum. Zustand: Very good. 32mo size, 64 pp. Nora Hopper Chesson (1871-1906) participated in the Irish literary movement of the 1890s, and her work, "Ballads in Prose" (1894) would prove to be an influence on that most Irish of poets, W.B. Yeats. This small volume of her poems, undated but likely ca. 1895-1900, was published by the famous publishing house of Raphael Tuck and Sons. Established in 1866, the name "Raphael Tuck" became synonymous with children's books, greeting cards and postcards. Scarce in the marketplace; as of this writing, we see only one other copy available online. ___DESCRIPTION: Bound in vellum boards with green rules and decorations on the front which surround an oval colour pastedown, green lettering on the spine, series name on the back board in green, frontis a full-colour lithograph ("Garden Glories"), title page with richly decorated horizontal borders; 32mo size (4" by 2 3/4"), pagination: [1-3] 4-64 (note that page count excludes both the frontis and the decorated title page). ___CONDITION: Very good overall, the corners straight and unrubbed, the front pastedown with minimal rubbing, the binding strong with solid hinges, the interior is clean and bright, and the sole prior owner marking being a vintage gift inscription at the top of the front free endpaper; some overall soiling to the vellum covers, the spine with two cracks, the front joint cracked but holding firm, a shallow crease to the rear board. A fragile publication, in better condition than usually found. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Zustand: New. This work presents Juan Rulfo s cinematic second novel in English for the first time ever alongside several stories never before translated.&Uumlber den AutorJuan Rulfo (1917-1986) was one of Mexico s premier authors of the twentiet.

Zustand: Fair. The front and back pages are gauffered but both covers are faded and discoloured in places, more towards the edge. The title is located on the spine and is written as a half title. This is illuminated in gold. On the inside of the front cover, the previous library has reinforced the book with card and there is a sticker displaying an emblum and the previous owners name. Opposite the title page, there is a colour pictorial photograph protected by a sheet of vellum so to prevent discolouration. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,950grams, ISBN:

Zustand: Fair. The front and back pages are gauffered but both covers are faded and discoloured in places, more towards the edge. The title is located on the spine and is written as a half title. This is illuminated in gold. On the inside of the front cover, the previous library has reinforced the book with card and there is a sticker displaying an emblum and the previous owners name. Opposite the title page, there is a colour pictorial photograph protected by a sheet of vellum so to prevent discolouration. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,950grams, ISBN:

München, F. Bruckmann, (1920). 57 S. Mit lithograph. Titel u. 16 auf der Handpresse in den Text eingedruckten lithograph. Illustr. Gr.-8vo (ca. 26 x 21,5 cm). OHPgt. mit VDeckel-Illustr. Nr. 130 von 150 numerierten Exemplaren der Normalausgabe auf echt Bütten (GA 200), im Druckvermerk SIGNIERT von Max Slevogt. - Rümann 108 c. - Erste Ausgabe des Märchens, das der Kunsthistoriker Fritz (eigtl. Friedrich) Wichert (1878-1951), Direktor der Städtischen Kunsthalle Mannheim während des Ersten Weltkriegs für seine Kinder schrieb u. das Slevogt u.a. zu seinen "Zauberflöten"-Illustrationen inspirierte. - Rücken angestaubt, Deckel etwas gebräunt; gutes Exemplar.

Zustand: Used - Very Good. 1902. Decorative slipcase, Japan vellum wraps, 12mo, 95 pp. From a limited run of 425 copies. Slipcase has shelf wear, including tear along top edge. Book itself is Very Good, with minimal shelf wear, tight binding and clean, bright pages.

Halbpergament / Half Vellum. Zustand: Guter Zustand. Zustand des Schutzumschlags: Kein Schutzumschlag. 32 seiten; Halbpergamenteinband mit Rückentitel und Buchdeckelsignet in Gold, Kopfgoldschnitt; gutes und sauberes Exemplar;

