leaf book (56 Ergebnisse)

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Hardcover. Zustand: Fine. Limited edition. [3] leaves, 37 pp., 2 full-page illustrations, original leaf mounted at rear, octavo, half red morocco and gray boards, publisher prospectus laid in. Original leaf is page 359/360 (misnumbered 380) from the Acts of the Apostles, Chapter XXIII. Limited edition of 395 copies.

hardcover. Zustand: Gut. Seiten; Artikel stammt aus Nichtraucherhaushalt! BD9737 Sprache: Deutsch Gewicht in Gramm: 500.

San Francisco: The Book Club of California, 1971. 4to, 86 pp. With illustrations and two original leaves inserted. Quarter blue cloth and paper boards with gold decoration on front & back covers; leather & gilt title label. Bookplate. Very good with original prospectus laid in. ? Limited to 500 copies designed and printed by Grabhorn-Hoyem. Illustrated with a matched pair of original leaves from A Dictionary of the English Language by Samuel Johnson, A.M. (1755), and An American Dictionary of the English Language by Noah Webster, LL.D. (1828), "Sla-Sle" allowing comparison of the men's definitions of Slattern, Slave, and Sleep, among other words.

Hardcover. Zustand: Fine. Limited edition. [3] leaves, 37 pp., 2 full-page illustrations, original leaf mounted at rear, octavo, half red morocco and gray boards, publisher prospectus laid in. Original leaf is page 405/406 from the Book of Romans, Chapter XI. Limited edition of 395 copies.

Soft cover. Zustand: Fine. (vi), 23, (xxxv1) pp., spiral bound in pictorial paperboard. Light shelf wear, fine copy with illustrations in colour. 33 x 22 cm. Number 129 of 150 copies. OH.

Oblong, 81 ff. Sinhalese script on palm leaf. Illustrated with 7 leaves of geometric and figural designs, recto and verso. Sinhalese manuscript (likely Sinhalese script in the Pali language) etched and inked on palm leaves. Blue-black Sinhalese rounded script. Contemporary painted, bevelled wood boards in orange and yellow, bound with soft twine. Illustrated with seven leaves of diagrams and figures: a palm leaf manuscript penned in the Sri Lankan Sinhalese script. The manuscript itself, along with each of its illustrations, is painstakingly inscribed by hand into dried and treated palm leaves. After inscription, ink is rubbed into the grooves left by the scribe's stylus. - In Sri Lanka, Sinhalese is both a spoken language of the Sinhalese people and a writing system in which one may also write in Sanskrit and Pali; indeed, Pali is a common language found in Sinhalese manuscripts. While palm leaf manuscripts are used for all sorts of works, from the Pali-Sinhalese medical treatise Yogaratnakara to the Ramayana, Sinhalese palm leaf manuscripts are particularly famous for their importance in preserving texts of Theravada Buddhism, including sutras and histories. - Palm leaf manuscripts are hardier than paper or vellum in humid, tropic environments, and resist rotting and insect damage. For this reason, they were developed over two millennia ago in Southeast Asia, and have continued as a traditional and practical manuscript tradition ever since. - Gentle edgewear, light soiling.

287 x 212 mm. (11 1/4 x 8 1/2"). xiv pp., [1] leaf (blank), 325, [1] pp., [1] leaf. Publisher's green buckram, cover and spine lettered in gilt. In original (slightly creased and torn) glassine and gold-speckled deep green slipcase with paper label. Section titles with illustrations by T. O. Duncan. WITH SIX LEAVES FROM SPORTING BOOKS. SIGNED BY THE AUTHOR on the limitation page. De Hamel & Silver, "Disbound and Dispersed" 205. Except for small problems with the glassine jacket, as new. This thorough bibliography of sporting book series published by 24 different publishers in the United States from the mid-19th century to the 1990s contains original leaves from six included works. Our author is bookseller, collector, and bibliographer Matthew L. "Duke" Biscotti, a noted sporting book enthusiast who has published six works on the topic. In 2010, he donated his extensive collection of sporting periodicals and ephemera to the National Sporting Library in Middleburg, Virginia. The six leaves here are from the following works: 1) Roosevelt, Theodore, and George Bird Grinnell, editors. "American Big Game Hunting," New York: Forest and Stream Publishing Company, 1893. 2) Holder, Charles. "The Big Game Fishes of the United States." New York: Macmillan Co, 1903. 3) Cook, Carroll Blaine. "Lake and Stream Game Fishing." Cincinnati: Stewart & Kidd Company, 1917. 4) Connett, Eugene V. "Any Luck?" New York: Windward House, 1933. 5) Clark, Roland. "Pot Luck." New York: A.S. Barnes and Company, 1945. 6) Allen, Durward L. "Pheasants in North America." Harrisburg, Pennsylvania: Stackpole Co. (Wildlife Management Institute), 1956. This book is not rare, but it is seldom found, as here, in its original glassine dust jacket. FIRST EDITION. No. 176 OF 300 NUMBERED COPIES (and 30 deluxe lettered copies).

