Binders (15 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In English.

First Edition. Good copy in original gilt-blocked cloth with some wear and tear as with age. Remains well-preserved overall; bright and clean. Physical description; 15 pages of plates. Notes; No clear date given. Subjects; Chinese Art. Chinese Art Prints. 1 Kg.

8vo, (192x127mm), 80p. Original quarter yellow linen, printed paper-covered boards printed in dark green, dustjacket worn. Printed in Bristol by Western Printing Service and an interesting little bibliographical curiosity for although the text block is indeed Lawrence's poems, the binding and dustjacket is for the same publisher's edition of W.H. Davies Common joys and other poems.…

On one side of 6 x 9 cm card. In fair condition, lightly aged. Of a fussy design, looking forward to the Victorian era in its jumble of copperplate and gothic and fancy lettering, curved lines and flourishes. The main text reads: 'R. & S. A. BIELEFELD JUNR. | Booksellers, Stationers & Binders. | No. 21, | Rathbone Place, Oxford Street. | BOOKS & MUSIC, ELEGANTLY OR PLAINLY BOUND. | Engraving & Printing.' In the two upper corners: 'BIBLES AND COMMON PRAYER' and 'IN A VARIETY OF BINDINGS'. And in the two bottom corners: 'Periodicals regularly supplied' and 'Juvenile & School Books'. COPAC records two titles published by the firm, in 1829 and 1830, but BBTI has Samuel August Bielefeld trading from Lincoln's Inn Fields between 1808 to 1828. See Image. …

Zustand: Good. Business Card, Oblong, 3" x 4", Very Good, Color Illustration. Scarce.

Orion, Gottmer, Grote Ontmoetingen 1978, Paperback / Softcover. 22,5 x 15,5 cm. Met illustraties in z/w. 79 pag. - Redelijk goed exemplaar. [.

No. 38 of 200 copies, although each is unique with original hand-painted illustrations for each fragment by Youl in ink and gouache, one with a painted movable paper slip over hidden text. He has decorated the original wrapper with the title over cut out fragments with have been pasted onto it. Printed in Greek current calligraphic type and Roman with protecting China paper interleaved throughout. 12.5 x 9.8 cm. 12mo., bound by Yannick Gauduchon and Marion Blin in 1990 (signed on the turn-ins) in full black morocco with onlaid abstract design on both sides in whtie paper, blue and green calf and citron and tan morocco, patterned paper endpapers, slipcase of black morocco and the same patterned paper, spine lettered in gilt, original wrappers bound in. In superb condition. Youl (1947-) made his first artist's book in 1987 and he has worked iwth several poets, particularly with the famous Michel Butor. He is inspired by texts to make paintings in different techniques in the books and combines calligraphy with his painting. He had a major exhibition in 2008, "Un jardin de papier' in L'Archipel Butor in Lucinges. A jewel of a book. …

Original Wraps. Zustand: Fine. Unique. Unique. Original Wraps. Includes: Cinderella, or, The Glass Slipper and The Death and Burial of Cock Robin; The House that Jack Built and Jack and the Beanstalk; Little Red Riding Hood and The Three Bears; and Old Mother Hubbard and Jack the Giant Killer. Binding signed JMT. Tight, bright, and unmarred. Set of 4 books each bound in a colored limp leather with a complementary band at the spine and matching silk onlay, black endpapers; large drop-spine archival case in black leather, gilt lettering on box, gilt titles with leather onlay color code inside, segregated compartments for each volume. 54x44mm. 32pp (each). Illus. (color plates). [BookArts Press]. …

Trade card, apparently unrecorded, c.6.5 x 5cm, good condition. Text, "Trewman & Son | Printers, Stationers, | Booksellers & Binders. | Fore Street | EXETER || [minuscule] Ezekial, Exon.".

London, Robert Cocks & C°, New Burlington Street, s.d. (before 1870), oblong in-folio, 25 x 34,5 cm, (4)nn pp + 360 pp. of lithographed music. Binding ; Bound in full black morocco, extensive gilt dedication text on the frontcover within a triple gilt fillet and another fillet with floral corner ornaments. The text; '' To Mr. E.J. Bellerby / The first organist of / Dalton Holme Church / from / The Rector , Churchwardens ,/ & other wellwishers / in the parish./ Easter , 1879. /''. All edges gilt, marbled paste downs within a black morocco frame with straight and floral fillets. Marbled fly leaves. Binding signed on the first paste down ; ''Bound by Potter & Sons York''. Finely preserved gift binding.…

