Chivers binding (11 Ergebnisse)

This was the title given by the English printer Caxton to his translation of a French book which was written in 1371â"2 by the Chevalier Geoffroy de La Tour Landry, for the double purpose of teaching his infant daughters to read and instructing them in the manners and virtues proper to gentlewomen. This book contained 149 chapters, made up of stories and moral examples drawn from various sources, such as chronicles, legendary history, and the Bible, as well as from contemporary gossip and the author's own experiences. Limited edition on hand-made paper, this numbered 39 or 56 printed, of which only 50 are for sale; 4to (230 x 190 mm); edited with notes and glossary by Rawlings, Preface by William Caxton, engraved title-page, frontispiece and five plates in two states, historiated chapter capitals printed in red, all by Garth Jones, the odd, minor spot to preliminary leaves, otherwise very clean and bright; contemporary hand-painted vellucent binding by Cedric Chivers, Bath, gilt-panelled, the spine and upper board outlined in gilt, hand-painted landscape illustrations, upper panel of Knight in armour against a castle landscape, with a riverlet of mother-of-pearl, this echoed on the spine, without the figure, gilt-panelled marbled endpapers, top edge gilt, brown blooming from glue reaction, fore-edge a little spotted, otherwise very good. …

Full Morocco. Zustand: Very Good. Two volumes. ix, 332; vii, 325 pp. Frontis portrait to both volumes. 22 full-page portraits to first volume and 25 to the second, with numerous double sided plates showing various sports teams. Deluxe bindings by Cedric Chivers of Bath. Full morocco with painted vellum roundals and gilt lettering to boards and spines; top edges gilt. Scratching to bindings, with the odd dent or minor chip to the leather. Spine of second volume a little faded. Internally quite clean. A great compendium of sport at Cambridge and Oxford detailing the period from the codification of many sports until the end of the Edwardian era. This is a heavy set and may require additional postage if being shipped outside of Europe. 4to.…

Finely bound by Alice Shepherd of the Chivers bindery, first Robert Anning Bell illustrated edition, limited edition, number 24 of 125 printed on Japanese vellum. Alice Shepherd was in charge of the cut and modelled leather department at the Chivers bindery in Bath from 1897, which was comprised of women workers. Cedric Chivers (1853-1929), one of the most successful bookbinders of his time, had an aptitude for reviving binding styles that had fallen into desuetude. One such practise was so-called "cuir-bouilli" (literally "boiled leather") medieval leatherwork. Shepherd's "method was to mark the design on the damp leather, and then scrape the under (flesh) side of the leather with an ivory tool, to make a hollow within the area of the design. The hollow was filled with cement, and then, by manipulation and pressure, the design was brought into relief on the upper (hair) side of the leather. Any gilding, colouring, or finishing was done after the book was bound" (Tidcombe, p. 95). This volume's illustrator, Robert Anning Bell (1863-1933), was an early member of the Arts and Crafts Exhibition Society and the official illustrator of the Society's magazine The Studio; he was included in the exhibition "The Last Romantics" at the Baribican Art Gallery in 1989. Drawing inspiration from literary sources, his work was often "characterized by dreaming maidens in a setting of symbolist swirls" (ODNB). Marianne Tidcombe, Women Bookbinders 1880-1920, 1996. Octavo (215 x 135 mm). Woodcut frontispiece and title page printed in red and black, with tissue guard, woodcut illustrations throughout, of which 18 are full page, and 3 are double-page printed in red and black. With cover designs of original cloth printed in red and green and tipped-in limitation page. Contemporary modelled calf, signed by Alice Shepherd of the Chivers bindery on front cover, double gilt fillet borders to spine and covers, hand-etched titles and floral decoration in relief with gilt detailing to spine and front cover, hand-etched female figure in relief to front cover framed by double gilt rule, hand-etched wreath with gilt detailing to rear cover, gilt-roll to board edges, triple fillet gilt rule to turn-ins with floral cornerpieces, patterned endpapers, top edge gilt, rest uncut. Christmas gift inscription, dated 1897, to binder's blank. A little rubbing to edges, small wear to corners, inner hinges and gutter of pp. xvi-xvii reinforced with cloth, contents clean. A very good copy.…