No. 37 OF 126 COPIES. 75 x 50 mm. (3 x 2"). 2 p.l., 23 [1] pp., [1] leaf. Tan paper, with a paper label over a 17th century printed fragment. WITH THREE LEAVES FROM MINIATURE BOOKS: one leaf from the "thumb Bible" "History of the Bible," (New London: W & J Bolles, 1831); one from "The Shakespeare Glossary," (Glasgow: Bryce Stokes, 1904); and one from "Dew-Drops," (New York City: American Tract Society, ca. 1847). With an additional fragment of a larger leaf tipped in at the front. As new. This delightful entirely handmade production features a list of miniature leaf books and three original leaves from miniature books published between 1831-1904. Since the 1970s, our collaborating husband-and-wife book artists Peter and Donna Thomas have been making paper, printing with a hand press, and hand binding books. The present book was assembled between 1997-2005 and then printed, the Thomases humorously tell us, "on a cranky old Pearl treadle press," using Joe Halton's linotype and Neuland types. All paper was handmade by Peter Thomas; as an artistic choice by the bookmakers, the endpapers include fragments of paper from the 1686 book "Keble's Reports," the same work from which the fragments on the cover and frontispiece originate. The three leaves included here provide an excellent representation of the charming miniature books of the 19th century. They include a leaf from a "Thumb Bible," the miniature volumes containing biblical excerpts that enjoyed considerable popularity during the period; a leaf from an "Ellen Terry" book issued by Glasgow printer David Bryce Jr., who produced these books using the relatively new technology of photographic reduction and named them after the most famous actress of the day; and an American example, produced by the non-denominational American Tract Society, which published several miniature religious books through the mid-19th century. This publication is made especially charming by its size, which, of course, is entirely appropriate for the volume's contents.

First work: 185 x 130 mm. (7 1/4 x 5 1/4"); second work: 265 x 175 mm. (10 3/8 x 6 3/8"). 1 p.l., 19 pp., [1] leaf; 3 p.l., 6 pp., [1] leaf. Two separately published works. Poetica Typographia Johnsoniana in publisher's brown paper wrappers, front cover printed in black. "A Leaf from John Johnson's Typographia" in publisher's light gray cloth, front cover with a paper label. Poetica Typographia Johnsoniana with wood engravings after those in Johnson. EACH VOLUME WITH A LEAF FROM JOHNSON'S 1824 "TYPOGRAPHIA" TIPPED IN. Disbound and Dispersed 122 & 174. See also: Bigmore & Wyman, pp. 371-73. Both volumes in fine condition; the tipped-in leaves near fine (one just a bit foxed, the other with a faint dampstain). This duo of leaf books celebrates John Johnson's classic work on the history and art of printing, notable for its small type and unusual formatting. According to Bigmore & Wyman, "Of the few standard works on the art of printing in the English language, this is perhaps the most familiar . . . . It abounds with information of a very useful character, spiced with conceits manifesting the originality, humour, and freshness of the author. . . . The type, never larger than brevier, sometimes is as small as pearl, and the intricacy of the composition evinces the wonderful patience of Johnson." Bigmore & Wyman conclude that "Whatever its defects and shortcomings, it has long since become, and deservedly, a printer's classic, and one in which the youngest apprentice as well as the most experienced journeyman finds matter of an amusing as well as useful nature." First published in 1824, the "Typographia" was issued simultaneously in four formats: 32mo, 16mo, 8vo, and royal 8vo, also known as the "Roxburghe Edition," having been distributed to members of the exclusive bibliophilic group known as the Roxburghe Club. The first leaf book offered here, printed in 1959, contains a specimen leaf from the 32mo edition (without the typographic borders), as well as excerpts from the original work coupled with a series of woodcut vignettes; the second item, published in 1982 on the occasion of the Zamorano Club meeting in October of that year, contains a specimen leaf from the 16mo edition (with the typographic borders), as well as an essay by Carey S. Bliss, former head librarian of the Huntington Library. Both leaf books are in lovely condition and make an excellent pairing. ONE OF 75 COPIES (of the first work); ONE OF 200 COPIES (of the second work).