Zustand: Fine. First edition. Octavo (8 5/16 x 5 1/4 inches; 212 x 133 mm.). [x], [1]-479, [1, blank] pp. Sixteeen photogravure plates. Bound by Bayntun (Rivière) Bath ca. 1948 (stamp-signed in gilt on front turn-in) in full wine red crushed levant morocco over beveled boards. Covers with elaborate floral design corner-pieces. Front cover with an oval border of gilt thistles and leaves and in the center a fine hand-painted portrait miniature (3 1/4 x 2 1/2 inches; 83 x 63 mm.) of Annas de Montmorency set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Decorative gilt board-edges, wide gilt-ruled turn-ins, marbled liners and endleaves, all edges gilt. With the maroon morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey on front paste-down. Housed in the original felt-lined tan cloth slipcase. An exceptionally fine example from one of the major English collections. Francis I, King of France (1515-47), first of five monarchs from the Angoulême branch of the House of Valois to rule France ascending to the thrown in 1515. The Renaissance ruler was famed for his patronage of the arts and intellectualism as well as his political maneuvering with other European powers. Interestingly, it is not Francis featured in this Cosway style portrait, but the Duke Annas de Montmorency (c.1493-1567), a favorite of the king, and active statesman for Francis I's court. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this technique-each developing their own desirable take on the aesthetic-referred to as "Cosway style.". Fine.…

FIRST EDITION. 222 x 140 mm. (8 3/4 x 5 1/2"). x, 374 pp. HANDSOME DARK BLUE MOROCCO, GILT, BY THE GUILD OF WOMEN BINDERS (see below), covers with frame of swirling flowering vines, raised bands, spine panels with similar floral decoration, gilt lettering, pastedowns framed by multiple gilt rules, intersecting into squares at corners, all edges gilt. Front pastedown with pencilled inscription attributing the binding to the Guild of Women Binders, in the hand of former owner, antiquarian bookseller John P. Love; front free endpaper with pencilled bibliographic information; handwritten card from Love's library catalogue laid in at front. Wise, p. 35. Spine gently and evenly sunned, one opening with two tiny brown marginal dots, but A VERY FINE COPY, with few signs of use inside or out. This is a lovely copy of one of the great autobiographies in verse, offered here in a binding attributed to the Guild of Women Binders by a previous owner with extensive expertise in the field. According to DNB, Wordsworth (1770-1850) began his "Prelude" in 1799 while travelling with his sister Dorothy and Samuel Coleridge in Germany, using his sister's German exercise notebook to enter poetic accounts of his boyhood. These entries became the first version of his autobiographical testament, a work that "is for many his most impressive poem." He completed it, in 13 books, in 1805, but continued to revise it throughout his lifetime, adding a 14th book at the end. It was published poshumously and given its title by his wife. The Guild of Women Binders was established by bookseller Frank Karslake in 1898 to give an organizational identity to a group of women already at work binding books in various parts of Britain, often in their own homes. As Tidcombe notes, "because the women were generally unaware of the long history of traditional bookbinding design, they produced designs that were freer and less stereotyped than those of men in the trade." Our binding is unsigned and is perhaps more conventional that other Guild works, but there are elements that would lead an experienced connsoisseur like former owner John P. Love to make a confident attribution. One is the whimsical yet carefully executed spine decoration, which carries over the curving floral vines from the covers. Another hint is the very slight variation in the parallel gilt rules, indicating a less experienced hand. John Percival Love (1896-1974) joined the staff of the distinguished antiquarian bookseller Francis Edwards, founded in 1855. Love served as Chairman of the firm from 1944 until his retirement in 1972. Like many antiquarian booksellers, Love was also a collector. He built an impressive collection that was especially rich in incunabula and fine bindings. It is certainly possible that the present volume was once part of the Francis Edwards inventory and was definitively identified at that time as a Guild binding. …