First edition, large paper issue, number 19 of 50 copies. These volumes were bound by the celebrated Chivers bindery with its design executed by a combination of both incising and modelling the leather. Cedric Chivers (1853-1929), one of the most successful bookbinders of his time, had an aptitude for reviving bookbinding styles fallen into desuetude. One such practise was so-called "cuir-bouilli" (literally "boiled leather") medieval leatherwork. From around 1897 Alice Shepherd was in charge of the cut and modelled leather department at Chivers's bindery in Bath, which was comprised of women workers. Her "method was to mark the design on the damp leather, and then scrape the under (flesh) side of the leather with an ivory tool, to make a hollow within the area of the design. The hollow was filled with cement, and then, by manipulation and pressure, the design was brought into relief on the upper (hair) side of the leather. Any gilding, colouring, or finishing was done after the book was bound" (Tidcombe, p. 95). The translator, Justin Huntly McCarthy (1860-1936), translated Persian poets such as Hafiz, but The One Thousand and One Days is a translation of Pétis de la Croix's Les mille et un jours. This take on the Arabian Nights was presented as a genuine translation of a Persian text. Published in 1712, it was soon translated into the major European languages. Marianne Tidcombe, Women Bookbinders, 1880-1920, 1996. Two vols, quarto (253 x 192 mm). Photogravure frontispieces with tissue guards after Stanley Llewellyn Wood, abstract woodcut design to title pages, decorative initials. Contemporary half calf by Cedric Chivers, their gilt pallet to foot of rear turn-ins, flat spines lettered in gilt with modelled and incised floral design and heightened with gilt pointillé, brown cloth sides, blue floral patterned endpapers, top edges gilt, fore and bottom edges uncut. Contemporary bookplates. Many gatherings of vol. II unopened. Binding moderately soiled, patches of rubbing refurbished, the odd spot to contents. A very good copy.…

First edition illustrated by Byam Shaw, in an unusually restrained example of Chivers's celebrated "vellucent" style of binding. Cedric Chivers (1853-1929), one of the most successful bookbinders of his time, developed a new technique for binding books in the 1890s. His elaborate cover designs were painted on paper and then covered by vellum, which had been treated to become translucent. Chivers patented his method in 1898 and used it to create some of the most beautiful books of the fin de siècle. The binder's blind stamp on this copy lists Chivers's address at Gay Street in Bath, meaning that the volume was bound before the move, around the turn of the century, to the larger premises at Portway. Octavo (202 x 134 mm). Frontispiece and illustrations throughout, many full-page, illustrated title page printed in red and black. Contemporary translucent vellum over hand-painted paper, flat spine lettered in gilt, gilt fillet to spine and boards framing floral pink art nouveau design, floral gilt dentelles, patterned endpapers, top edge gilt, fore and bottom edges uncut. Headcap mildly bumped, spine a tad discoloured, binding otherwise fine, edges and outer leaves foxed. A very good copy.…

First edition, deluxe issue in a fine binding by the workshop of Cedric Chivers in its "vellucent" style. This meticulous chronicle records detailed results and commentary and includes biographical sketches and photographs of notable players. Cedric Chivers (1853-1929), one of the most successful bookbinders of his time, developed a new technique for binding books in the 1890s. His elaborate cover designs were painted on paper and then covered by vellum, which had been treated to become translucent. 2 vols, large quarto. Half-tone portrait frontispieces, double-page colour map of the Boat Race course, 192 plates. Original dark red crushed morocco, flat spines lettered in gilt, blind-stamped decorative frames to spines and boards enclosing roundels translucent vellum over paper hand-painted with the arms of Oxford and Cambridge to front boards surmounted by gilt lettering Faintest of discolouration and rubbing to bindings, turn-ins a little marked. A near-fine set.…