260 x 170 mm. (10 1/4 x 6 3/4"). 17, [1] pp., [1] leaf. Publisher's sage green paper boards, cover with title printed in black. WITH A LEAF FROM THE 1865 BIELEFELD "DER KORAN." In fine condition. This charming and attractively printed leaf book served as the ultimate bibliophile's Christmas card. William P. Barlow, Jr. (1934-2021), was a dedicated Bay Area book collector who for many years served as president of the Roxburghe Club of San Francisco. Along with collecting, Barlow printed under the Nova Press imprint, putting out a smattering of pamphlets and "cards," such as the present volume. This tongue-in-cheek production gently pokes fun at the norms of the bibliophilic world even as it celebrates them, as evident in the limitation statement: "A moderate number of copies printed and distributed by the Nova Press, Piedmont, and its proprietor, Wm. P. Barlow, Jr., as a form of Season's Greetings to members of the Roxburghe Club of San Francisco and other friends. To the latter I apologize for a rather parochial parody and a somewhat un-Christmassy Christmas card; to the former I need apologize only for the way in which it has been done, as they are used to getting all sorts of strange things at Christmas." The leaf included in this book is from the 1856 Bielefeld edition of Ludwig Ullmann's influential German translation of the Qur'an, which was first published in 1840. The print run of this work must have been a good deal less than "moderate," as copies seem not to be readily available.

EACH ONE OF 125 COPIES. 47 x 38 mm. (2 x 1 1/2"). 18 pp., [1] leaf. Two copies of the same work, sold separately. Deep brown half morocco over marbled paper boards, flat spine lettered in gilt. WITH A LEAF FROM the Newberry Bible. De Hamel and Silver, "Disbound and Dispersed," 168.5. As new; one copy with the inserted leaf a bit browned with a small open tear to the margin (not affecting the text) but still excellent; the other with a very fine leaf, just a bit browned at the edges. These two copies of this delightful publication feature a leaf of the famed 1780 Newberry "Thumb Bible," accompanied by an essay written by one of the 20th century's most noted collectors of miniature books. It is a charming tribute on the bicentennial of the publication of one of the world's smallest Bibles. The Newberry Bible, fully titled "The Bible in Miniature, or a Concise History of the Old & New Testaments" was produced by Elizabeth Newberry, the niece of John Newbery, pioneering children's book publisher and the namesake of the Newberry Medal. Ruth E. Adomeit (1912-96) was a lifelong miniature book enthusiast: along with being known for her personal library, she wrote the leading bibliography of thumb bibles, was editor of "The Miniature Book Collector" from 1960-62, and was active in the Miniature Book Society. This publication is made especially charming by its size, which perfectly fits the tiny leaf it contains.

Zustand des Schutzumschlags: dj. San Francisco: Book Club of California, 1977. Folio, 28 pp. Illustrated, original cloth, dust-jacket. A fine copy with the original prospectus laid in; the original plain wrapper has one short closed tear on the rear panel and has been lettered by hand on the spine panel. ? Limited to 385 copies, printed by Grant Dahlstrom. A fine copy with the prospectus. The leaf is in fine condition and has two wood engravings of Cyprus and one of Phillyrea.

Zustand des Schutzumschlags: dj. San Francisco: Book Club of California, 1977. Folio, 28 pp. Illustrated, original cloth, dust-jacket, bookplate and owner's signature on front pastedown. A fine copy in the original plain wrapper, very lightly edgeworn and titled in pencil on the spine panel. Prospectus laid in. ? Limited to 385 copies, printed by Grant Dahlstrom. A fine copy with an especially good leaf with six large botanical woodcuts depicting Chondrilla (Skeletonweed), and five varities of Hieracium (Hawkweed), long used for diseases of the lungs.

ONE OF 125 COPIES. 420 x 290 mm. (16 3/4 x 11 1/2"). [iv], 7, [1] pp., [1] leaf. Gray paper wrappers, spine with paper label, in (worn but still solid) marbled paper slipcase. WITH A PLATE FROM the 1755-59 memorial edition of "Fables Choisies" illustrating Fable CXCI, "La Tortue et les Deux Canards." Early (original?) tissue guard. Front pastedown with E. H. H. book label of E. Harold Hugo. De Hamel & Silver, "Disbound and Dispersed," 130. Ray, pp. 16-20 (plate). Wrappers, text, and engraving in fine condition, with the plate very richly impressed. This attractive and generously proportioned fine press production includes an original plate from the sumptuously illustrated memorial edition of La Fontaine's "Fables." Ray cites that work as one of the three most beautiful illustrated French books between 1700-1914 and "one of the most ambitious and successful of all illustrated books." Its 276 plates were finely engraved with a surprising degree of consistency (especially given the large number of burins at work); they are always detailed and delicate, and they are frequently alive with light. In Ray's words, the illustrations, which feature a comprehensive view of the French countryside of the 1730s, offer a fertile world "to which the reader may return again and again for delight and instruction." The compositions are the work of Jean-Baptiste Oudry (1686-1755), the greatest animal painter of his age, who was ideally suited to illustrate La Fontaine; as Ray says, his "rendition of animals is hardly to be surpassed." The very dramatic plate included here, which accompanied the fable "La Tortue et les Deux Canards" ("The Turtle and the Two Ducks"), depicts the turtle clinging to a stick borne between the two flying ducks, but about to fall, Icarus-like, to its death. Oudry's skill with animals is evident here, in the muscles of the ducks straining as they fly with their burden and the careful detail of the wriggling reptilian legs of the tortoise. This leaf book was produced by Dawson's Book Shop, Los Angeles booksellers who began publishing in 1949. Printed at Saul and Lillian Marks' Plantin Press, the production demonstrates the quality of printing for which they were well known. Our copy is from the library of scholar-printer E. Harold Hugo (1910-85), who ran the Meriden Gravure Company from 1962-75 and sat on the board of the Stinehour Press from the time of its founding. He was known throughout his career as an advocate for fine printing, leading to numerous awards for himself and his company.