245 x 170 mm. (9 1/2 x 6 3/4"). Verso with one- and two-line initials painted gold on a pink or blue ground and a full metalcut border featuring several roundels with scenes from the life of Christ, recto with A FULL-PAGE METALCUT MINIATURE, BEAUTIFULLY COLORED BY A CONTEMPORARY HAND, depicting the large, reclining figure of Jesse at the bottom of the image, a green, branching tree emerging from his chest, each branch holding a smaller figure representing the lineage of Christ (12 figures in total), and at the very top a golden medallion rimmed with orange, emitting gold rays and containing the image of the Virgin and Child, all this on a deep blue ground dotted with gold, and surrounded by an architectural frame painted gold. â Gold architectural border a bit tarnished (darkening most of the uncolored metalcut border on verso), tiny losses in the blue painted background, other minor imperfections, but on the whole an excellent specimen, the main part of the skillfully painted miniature vibrant and still very well preserved. This is an attractive example of a printed leaf with contemporary hand coloring, richly hued and with fine attention to detail. The subject depicted here is the Tree of Jesse, showing the lineage of Christ and demonstrating His royal descent from Jesse of Bethlehem (the father of King David), down to the Virgin Mary. The lines immediately below the miniature, from Isaiah 11:1, help to explain some of the iconography: "Et egredietur virga de radice Jesse, et flos de radice ejus ascendet." ["And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root."] According to biblical tradition, the "root" here is Jesse, the "rod" ("virga" in Latin) is understood to be the Virgin Mary, and the "flower" is Christ Himself. Though the Tree can show as many as 43 generations following Jesse, the number of figures is often truncated, as here, due to the spatial constraints of the picture plane. The 12 generations shown in the present miniature are highly individualized, each with its own garb, expression, and posture. The contemporary hand that colored this leaf took great care to preserve these details and, through the use of a consistent and harmonious color palette of orange and light blue highlighted with gold, creates a cohesive and visually pleasing family tree.

223 x 148 mm. (8 7/8 x 5 3/4"). 50 pp. [2] leaves.Translated and with an afterword by Wolfram Benda. Publisher's fine burgundy morocco by Erwin Lehr, upper cover with gilt rose in recessed square, flat spine with gilt titling, turn-ins with gilt fillet frame, pale yellow silk pastedowns. In the original burgundy suede slipcase. With three large initials in burnished gold and four signed and numbered original etchings by Peter Klitsch. Printed in red and black. Signed in the colophon by the artist, the binder, and the publisher/translator. â In mint condition. This is the splendid deluxe version of a finely crafted private press edition of Wilde's fairy tales "The Nightingale and the Rose," "The Happy Prince," and "The Selfish Giant." It is the third work issued by the Bear Press, founded in 1979 by literary scholar Wolfram Benda and still in operation. According to the firm's website, "at a time when the craftsmanship and ethos of the artisan in bookmaking have been damaged by ever-increasing industrialization and neglect . . . The Bear Press . . . tries to achieve the highest possible degree of technical and artistic perfection in its printed works." The font used to print the text and the artist chosen to illustrate each work are carefully selected to express "the individual author's personality and intention." Even the discriminating aesthete Wilde (1854-1900) would be pleased with the choices here, especially for the luxurious vellum printing: the type is set in refined Walbaum Antiqua, and shown off with special effect by the creamy leaves; the etchings by Austrian artist Peter Klitsch (b. 1934) are meticulous, detailed, and reminiscent of the work of Wilde's friend Aubrey Beardsley; and the binding is the epitome of tasteful restraint, flawlessly executed with premium materials. The three tales here first appeared in 1888, and are bittersweet in their themes of love and self-sacrifice. His stories for children were one of Wilde's early successes, and DNB notes, "Their permanent place in child affections refutes the vulgarism that Wilde's literary reputation arose from his legal notoriety. In all cases [the fairy tales] are on the child's side, celebrating the courage and generosity of the poor and vulnerable, while their satire mocks the kind of pomposity and hypocrisy children can recognize." We have been able to trace just two other copies of the vellum printing at auction in ABPC and RBH. No. 1 OF 10 COPIES ON VELLUM (plus a "special" edition of 25 copies and 185 copies on Kochi Japanese paper).

198 x 130 mm. (7 3/4 x 5 1/8"). Single column, recto with 30 ruled lines in a gothic typeface. Several one-line initials, one two-line initial, and three three-line initials, all hand-painted in liquid gold on a red or blue ground, with A FULL-PAGE METALCUT MINIATURE OF THE ADORATION OF THE MAGI, COLORED AND ILLUMINATED BY HAND, and with A FULL TROMPE-L'OEIL BORDER ENTIRELY PAINTED BY HAND, decorated with large flowers and a butterfly on a painted gold ground. â IN VERY FINE CONDITION, with only the most negligible imperfections, the paint quite fresh and the gold very bright. Printed on vellum, colored by a contemporary hand, and with an original trompe-l'oeil border, this leaf is a pleasing marriage of two Medieval art forms: that of the printer, and of the illuminator. Although the most famous examples of Books of Hours are manuscript versions commissioned by persons of great wealth, mostly during the 15th century, the popularity of what has been called the "Medieval bestseller" did not wane after the invention of printing. In fact, the advent of movable type made Books of Hours more affordable and more widely available than ever, and artists continued to find ways to tailor these new products to the tastes (and wallets) of their clients. The present leaf most likely comes from a Book of Hours published in 1514 by Jean de la Roche for Guillaume Eustace (cf. Davies, "Early French Books" 275), which originally contained 18 large metalcuts like this one. The present miniature of the Adoration of the Magi is attributed to the workshop of Jean Pichore (fl. 1490-1521). Although he is primarily known as an illuminator of manuscripts, Pichore also had a hand in the growing market for printed material, designing a series of metalcut images that appeared in several Books of Hours published in the early 16th century. In the present example, the printed image is almost entirely hidden by the work of the painter and illuminator; the rich, saturated colors and profuse liquid gold create the illusion that the scene has been entirely painted by hand. The work was clearly executed by a talented painter who was careful to preserve details such as the deep creases of the Virgin's robes, tresses of hair, and even blades of grass. The leaf was originally printed without borders, so the addition of the trompe-l'oeil flowers and small butterfly would have been done entirely by hand. Not only is the border a delightfully unique touch that sets this leaf apart from other examples, but it is also an indication of the wealth and fine tastes of its first owner.