Zustand: Fine. Second edition. Two volumes bound in one, small octavo (6 15/16 x 4 1/16 inches; 177 x 103 mm.). xxii, 294, [1, imprint], [1, blank];, xii, 254, [1, imprint], [1, blank] pp. Two engraved frontispieces and one hundred and sixty-two black & white illustrations, including decorative head and tailpieces, all by Charles E. Brock. Bound ca. 1906 in a fine pastel "vellucent" binding by Cedric Chivers (stamp-signed in gilt on rear lower turn-in), with a delicately hand-painted 'Art Nouveau' floral design. This binding is No. LXXXV on page 34 of the Cedric Chivers catalog "Books in Beautiful Bindings." The front cover with three red flowers and a green vine design enclosing the title "The Essays And The Last Essays of Elia. Charles Lamb". Lower cover with a similar design but with just one red flower. Smooth spine similarly decorated and lettered in watercolor and gilt, gilt ruled turn-ins, mottled pale-green liners and end-papers, all edges gilt. Neat ink inscription dated "Xmas 1906" on front blank. A very fine example housed in the original fleece-lined, green cloth slipcase (missing the movable spine panel). Patented in 1898, Chivers's "vellucent" bindings departed from traditional methods of creating hand-painted vellum bindings. The usual approach was to merely bind a book in vellum and then paint on a design, but this is prone to rubbing and flaking and such examples are often now found chipped and deteriorated. In the 18th century Chivers's great predecessor, Edwards of Halifax, painted in reverse on the underside of translucent vellum, thereby providing a layer of protection for the design. His technique was not widely copied and almost vanished with his death, and it was not until the 1890s that Chivers developed his own similar method for protecting the design underneath the vellum itself - the backing sheet of the vellum was painted, which was then covered in vellum which had been shaved to transparency. The vellum was then tooled in gilt, on occasion incorporating additional mother-of-pearl and onlays. The books which Chivers thus bound have always been a favorite of collectors, and usually still present well, the vellum having served its purpose of protecting the design for many decades, as Chivers intended. Chivers was also known to have employed a great many craftswomen at his bindery in Portway: "forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales" (Tidcombe). This book brings together Charles Lamb's Essays of Elia (first published in 1823) with the subsequent volume Last Essays of Elia (issues in 1833). The accessible and conversational essays were published under the pseudonym Elia, inspired by an Italian man that Lamb had known at the South Sea House, and had appeared serially in The London Magazine between 1820 and 1825. Despite his struggles with mental illness, Charles Lamb (1775-1834) would be celebrated for his literary contributions, producing a range of material from essays to poems. Lamb belonged to an active literary circle which included Percy Bysshe Shelley and Lord Byron. Fine.…

Zustand: Near Fine. Fifth edition. Two volumes bound in one, small octavo (180 x 105 mm.). xxii, 294, [1, imprint], [1, blank];, xii, 254, [1, imprint], [1, blank] pp. Two engraved frontispieces and one hundred and sixty-two black & white illustrations, including decorative head and tailpieces, all by Charles E. Brock. Bound ca. 1905 by Cedric Chivers (stamp-signed in gilt on rear lower turn-in). Bound in handsome green morocco with decorative gilt floral patterns on the front board encircling a "vellucent" title label. Spine with gilt titles and art nouveau floral pattern. All edges gilt, pale green end papers. Spine toned, previous owner's gift inscription on the first blank, otherwise a fine copy overall. Patented in 1898, Chivers's "vellucent" bindings departed from traditional methods of creating hand-painted vellum bindings. The usual approach was to merely bind a book in vellum and then paint on a design, but this is prone to rubbing and flaking and such examples are often now found chipped and deteriorated. In the 18th century Chivers's great predecessor, Edwards of Halifax, painted in reverse on the underside of translucent vellum, thereby providing a layer of protection for the design. His technique was not widely copied and almost vanished with his death, and it was not until the 1890s that Chivers developed his own similar method for protecting the design underneath the vellum itself - the backing sheet of the vellum was painted, which was then covered in vellum which had been shaved to transparency. The vellum was then tooled in gilt, on occasion incorporating additional mother-of-pearl and onlays. The books which Chivers thus bound have always been a favorite of collectors, and usually still present well, the vellum having served its purpose of protecting the design for many decades, as Chivers intended. Chivers was also known to have employed a great many craftswomen at his bindery in Portway: "forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour vellum for book decoration, and to work on embossed leather. These five were Dorothy Carleton Smyth, Alice Shepherd, Miss J.D. Dunn, Muriel Taylor, and Agatha Gales" (Tidcombe). This book brings together Charles Lamb's Essays of Elia (first published in 1823) with the subsequent volume Last Essays of Elia (issues in 1833). The accessible and conversational essays were published under the pseudonym Elia, inspired by an Italian man that Lamb had known at the South Sea House, and had appeared serially in The London Magazine between 1820 and 1825. Despite his struggles with mental illness, Charles Lamb (1775-1834) would be celebrated for his literary contributions, producing a range of material from essays to poems. Lamb belonged to an active literary circle which included Percy Bysshe Shelley and Lord Byron. Near Fine.…