ONE OF 60 COPIES. 65 x 45 mm. (2 1/2 x 1 3/4"). 20 pp., [1] leaf. Quarter red leather over patterned paper boards, flat spine lettered in gilt, Dutch gilt endpapers. With a leaf from the Kleine Print miniature bible, containing an excellent engraving of Jezebel and Jehu from 2 Kings 9. DeHamel and Silver, "Disbound and Dispersed," 196.5. See also: Welsh 938; Spielmann 280. The book in mint condition (the inserted leaf just slightly browned at edges, but fine and fresh). This charming little leaf book pays tribute to a very rare miniature Bible published around 1750 in The Hague. Composed entirely of engravings printed on one side only, the work is a masterpiece of small-scale printing. In the words of the Spielmann Catalogue, "Many of the scenes depicted [in the original Bible] are of astounding beauty, considering the tiny scale upon which the artist had to work." The genesis of the present leaf book was the acquisition by the noted miniature book collector Ruth E. Adomeit (1910-96) of a fragment of 61 leaves from this Bible, which she obtained during a European trip in 1953. Our copy contains an engraving showing the meeting between the military commander Jehu and the wicked Queen Jezabel, which ends with Jezebel's being thrown from a window by her eunuchs. We see her mid-fall and upside down in the present image, while Jehu watches triumphantly from his chariot. Not surprisingly, given its small print run, this item is not commonly seen for sale.

490 x 325 mm. (19 1/4 x 13"). viii, 23, [1] pp., [1] leaf. Publisher's quarter vellum over gray paper boards, covers with device in gilt, smooth spine lettered in gilt. In (just slightly chafed) black buckram slipcase. WITH A MAP FROM THE ORIGINAL 1619 ATLAS bound in, with period hand coloring. (Map 293, "Tarvisina Marchia Et Tirolis Comitatus"). De Hamel & Silver, "Disbound and Dispersed" 186. One corner a bit bumped, otherwise the main volume flawless; the map edges a bit browned and just slightly frayed, a few light spots, but still excellent, with good color and strong general appeal. This attractive oversized production includes an original map of an important region of northeastern Italy, taken from the 1619 edition of the Mercator-Hondius atlas. A pioneer in commercial cartography and a founder of the Netherlandish school of cartography and geography, Mercator (1512-94) produced maps used around the world that were informed by his brilliant "Mercator Projection," which allowed the round Earth to be accurately depicted on a flat map. Near the end of his life, he began work on an ambitious cosmography that would contain an account of the creation of the world, a description of the universe, descriptions of the countries and oceans of the world, genealogies and political histories of the several countries, and a chronology of the cosmos. Only the account of creation, the chronology, and maps of the known regions of the world came to fruition. Mercator having died before the work came to press, it was completed by his heirs and published in 1595 with 107 maps. Leading Amsterdam map publisher Jodocus Hondius (1563-1612) acquired the plates in 1604 and issued the first Mercator-Hondius "Atlas" in 1606, with 37 maps he had engraved added to the original 107. Teacher and Hondius' brother-in-law Pieter van den Berg wrote the introduction and the descriptive text that appears on the versos of the maps. A 1611 edition increased the number of maps to 150, and another six were added in 1619. The hand-colored map included in our copy depicts the South Tyrol and Veneto regions, including Lake Garda, Verona, Padua, and Venice. It is accompanied with an essay by Norman J. W. Thrower (1919-2020), UCLA geography professor and cartographer, describing the historical background of the atlas. Joel Silver, in "Disbound and Dispersed," tells us that "the physical production of this leaf book is superb, from the design by Vance Gerry to the presswork of Patrick Reagh.". ONE OF 89 COPIES in quarter vellum (of a total edition of 115).