198 x 130 mm. (7 3/4 x 5 1/8"). Single column, verso with 29 ruled lines in a gothic typeface. Several one-line initials and three three-line initials, all hand-painted in liquid gold on a red or blue ground, with A FULL-PAGE METALCUT MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS, COLORED AND ILLUMINATED BY HAND, and with A FULL TROMPE-L'OEIL BORDER ENTIRELY PAINTED BY HAND, decorated with large flowers, acanthus, and a butterfly on a painted gold ground. â A faint pink smear on the face of the shepherd's dog, light thumb-soiling in a few places, but IN VERY FINE CONDITION, the paint especially rich and bright. Printed on vellum, colored by a contemporary hand, and with an original trompe-l'oeil border, this leaf is a pleasing marriage of two Medieval art forms: that of the printer and of the illuminator. Although the most famous examples of Books of Hours are manuscript versions commissioned by persons of great wealth, mostly during the 15th century, the popularity of what has been called the "Medieval bestseller" did not wane after the invention of printing. In fact, the advent of movable type made Books of Hours more affordable and more widely available than ever, and artists continued to find ways to tailor these new products to the tastes (and wallets) of their clients. The present leaf most likely comes from a Book of Hours published in 1514 by Jean de la Roche for Guillaume Eustace (cf. Davies, "Early French Books" 275), which originally contained 18 large metalcuts like this one. The present miniature of the Annunciation to the Shepherds is attributed to the workshop of Jean Pichore (fl. 1490-1521). Although he is primarily known as an illuminator of manuscripts, Pichore also had a hand in the growing market for printed material, designing a series of metalcut images that appeared in several Books of Hours published in the early 16th century. In the present example, the printed image is almost entirely hidden by the work of the painter and illuminator; the rich, saturated colors and profuse liquid gold create the illusion that the scene has been entirely painted by hand. The work was clearly executed by a talented painter, and it is especially interesting to see where they have taken certain liberties to change some of the scene's details; when held up to the light, we can see that a small group of sheep in the upper left corner has been entirely painted out, and part of the cityscape beneath the angel has been replaced with blue hills. The leaf was originally printed without borders, so the addition of the trompe-l'oeil flowers, acanthus, and small butterfly would have been done entirely by hand. Not only is the border a delightfully unique touch that sets this leaf apart from other examples, but it is also an indication of the wealth and fine tastes of its first owner.