190 x 125mm. (7 1/2 x 5"). xii, 128 pp.; 1 p.l. (volume II title page handwritten in ink), 129-312 pp. One volume expanded to two. Fine crimson crushed morocco by the Guild of Women Binders (stamp-signed in gilt on front pastedown), raised bands, stylized gilt lettering on spines, all edges gilt. With five portraits, as called for, and EXTRA-ILLUSTRATED WITH 264 PLATES, 31 of these colored, 12 folding, about half of them scenes or views, the rest portraits. Also containing the bookplate of David Garrick (mounted on card at p. 10); an autograph letter, signed, from George Smart; an invoice or accounting signed by Eliza Matthews; and five other autographs mounted on heavy stock. Occasional trivial offsetting from inserted plates, but A VERY FINE COPY, clean and fresh internally, in unworn bindings. Richly extra-illustrated with depictions of the people, places, and events discussed in the text, this joint biography of brothers James and Horace Smith was simply and tastefully bound by members of the Guild of Women Binders. Although James (1775-1839) was a lawyer and Horace (1779-1849) a successful stockbroker, both had literary aspirations and enjoyed being part of theatrical and artistic circles. Their dreams were realized when in 1812 the Drury Lane Theatre offered a £50 prize for an address to be recited on the theater's reopening following repair of fire damage. The Smiths hit on the idea of producing parodies of popular poets, with James imitating Wordsworth, Southey, and Coleridge, while Horace took on Byron, Moore, and Scott. Their humorous publication was an unexpected runaway hit, going to seven editions in three months. According to Britannica, "'Rejected Addresses' are the most widely popular parodies ever published in England, and take classical rank in literature. . . . A striking feature is the absence of malice; none of the poets caricatured took offence, while the imitation is so clever that both Byron and Scott are recorded to have said that they could hardly believe they had not written the addresses ascribed to them." In addition to being witty, both men were kind and generous friends, often helping impecunious artists. Percy Shelley and Horace became friends after competing in a sonnet-writing contest (which Shelley won by producing "Ozymandias"). Before leaving for Italy, the poet entrusted his financial affairs to Horace, of whom he said, "Is it not odd that the only truly generous person I ever knew who had money enough to be generous with should be a stock-broker? He writes poetry and pastoral dramas and yet knows how to make money, and does make it, and is still generous." The binding here was produced by the Guild of Women Binders, established by bookseller Frank Karslake in 1898 to give an organizational identity to a group of women already at work binding books in various parts of Britain, often in their own homes. Karslake first became interested in women binders when he visited the Victorian Era Exhibition at Earl's Court in 1897, held to celebrate the Queen's Diamond Jubilee. He was impressed with a number of bookbindings at the Jubilee exhibit, prominent among them being those of Mrs. Annie MacDonald of Edinburgh, and he invited the women to exhibit their work in his shop at 61 Charing Cross Road. The Guild was formed soon thereafter, and operated until 1904. As Tidcombe notes, "because the women were generally unaware of the long history of traditional bookbinding design, they produced designs that were freer and less stereotyped than those of men in the trade." Our binding is more restrained that other Guild works, but the spine lettering, which juxtaposes curves and sharp angles, stands out as a distinctive feature. …

Zustand: Near Fine. Engraved title, numerous small and large engraved vignettes, head-and tail-pieces, one full-page engraving; text printed in black, running headlines and chapter headings in red, numerous large decorated initial capitals. 1 vols. Folio. Beautifully bound in full red morocco by The French Binders, successors to The Club Bindery, and signed on the rear turn in by two of the firm's most distinguished binders, Henry Hardy and Gaston Pilon. The French Binders traces its lineage back to The Club Bindery, founded in 1895 by members of the Grolier Club to provide exceptionally fine bindings for American collectors. The Club Bindery moved to Cleveland, where it was successively renamed the Rowfant Bindery (1909-1913), the Booklover's Shop (1914-1917), and finally, The French Binders (1918-1920s), as in-house bindery to Doubelday in Garden City, New York. Henry Hardy worked for all incarnations of the bindery, starting with The Club Bindery; his brother-in-law, Gaston Pilon worked with Chambolle-Duru in Paris, and came over to America to join the Rowfant Bindery. Both Hardy and Pilon were named Officers of the French Academy in 1933, the highest recognition given by the French government to naturalized Americans (see Martin Antonetti's essay in Bound to Be the Best: The Club Bindery). Provenance: Estelle Doheny (red morocco booklabel); Carl C. Kalbfleisch (brown morocco booklabel) Full red crushed morocco, covers decorated with single black and gilt fillets, including a central diamond in black and gilt with a gilt-rolled frame, spine in six compartments with raised bands gilt, lettered in two, others with simple frame of black and gilt fillets, wide gilt turn-ins with large gilt cornerpieces, a.e.g., gilt-stamped on the turn-in of the inside front cover, ?French Binders, Garden City NY,? and on that of the rear cover, ?H. Hardy Relieur 1934 G. Pilon Doreur.? Very slight rubbing to extremities, still near fine, with some toning to text. In a quarter morocco slipcase with chemise Engraved title, numerous small and large engraved vignettes, head-and tail-pieces, one full-page engraving; text printed in black, running headlines and chapter headings in red, numerous large decorated initial capitals. 1 vols. Folio. Signed.…