San Francisco: Book Club of California, 1949. Folio, (14), 42, (1, colophon) pp. Title and vignettes printed in red. Original quarter linen with rose pink papered boards, gilt device on upper board. Small white spot on upper board, patch of sunning on lower board, toning to front free endpaper, bookplate; very good. ? Limited to 390 copies (including 50 de luxe) printed at the Grabhorn Press, this is one of the most pleasing leaf books issued by the club both for content, quality of leaves, and design. This copy has leaves from the Galeni de Affectorum (1512), Eusebii Pamphili (1545), and Dionis Cassii (1592). Some copies had leaves from other books. Chalmers, A Checklist of Leaf Books, 101.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in flexible vellum with ties (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER WITH woodcut borders, woodcut beginning word, and A WOODCUT SCENE DESIGNED BY EDWARD BURNE-JONES, AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, G?NTHER ZAINER, AND ANTON KOBERGER, the Zainer leaf featuring at least one woodcut initial. The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, G?nther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. The essay comes in one of three bindings (which reflect the degree of decorative elaboration on the accompanying Kelmscott leaf): linen-backed paper boards in imitation of the small format Kelmscott publications (with a leaf containing text and small initials); floral patterned cloth after a Morris design (with a leaf containing multiple six-line initials); or, in the most deluxe version, as here, in flexible vellum with ties (with a leaf featuring a full woodcut frame, one or more prominent woodcut initials, and a very large and striking Edward Burne-Jones woodcut scene). No. VII OF 47 COPIES (numbered I-XLVII) bound in flexible vellum from a total edition of 165 COPIES. Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8").

170 x 118 mm. (6 3/4 x 4 5/8"). Single column, verso with 15 lines in a gothic book hand. One four-line initial in blue with white embellishments, filled with pink and blue leaves, verso with three-quarter bar border of repeating orange and blue ivy on gold ground, and a panel border of acanthus and flowers on lobed shapes with gold ground or on bare vellum, recto with A HALF-PAGE ARCH-TOPPED MINIATURE depicting the Virgin and Child with a kneeling female patron holding a book, surrounded by a three-quarter gold and painted frame and a border of fruit, flowers, and acanthus on lobed or circular shapes filled with painted gold or on bare vellum. Rule at bottom of border just slightly grazed (margins otherwise quite ample), odd violet discoloration in vellum (a color transfer because of moisture?) on verso apparent (only) on the undecorated surface, with gilt and paint unaffected (the border at top and bottom on the side with the miniature with faint pinkish show-through), small mounting stains in five places in margins of verso, but the miniature itself nevertheless perfectly preserved, and the leaf sparkling with gold. This leaf is as joyful as the text it contains. The 15 Joys of the Virgin Mary is a prayer that was frequently added at the end of a Book of Hours, especially those produced in France in the 15th century. It celebrates the joyous moments in the Virgin's life (the Annunciation, Nativity, wedding feast at Cana, Pentecost, and so on), each beginning with the phrase "Doulce dame." The prayer was often paired with a miniature of the Virgin and Child Enthroned, as it is here, accompanied by the portrait of a female patron (also seen here). Despite the pinkish aura here, the present example is very pleasing, being replete with gold and full of detail skillfully realized by a talented artist. The molding of the faces is excellent, with subtle gray tones sculpting realistic features over porcelain skin. Although the Virgin is the largest figure in the composition (signifying her importance), the female patron is also a clearly announced presence. Beautifully dressed in golden robes and a black conical hennin draped with a delicate sheer veil, she kneels before a large codex, her hand resting gently on its open pages. Her finery clearly marks her as a member of the wealthy elite--a person who could afford such a costly accessory as a Book of Hours.