Hardcover. Zustand: Very Good. [COMPLETE PORTABLE PARISIAN BIBLE] 146 x 95 mm, 656 leaves on parchment: I12, II-XII24, XIII26, XIV-XVII24, XVIII18, with no catchwords or leaf signatures; flyleaves at the beginning and end, the first and last used as pastedowns; modern foliation in pencil 1-655 repeating no. 521 (followed here). Justification 98 x 66/67 (30/31 x 5/6 x 30/31) mm ruled in lead point with two vertical bounding lines for two columns and 42 horizontal lines for 41 lines of text, with two extra horizontal lines; pricking holes for vertical bounders showing occasionally in the lower margins; two extra horizontal lines (3 mm apart) at circa 9-11 mm from upper ruled horizontal line and circa 15-19 mm from lower. Very small Gothic French bookhand (Textualis) deriving from glossing script, often called pearl script (Perlschrift), in dark brown ink; less formal small Gothic hand influenced by documentary script for the added index of liturgical readings at end (fols. 653v-656v) (apparently unfinished); headings and highlighting of capitals in red, running-titles and chapter numbers in alternating red and blue capitals, versal initials in Psalms (fols 276r-303v) and Interpretationes (fols. 591r-653v; capitals not executed and dedicated space left blank from letter E onwards), chapter initials (2-15 lines high) in alternating red and blue with contrasting pen-flourished decoration throughout, 66 large puzzle initials (3-39 lines high, mostly 4-6 lines) in red and blue with pen-flourished decoration in red or red and blue, 78 large illuminated initials (from 3-line to column high, mostly 7-9 lines), in designs of spiralling foliage, occasionally inhabited by small dragons or other grotesque animals, in colours (blue, red, pink, green and white) and shell-gold. A few marginal 15th-century notes in light brown ink (see fols 248v, 425r and 425v, the latter by a Northern continental hand) and manicula in red (fol. 144v). Parchment (?) tabs marking the beginning of books removed. Thin parchment of good quality, with slight cockling, and a short cut at the fore-edge of some leaves caused by the removal of parchment tabs marking the beginning of books. Running titles occasionally cropped by the binder. C. 1500 binding, probably Flemish, light brown calf over bevelled wooden boards, sewn on four raised double-split spine bands, covers tooled in blind to a panel design, outer panel filled with a blind tooled heads-in-medallion roll, second panel with blind fleuron, rosette and leaves tools, and central panel semé with blind-tooled fleurons, with two long decorated brass catches at fore-edge of upper cover, and two stubs of calf-leather straps for fastening clasps (missing) secured at fore-edge of lower cover by two brass plaquettes; spine, edges and corners restored. 18th-century shelf marks on verso of third upper flyleaf and corner of lower pastedown; 19th century shelf mark 105/ 100_9 [or 1] i in pencil at lower edge of upper pastedown. Preserved in wooden book box. This charming and prettily decorated portable Bible is an untouched and unspoiled early example of the Parisian Bible of the 13th century. It was copied and decorated in the second quarter of the century, shortly after university theologians completed the standardization of the biblical texts. The new Vulgate had been created to facilitate university teachers and members of the preaching orders, who often travelled between universities, monasteries and church congregations in different parts of the country. It was therefore conceived as a text that could be copied in volumes of diminutive format, written on very fine parchment in the tiny formal Gothic script mostly used until then for marginal glosses. The new biblical vulgate started circulating in its final form about 1230. The present manuscript is therefore an early representative of the Parisian Vulgate. The text is complete and all the canonical prologues.

15,8 : 10,8 cm. With 13 initials in red, blue and black and heightened with gold. Two two-line and 11 one-line initials in red, blue and heigthened with gold. 14 lines written in black and red.