An appropriately floral binding by Cedric Chivers in his celebrated "vellucent" style, adorning a rose-related compendium. The verse excerpts, which appear both in their original languages and alongside English translations, were collected by the prolific Eleanor Vere Boyle (1825-1916), who provided the illustrations. Tennyson, whose May Queen (1852) Boyle illustrated, composed his poem The Rosebud in honour of this anthology, which was first published in 1885. Publishing under her initials, "E.V.B." was best known as an illustrator, whose work Dante Gabriel Rossetti admired. In later life she also wrote various volumes on gardening. Cedric Chivers (1853-1929), one of the most successful bookbinders of his time, developed a new technique for binding books in the 1890s. His elaborate cover designs were painted on paper and then covered by vellum, which had been treated to become translucent. In his bindery he employed "about forty women for folding, sewing, mending, and collating work, and in addition, five more women worked in a separate department, to design, illuminate, and colour the vellum" (Tidcombe, p. 86). The style they popularized influenced, and became closely associated with, the arts and crafts movement. Chivers patented his method in 1898 and used it to create some of the most beautiful books of the fin de siècle. Marianne Tidcombe, Women Bookbinders 1880-1920, 1996. Octavo (170 x 113 mm). With many wood-engravings to text by Eleanor Vere Boyle, title page printed in red. Finely bound in near-contemporary full vellum by Cedric Chivers of Bath, hand-painted with roses and thorns in his "vellucent" style with gilt decoration, spine and front cover lettered in manuscript, turn-ins with gilt tooling at corners, cloudy marble endpapers, top edge gilt, fore and bottom edges uncut. Design bright and crisp, vellum slightly soiled, spine a little darkened, spot of worming to rear inner hinge, edges and outer leaves foxed. A very good copy.…

First illustrated edition of the Poems, together with the first complete and illustrated edition of his longest poem, Italy, both with engravings from designs by J. M. W. Turner and Thomas Stothard. These copies are finely bound by Chivers in his superb "vellucent" style. Rogers visited Italy for the first time in 1814, and it was during this trip that he envisioned the concept for his famous poem. The first edition, of which Part I was published in 1821 and Part II in 1828, was not well received. Rogers therefore reissued it in this luxury format, for which he engaged Stothard and Turner as illustrators. Stothard's figure scenes are considered "perhaps the climax" of his illustration (ODNB). The popularity of this new edition of Italy, a Poem led Rogers to commission a similar version of his Poems, illustrated by Turner. The artist, "himself a writer of poetry and clearly very sympathetic to that of Samuel Rogers, created some of his most telling images for these two beautiful books, which established him as the leading illustrator of the day" (ibid). Chivers (1853-1929), one of the most successful bookbinders of the turn of the century, developed a new and distinctive technique for binding books in the 1890s: his elaborate cover designs were painted on paper and then covered by vellum, which had been treated to become translucent ("vellucent"). Chivers patented his method in 1898 and used it to create some of the most beautiful books of the fin de siècle, and his style became closely associated with the arts and crafts movement. 2 vols, small quarto (200 x 135 mm). Engraved vignettes after J. M. W. Turner and Thomas Stothard throughout, with tissue guards. Early 20th-century brown morocco by Chivers, spines lettered in gilt, spines and front boards decorated in gilt with yellow morocco onlay, front boards with vellum window inlay hand-painted and gilded in Chivers's distinctive "vellucent" style, gilt floral tool to corners of turn-ins, cloudy marbled endpapers, top edges gilt, fore and bottom edges uncut. Bindings bright and square, contents sporadically foxed. Very good copies, presenting excellently in their bindings.…

First thus. Two volumes bound in one. Each volume one of just 30 copies printed on Japanese Vellum (both number 25), signed by the illustrator, Edmund Sullivan. Bound for Brentanos by the famous English bookbinder, Cedric Chivers, in full red morocco with his signature vellucent painted illustration to the font panel. Spine with inlaid morocco details. Spine very subtly toned, otherwise a fine copy overall. A lovely example of book arts for both this handsome printing, as well as the expertly crafted binding. Complete with 2 frontispieces and 18 plates by Edmund Sullivan. A collection of Washington Irving's short stories, including his most famous and beloved tales, Rip Van Winkle and The Legend of Sleepy Hollow (narrated by the fictional Dutch historian Diedrich Knickerbocker). "The Sketch Book was a celebrated event in American literary history. The collection was the first American work of short stories to gain international success and popularity" and while "most of the book's 30 off pieces concern Irving's impressions of England, six chapters deal with American subjects." (Britannica) Patented in 1898, Chivers's "vellucent" bindings departed from traditional methods of creating hand-painted vellum bindings. In the 18th century Chivers's great predecessor, Edwards of Halifax, painted in reverse on the underside of translucent vellum, thereby providing a layer of protection for the design. His technique almost vanished with his death, and it was not until the 1890s that Chivers developed his own similar method for protecting the design underneath the vellum itself - the backing sheet of the vellum was painted, which was then covered in vellum which had been shaved to transparency, the vellum was then tooled in gilt. The books which Chivers thus bound have always been a favorite of collectors, and usually still present well, the vellum having served its purpose of protecting the design for many decades, as Chivers intended.…