144 x 99 mm. (5 5/8 x 3 3/4"). Single column, recto with 14 lines in a gothic book hand. Attractively matted and framed. Rubrics in red, two two-line initials, one painted pink on blue ground with flowers, the other painted blue and inhabited by a rampant lion on pink and gold ground, recto with a panel border featuring long-stemmed flowers and owls on a pink ground, verso WITH A HALF-PAGE ARCH-TOPPED MINIATURE DEPICTING PENTECOST, WITH A FULL BORDER featuring a plethora of different flowers, berries, greenery, songbirds, an owl, and a butterfly, all ON A RICHLY PAINTED GOLD GROUND. Trimmed close on one side (and just grazing a border on the opposite side), very minor chipping to faces, trivial signs of rubbing or wear, otherwise a fine leaf--colorful, bright, and very pleasing to the eye. This leaf contains the customary Pentecost miniature associated with the Hours of the Holy Spirit, but with several attributes that set it apart from other examples we have encountered. The miniature here depicts a densely crowded scene with the Virgin at the center surrounded by the apostles, each of whom wears a burnished gold halo. Packed tightly together, they gaze up at a white dove who emanates small red tongues of fire above their heads. According to biblical tradition, this visitation by the Holy Ghost in the form of a dove enabled Christ's disciples to start preaching, marking the beginning of the Christian Church. The artist favors an unusual pastel palette, choosing pale pink for the walls and eggshell blue for some of the floor tiles, as well as bright yellow, muted lilac, rose, and lime green for the robes of the apostles. Looking more closely at the figures, we see that each face is carefully individualized, each with its own features and expressions. Although most crane their necks to get a view of the miracle unfolding, one of the apostles looks directly out at the viewer, as if surprised by our presence. Moving outside the miniature, we note that the leaf features a particularly exuberant border with tangles of flowers, fruit, acanthus leaves, and several birds, including an owl in one corner. There is additional interest on the verso, with another bright border painted an intense pink and filled with more flowers and owls.

235 x 159 mm. (9 1/4 x 6 1/4"). 131 pp. A Campbell-Logan Co. binding of purple quarter morocco, using marbled papers especially designed for this edition by Iris Nevins. Text with four nine-line initials in red and blue (replicating 15th century rubrication), two pages of typographic facsimiles. ACCOMPANIED BY A LARGE FOLIO SWEYNHEYM & PANNARTZ LEAF from the 1471 printing of Nicholas of Lyra's "Postilla super totam Bibliam." The book and leaf (which is secured behind a hinged cloth mat) housed in an impressive (15 1/2 x 11 3/4") navy blue folding cloth box constructed of acid-free materials by Jace Graf of Cloverleaf Studio. Title page printed in black, red, and blue. De Hamel "Disbound and Dispersed" 40. Aside from Gutenberg and his immediate associates, there are no figures more important in the early history of printing than Sweynheym and Pannartz, the earliest printers outside Germany. First at Subiaco and later in Rome, they produced an imposing catalogue of first editions of ancient authors, which for the first time systematically exploited the potential of the new technology as a means for disseminating humanistic texts to a large audience. The present scholarly work is the first book to create from the available information a broadly based and detailed picture of the activities of these two printers. The book examines in a full and careful way their lives and achievements within the context of their newly developed craft as well as the humanistic environment they encountered in Rome in the 1460s and 1470s. In the process of his account, Professor Hall challenges a number of widely held assumptions about the origins of printing in Italy. The volume is printed on luxurious mould made Frankfurt paper by Henry Morris at the Bird & Bull Press, for more than 40 years one of America's most distinguished private presses. The 14 1/2 x 10 1/2" leaves are in excellent condition, and they show to good advantage the famous and beautiful type Sweynheym and Pannartz first used in 1467, recognized now as the earliest truly roman font. Even though Sweynheym and Pannartz produced more than 50 different editions, their press runs were normally only 275 copies. Consequently, their books are now very rare, and complete copies are extravagantly priced. The present leaf book offers an uncommon opportunity for research libraries as well as collectors interested in early printing or in private press work and the book arts to obtain an example of the work of Sweynheym and Pannartz in a form that is handsomely produced and at the same time not prohibitively expensive. FIRST EDITION. ONE OF 233 COPIES (of 241 total).

Oblong, cord-bound palm leaf book (355 x 40 x 170). 249 ff. Tamil script inscribed on palm leaf. Wooden covers, bound with cord. An impressively lengthy palm leaf manuscript, painstakingly inscribed on nearly 250 individual pressed palm leaves. Palm leaf manuscript traditions are found throughout Southeast Asia, written in languages like Pali (itself written in various scripts, including Sinhala), Burmese, Tamil, and more. This manuscript is likely Tamil and from Sri Lanka; a similar collection of 30 digitized Tamil palm leaf manuscripts can be found at the Digital Tamil Palm-Leaf Manuscripts Collection at the University of Toronto's UTSC Library. - Despite the extra skill required to write on them, palm leaves are more durable than vellum or paper, especially in hot or humid environments; as such they are one of the most ancient writing surfaces in the world, with a manuscript tradition in Southeast Asia and India stretching back millennia. The texts of palm leaf manuscripts are first etched into dried and treated palm frond strips by a trained scribe armed with a small sharp stylus. The scribe then rubs ink into the etched lines of the letter-forms; this labour-intensive process can be seen in the pages of this manuscript. - Minor chipping and some toning to edges of leaves; retains both a pin and a (later) cord binding. In good condition. - Reportedly from the personal collection of bibliophile Colin Ellis Franklin (1923-2020), Culham.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in linen-backed blue paper boards (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER with multiple 3-line initials AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. ONE OF 32 COPIES in linen-backed blue paper boards from a total edition of 165 COPIES.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in floral-patterned cloth after a Morris design by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER with six- and three-line initials AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. ONE OF 84 COPIES in floral-patterned cloth from a total edition of 165 COPIES.

