Doves press keats john (3 Ergebnisse)

Large 8vo. (234 x 168 mm). [102 leaves; pp. 203]. Title, leaf with explanation, verso and following leaves with contents, leaf with title in red and sonnet 'Bright star!' verso and Keats' verse, two leaves with 'Table of Years', final leaf with colophon recto. Printed text in red and black throughout, sheet size: 230 x 162 mm. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title 'KEATS / 1815 - 1820' and dated 'MCMXIV' in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. [PROVENANCE: From the collection of scholar and bibliophile Dr. Ernst Kyriss (1881 - 1974), with his discreet oval stamp to front free endpaper; Achilles Foundation, the collection of Edith and Barbara Achilles]. A very scarce copy of the vellum issue of the Doves Press' Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the 'most skillful pupil we ever had . equal to any professional', Frieda Thiersch (1889 - 1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. Thiersch clearly absorbed, along with the binding skills and knowledge of the McLeishs, the influence of the Doves Bindery: Charles McLeish Sr. had worked with Cobden-Sanderson from 1893 until the establishment of his own bindery in 1909. The austere but beautiful work with the emphasis on simple clarity with a highly restrained decor became a feature of Thiersch's own work and the signature of the many bindings designed by her and issued by the Bremer Press - she worked as the principal designer and her atelier was the principal bindery for the press - before the worsening economic situation in the late 1920s / early 1930s caused the press to close. Throughout the time she worked with the Bremer Press, Thiersch took commissions in her own right as the present binding, signed with her full name as opposed to her initials (when produced by an assistant) and likely produced in the late 1920s, attests. Thiersch exhibited her work internationally and showed books at the First Edition Club in London in 1929 (it is tempting to think that this binding was shown there), the World Exhibition in Barcelona in the same year, the Milan Triennale in 1930, 1933 and 1936 where she was awarded a gold medal and the Paris World Exhibition in 1937 where she was awarded another gold medal. Later in the 1930s Thiersch became associated with the German political establishment and undertook government contracts for the Nazis. Although she did execute personal commissions for, among others, Hitler, her own political views have never been established. The destruction of her archive and personal collection in a bombing raid in 1944, her death from lung cancer in 1947 and the confusion of the Second World War itself have ensured that both an aura of mystery has surrounded her work while adhering a considerable bibliophile cachet to it. Although Thiersch's bindings for the Bremer Presse are prized, even more so are the bindings that she undertook on commission. We can trace few of these, but notable examples are the luxusausgabe of 'Das Graphische Werk Max Pechsteins' (1921), Johanne Auerbach's 'Summa de Auditione Confessionis et de Sacramentis' (the second or third book printed in Augsburg pro.…

235 x 167 mm. (9 1/4 x 6 1/8"). 203 pp. VERY PRETTY GREEN MOROCCO, GILT, BY SANGORSKI & SUTCLIFFE (stamp-signed on front turn-in), covers with delicate frame featuring sprays of flowers at the corners, raised bands, spine compartments with floral sprig centerpiece, gilt lettering, gilt-ruled turn-ins, marbled endpapers, all edges gilt. Printed in red and black. Front pastedown with engraved armorial bookplate of Helen & Michael Oppenheimer. Tidcombe DP-36; Tomkinson, p. 58. Spine sunned to a light tan (as often with green morocco) and with three tiny brown spots, otherwise in pristine condition inside and out. Full of lovely poetry, this refined volume from the always elegantly austere Doves Press comes in a binding that can trace its "descent" from Doves Press and Bindery founder T. J. Cobden Sanderson. Ever the perfectionist, Cobden-Sanderson personally selected and arranged the poems in the present anthology only after much considered effort. He noted in his journal on 31 July 1913, "I have put 'Bright Star' first, for I wish the feeling of the last sonnet to accompany the reader throughout; and at the end revert to Keats' first sonnet, and so leave the poet as it were on the peak in Darien." The Arts & Crafts-style binding from Sangorski & Sutcliffe has more than passing similarities to Doves bindings--perhaps because its binders were trained by a man who apprenticed with and later designed for Cobden-Sanderson's workshop. Francis Sangorski (1875-1912) and George Sutcliffe (18781943) met in 1896 while attending Douglas Cockerell's bookbinding classes at the London County Council Central School of Arts & Crafts. Generally considered to be the leading binder of his day, Cockerell (1870-1945) became an apprentice for Cobden-Sanderson in 1893, when the latter was setting up his Doves Bindery, then established his own workshop in 1897. Impressed with his pupils Sangorski and Sutcliffe, Cockerell hired the latter as a finisher and former as a forwarder in 1898. In 1901, Francis and George went into business for themselves, and before long, they had become two of the most renowned English binders of the 20th century. In the manner of their teacher and of his teacher, they combined high-quality materials with faultless technique and beautiful designs to create some of the most outstanding bindings of the Edwardian era. Our volume was formerly in the collection of fine private press books owned by the distinguished scholars Sir Michael Oppenheimer (1924-2020) and his wife Lady Helen Oppenheimer (1926-2022); he was an Oxford lecturer in politics and history, she an Anglican theologian whose groundbreaking work on ethics helped reform the church's position on remarriage of divorced persons. ONE OF 200 COPIES ON PAPER (and 12 on vellum).…

236 x 165 mm. (9 1/4 x 6 1/2"). 203 pp. LOVELY DOVES BINDERY-STYLE DARK BLUE CRUSHED MOROCCO, VERY INTRICATELY GILT AND INLAID, BY WESLEY D. BAKER (verso of front free endpaper stamped in ink: "Baker Bindery for James Cummins, Bookseller"; rear turn-in stamp-signed in gilt: "20*WDB*08") covers with wide frame of inlaid pink morocco Tudor roses (a total of 88 inlays on the covers), the blossoms linked with sinuous gilt stems with delicate leaves, all on a background stippled with tiny stars, raised bands, spine compartments similarly adorned, with inlaid rose at center, a trio of leaves at each corner, and a background of stars, gilt lettering, gilt-framed turn-ins with cornerpieces featuring an inlaid rose, gilt branches, and stars, white watered silk pastedowns and endleaves, all edges gilt. Printed in red and black. Tidcombe DP-36; Tomkinson, p. 58. A PRISTINE COPY. This is a refined book full of lovely love poetry, offered as an object so gorgeous that its Doves Press imprint has to take an uncharacteristic second place in importance; this is especially true because the binding, which clearly derives from Doves Bindery models, is a convincing perpetuation of that firm's superb achievements. Ever the perfectionist, Cobden-Sanderson personally selected and arranged the poems in the present anthology only after much considered effort. He noted in his journal on 31 July 1913: "I have put 'Bright Star' first, for I wish the feeling of the last sonnet to accompany the reader throughout; and at the end revert to Keats' first sonnet, and so leave the poet as it were on the peak in Darien." Our binding was done by Wesley Baker in 2008, using tools created by Roy Petit (responsible for the roses) and Stewart Fields (who cut the leaf tools). Baker became interested in bookbinding while in college, and attended workshops in the Northeast U.S., but is largely self-taught. From Alabama, he has adapted the traditional techniques used in England to the climate of the Deep South, where high temperatures and humidity require a different method of gold tooling than would be used in London. The present binding represents the latest attempt we know of to carry on in any thoroughgoing and convincing way the great tradition created by Cobden-Sanderson at the Doves Bindery at the center of the Arts & Crafts Movement. ONE OF 200 COPIES ON PAPER (and 12 on vellum).…