FIRST EDITION. 135 x 82 mm. (5 1/4 x 3 1/4"). 39 [of 40] leaves (lacking C4). Two volumes (one as issued, the other a companion volume containing related plates, without any title page). Very pretty late 18th or early 19th century red morocco, covers bordered by delicate cresting roll with leaf cornerpieces, smooth spine gilt in compartments with leafy centerpieces, gilt lettering, turn-in with gilt floral roll, pale blue watered silk endleaves, all edges gilt. Supplemental volume in late 19th century red half morocco over red paper boards, similarly tooled spine. Housed together in a custom-made modern wooden box with sliding panel closure, a heart mosaic in multi-colored hard-grain leather on its sides. Amoris Divini WITH engraved title page, and 38 (of 39; lacking plate XXXIV) ENGRAVED PLATES, 35 OF THEM ON VELLUM, ALL DELICATELY COLORED AND HEIGHTENED IN GOLD (plates 19, 29, 30, 31, and 36 bound after text pages for plates 31, 36, 29, 30, and 34, respectively); second volume with 45 plates on paper (though without any text), including many of these same emblems, apparently from a later edition of this work, ALL DAINTILY HIGHLIGHTED WITH GILT. Front pastedown of first volume with monogram book label in colors and gilt, verso of front free endpaper with oval armorial bookplate "Ex Museo Van Der Helle" (see below). De Vries, "De Nederlandsche Emblemata" 121; Landwehr "Low Countries" 33; Praz, p. 254; Brunet I, 240 (this copy?); Delbergue-Cormont, "Bibliothèque de M. Van der Helle," Paris, 10 Février 1868, lot 69 (this copy). â Amoris spine very slightly dulled, occasional hints of marginal thumbing, but A LOVELY COPY, clean and fresh internally with rich colors and glistening gold, in a well-preserved binding; supplemental plates with faint marginal browning, but excellent internally, the engravings gently shimmering with gold, and the binding with few signs of wear. The main volume here comprises a collection of emblems illustrating concepts of human and divine love; it is made all the more special by being printed on vellum, beautifully hand colored, and then delicately highlighted with gold. The emblems depict Divine Love as a beardless young man with nimbus who always represents love in its purest form. Human love, or worldly love, is variously embodied in a winged Cupid (sometimes blindfolded) who represents erotic love and who is accompanied by symbols of treasure or power that represent worldly desires. Landwehr, Praz, and De Vries make no mention of a vellum edition, but Brunet describes one copy on vellum painted in colors and gold, which he says sold at the Duriez auction. That book appeared as lot 3216 in "Catalogue des livres imprimés et manuscrits, composant la bibliothèque de feu M. L.-M.-J. Duriez (de Lille), membre de la Société des Bibliophiles français" (Paris, J.-S. Merlin, 1827), where its binding description matches our copy. Having uncovered no other hand-colored copies on vellum in auction records or in OCLC, we think it quite likely that the present volume is, in fact, the Duriez copy. Louis Duriez (1753-1825) was a Lille lawyer of sufficient skill and cleverness to move without incident from serving as lieutenant provost for his district under King Louis XVI to becoming receiver of the district of Lille after the revolution (1791) and purchasing the estate of an aristocrat which had been seized by the state. He rose to successively more important and remunerative governmental positions and was named Knight of the Royal Order of the Legion of Honor in 1814. In 1820, he was one of the founding members of the Société des Bibliophiles français, an elite group limited to 24 scholarly collectors. After his death, his collection of more than 5,000 carefully chosen works was dispersed at 59 auctions held between 22 January and 1 April 1828 at Maison Silvestre in Paris. A perusal of the lots on offer finds a strong emphasis on fine bindings, works on vellum, and illustrated books, many noting hand coloring. The emblems in the second, thinner book here (on paper, without coloring--but with gold highlighting) allow the reader to experience the pleasure to be found in comparing the degrees of decoration and opulence of the two volumes. These illustrations likely come from one of the later printings of this title, each of which added new emblems to the original 39 called for in Landwehr and Praz. (It is not clear when or by whom this second volume was wedded to the first.) After its presumed residence in the Duriez collection, our copy of the 1626 edition (and perhaps its sidecar volume) moved to another distinguished library--that formed by the scholarly and erudite French collector, M. Van Der Helle of Lille, who amassed a collection particularly rich in illustrated books and works on vellum. In the catalogue for the sale of his library in 1868, Paris auction house Delbergue-Cormont described him as a bibliophile "of the school of Renouard . . . [who] only liked irreproachable copies." (We bought this item without being warned that it is [slightly] defective, but given its distinguished provenance and the many other features it has going for it, we did not ask the seller to take it back.).

Zustand: Fair. The title is located on the front cover illuminated in gold however, both the back and front covers are 'dogeared'. Another title is located on the spine but the spine is severly discoloured and faded. The hinge to the back cover has completely torn so the back cover is detached from the rest of the book. The inside front end page has been signed by a previous owner. Also there is a picture protected by a sheet of vellum opposite the title page. Some pages have foxed spots and the pages are uncut giving an uneven finish. The title page does not have display the date of the publication. This book has hardback covers. Ex-library, With usual stamps and markings, In fair condition, suitable as a study copy. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,750grams, ISBN:

15,5 : 11 cm. With 2 two-line initials and 7 initials in red, blue and black and heightened with gold. Two two-line and 7 one-line initials in red, blue and heigthened with gold. Latin manuscript on vellum. Partly rupricated in red and blue.

Zustand: (1-10). With initials heightened in gold. Height (cm): 13,6 Width (cm): 9,8 Thickness (cm): 0 Weight (kg): 0,001.

Zustand: 8 (1-10). With handcoloured initials heightened with gold. Height (cm): 13,6 Width (cm): 9,1 Thickness (cm): 0 Weight (kg): 0,001.

Zustand: (1-10). With handcoloured initials heightened with gold. Height (cm): 13,5 Width (cm): 9,4 Thickness (cm): 0 Weight (kg): 0,001.

Zustand: New. Vivid and lyrical, this new translation of Goethe s selected poetry illuminates him as philosopher, storyteller, and revolutionary.&Uumlber den AutorrnrnJohann Wolfgang von Goethe (1749-1832) is the most prominent and influential .

Zustand: 8 (1-10). With handcoloured initials heightened with gold. Not dated, date is an estimate. Height (cm): 13,4 Width (cm): 9 Thickness (cm): 0 Weight (kg): 0,002.

Zustand: 8 (1-10). With handcoloured initials heightened with gold. There are 2 extra pictures availabe on request! Height (cm): 13,5 Width (cm): 9,5 Thickness (cm): 0 Weight (kg): 0,002.