153 x 110 mm. (6 x 4 3/8"). Single column, verso with 16 lines in a gothic book hand. Line fillers in pink and blue with gold bezants, several one-line initials in burnished gold on blue and pink ground, one two-line initial and one three-line initial in blue filled with colorful foliage on burnished gold ground, WITH A HALF-PAGE ARCH-TOPPED MINIATURE OF THE NATIVITY BY MAÎTRE FRANÇOIS OR HIS WORKSHOP, the text and miniature with bar border on three sides decorated with colorful foliage on burnished gold, and surrounded by a full border of acanthus leaves, dense rinceaux, colorful fruit and flowers, gold ivy leaves, and bezants, the verso with a similar panel border. Noticeable paint loss to (or else unpainted portions of) the stable, tiny chips missing elsewhere (including to Christ child's armpit), border a bit faded in bottom corner, but still in quite attractive condition overall, the original charm and vibrancy of the miniature intact. The hour of Prime opens here with a lovely and, in part, inventive image of the Nativity, showing the Holy Family in rustic splendor after the birth of Christ. Pushed into the extreme foreground of the picture plane are the Virgin, whose voluminous blue robes unfurl around her; Joseph, dressed in pink robes and a lilac cowl; and the tiny Christ child, lying between the pair and surrounded by golden rays. The traditional ass and ox appear immediately behind the family, and, in quite a charming moment, the ox bows its head toward the baby, who stretches out his hand to meet its snout. In the background, two figures (who appear to be dressed as much like monks as they do shepherds), peer over the fence to witness the miraculous event. Since the depiction of a sacred moment like the Nativity would not invite radical design invention, this detail qualifies as a creative touch deserving special note. Notwithstanding a little paint loss, the artistry in this miniature is first rate, displaying finely crafted drapery and carefully executed details, seen, for example, in the wattle fence and thatched roof. Our miniature was likely executed in the workshop of the so-called Maître François, who ran a highly successful Parisian atelier during the years between 1460 and 1480, producing illuminated manuscripts small and large, sacred and secular. Characteristic of the Master's style are richly colored scenes, interiors depicted with considerable detail, women and children with pale, porcelain complexions, and male figures with darker, weathered flesh tones. Judging from the high level of skill observed here, it is certainly possible the master himself--or at least a very talented member of the workshop--had a hand in its creation.

ONE OF 100 COPIES. 580 x 380 mm. (22 3/4 x 15"). Four volumes. Collected, described, and with a preface by Michael Zinman; introduction by Mark Noll. Leaves archivally as well as very attractively matted and housed in four fine hard-shell folding linen portfolios, each with a red morocco label. WITH LEAVES FROM 38 BIBLES PRINTED IN AMERICA BEFORE 1900. ?As new. This is a beautifully presented collection of 38 leaves taken from (incomplete copies of) the most significant editions of the Scriptures printed in the present geographical United States between 1663 and 1878. The four portfolios contain leaves from 10 18th century Bibles in English, 10 19th century Bibles in English, eight Bibles in the languages of the native peoples of America, and 10 Bibles in other languages. Each Bible represented has an important place in the printing and cultural history of America. In addition to Eliot's first Indian Bible of 1663 and to Bibles in Chippewa, Mohawk, Hawaiian, Cherokee, Dakota, and Choctaw, the portfolios contain leaves from the first American Bibles in English, German, French, Spanish, and Hebrew, the first American New Testaments in Greek, Portuguese, Dutch, and Swedish, the first illustrated American Bible, the first printed on American paper and with American-made type, the first Confederate Bible, the first Bible translated by a woman, the first Bible printed for the blind in America, and more. The informative introductory essay, bibliographical descriptions, and commentaries are printed on separate sheets (partly to facilitate display). The present set has come directly from the publisher in the original packing container and has seen no use beyond what was necessary to do this cataloguing.

164 x 123 mm. (6 1/2 x 4 7/8"). Single column, 17 lines, in a gothic hand. Capitals touched with red, rubrics in red, one-line initials in red or blue, one two-line initial in blue, A VERY LARGE HISTORIATED INITIAL (approximately 60 mm. square) DEPICTING PENTECOST, the initial painted blue with white tracery on a burnished gold ground, surrounded by A FULL BORDER decorated with colorful acanthus, large flowers, strawberries, insects (including a grasshopper, fly, moth, and mosquito(?)), all on a liquid gold ground. See: Marrow, et al., "The Golden Age of Dutch Manuscript Illumination," nos. 79-81. âMargins just faintly soiled, gold very slightly rubbed, but IN FINE CONDITION, the initial and border beautifully preserved. This is an extraordinarily handsome leaf, featuring an oversized historiated initial depicting Pentecost, attributed to the circle of the Master of the London Jason. Our artist has made remarkable use of space, fitting 13 clearly defined people within an initial opening measuring 45 x 32 mm. The Virgin sits enthroned directly in the center, encircled by the Apostles dressed in blue, violet, green, and orange robes. Our artist cleverly adds a notch at the top of initial--like a cupola inside a chapel--in order to fit an image of a dove inside the scene. The figures show an impressive degree of individualization and emotional response as they witness the descent of the Holy Spirit; a few gesture in surprise, two lower their gaze, and some look up in awe. The work is stylistically like that of the Master of the London Jason, named for his work on the "Historie van Jason" manuscript now housed at the British Library. As Marrow et al. note, the Master's style is characterized by "somewhat short, heavy figures [that] are well formed and have unusual, slightly broad yet expressive faces with deep sunken eyes." Our leaf's enclosing border is of very considerable interest, featuring as it does naturalistic flowers, strawberry plants, insects, and a small, brightly colored bird, all painted in colors that perfectly complement the main scene. A very fine production all around, this distinctive, energetic leaf would make a notable addition to any collection.

All leaves measuring between 10 - 13 3/4" tall and 7 - 9 1/2" wide. Uniformly matted on 480 x 350 mm. (18 3/4 x 13 3/4") boards. One leaf of contents, plus 12 folders with original leaves. Original buckram portfolio, green paper label on upper cover. With 12 original leaves from early printed books, including FOUR INCUNABULAR LEAVES, each leaf with one or more botanical illustrations, NINE OF THE LEAVES WITH CONTEMPORARY HAND COLORING. ?Three of the leaves somewhat browned, a couple with light foxing around edges, two leaves with very small paper repairs, but very good specimens overall, and beautifully presented in as-new folders and portfolio. This is a group of early printed leaves, in Latin, German, and French, from significant herbals, including major publications by Bock, Fuchs (two leaves), Lonicer, Mattioli, and Brunschwig. The set includes leaves from: 1) GART DER GESUNDHEIT. (Mainz: Peter Schöffer, 1485), the first herbal printed in German. 2) GART DER GESUNDHEIT. (Augsburg: Hans Schönsperger, 1485) 3) ORTUS SANITATIS. (Mainz: Jacob Meydenbach, 1491) 4) ORTUS SANITATIS. (Paris: Antoine Verard, ca. 1500) 5) BRUNSCHWIG, H. MEDICINARIUS. (Strassburg: Johann Grüninger, 1505) 6) HERBARI ODER KREUTERBUOCH. (Strassburg: Renatus Beck, 1521). 7) FUCHS, L. DE HISTORIA STIRPIUM (Basel: Michael Isingrin, 1542) 8) FUCHS, L. NEW KREUTERBUCH. (Basel: Michael Isingrin, 1543) 9) BOCK, H. NEW KREUTTER BUCH. (Strassburg, Melchior Sebizius, 1580) 10) LONICER, A. KREUTERBUCH. (Frankfurt: Egenolffs Erben, 1582) 11) MATTIOLI, P. A. KREUTERRBUCH. (Frankfurt: S. Feyerabend, 1590) 12) DIOSKURIDES, P. KRAUTERBUCH. (Frankfurt: C. Carthoys, 1610).

155 x 110 mm. (6 x 4 1/4"). Single column, 16 lines in a gothic book hand. Rubrics in dark pink, ONE EXQUISITE FOUR-LINE INITIAL painted blue with white detailing, filled with red and blue vines and leaves, on a burnished gold ground, with a painted and gilt bar border on one side, each end capped with a flower, the text surrounded on three sides with a border of acanthus leaves, dense rinceaux, colorful flowers, gold ivy leaves, and bezants. A couple negligible imperfections, but IN VERY FINE CONDITION, One of the most popular optional prayers in the 15th century Book of Hours, "O Intemerata" ("Oh, immaculate virgin") is a brief supplication in which the Virgin is glorified for her purity as the "unspotted and forever blessed, singular and incomparable Virgin Mary, Mother of God." The present leaf is given special emphasis with the presence of a three-quarter rinceaux border surrounding the text, and the opening of the prayer is marked by an especially pretty and finely detailed initial that glitters with burnished gold. The leaf is unusually beautiful, precisely rendered, and in very fine condition.