lisping goddess von russell flint (6 Ergebnisse)

Hardcover. Zustand: Near Fine. William Russell Flint (illustrator). 1st Edition. 36x22cm, 113pp. With a large initial by Margaret Adams reproduced by line-block in maroon, collotype reproductions of two watercolours and 26 pencil drawings, text printed in black and blue Cancelleresca Bastarda on W S Hodgkinson handmade paper. Copy D (see below) of 215 (270) signed by Russell Flint and bound in quarter-blue morocco over white canvas-covered boards, t.e.g., gilt rule and gold device blocked to front board, gold title and device to backstrip, in a slipcase with paper covers printed with a reproduction of a marbling pattern in red, blue, green and grey, also marked 'D' at the foot. Undoubtedly Stanbrook's most lavish book, privately printed for the artist Sir William Russell Flint - although the subject matter (prose fantasies inspired by the collection of ship's figureheads on the 'Cutty Sark') and collotype illustrations are rather untypical of the Press. However, the magnificently laid-out and printed Cancelleresca Bastarda in blue and black on W S Hodgkinson handmade paper is quintessentially the SAP style, and the availability of this face was the motivation behind Russell Flint's asking SAP to produce the book. Russell Flint himself designed the marbled paper used (in reproduction) for the endpapers and slipcase. David Butcher records that Russell Flint found Dame Hildelith to be broad-minded when it came to producing a book with 'watercolours of nubile young ladies'. Sought-after by both SAP and Russell Flint collectors. This copy is of particular interest, since its identification as copy ?D? places it outside Butcher?s bibliographic account of the book and its various limitations. Nevertheless, this copy has no variant points from the ordinary binding as described by Butcher, the copy numbers of which which ran from 26 to 240. The letter ?D? in Russell Flint?s hand perhaps points to an unrecorded small limitation of the ordinary binding, outside the main numbering scheme, reserved for his own use. Butcher B11 also records two specially-bound limitations: copies 1-25 in full blue morocco by Sangorski and Sutcliffe, and copies 241-275 in full red morocco by Bayntun-Riviere, the latter reserved for private distribution by Russell Flint (of which we are currently selling a copy, see separate listing). It may be that the creation of the 35 ?red? copies was a relatively late idea which then superseded the intended purpose of the lettered copies of the ordinary binding (and consigned them to unrecorded obscurity). Certainly the change of binder between the two special limitations (from S&S to Bayntun, although the designs are virtually identical) and the red copies? placement at the end of the numbering scheme both suggest that they were perhaps not part of the original plan. Very Good (backstrip moderately sun-faded, shaded areas on pp92-93 probably from offset from a previously laid-in leaf, scattered small foxing spots on a few other pages as often seen) in a Very Good (light shelf wear to edges, neatly repaired splits to the foot) slipcase. Butcher B11. Signed by Author.

Hardcover. Zustand: Very Good. Hardback, quarter morocco and cloth. 113pp [4]. 2 colour and numerous monochrome illustrations. Signed by Flint on the copyright page. Number 173 of a total edition of 275 copies, numbers 26 to 240 were bound in quarter morocco and cloth by Mansell. Marbled end-papers. Spine a little age-discoloured and stained and a few small spots to rear boards. Contents clean and unmarked. Signed by Author(s).

Original Blue Quarter Morocco. Zustand: Very Good. Zustand des Schutzumschlags: No Dust Jacket as Published. Limited Edition. LIMITED EDITION SIGNED BY THE ARTIST. Limited edition of 275 copies, this copy numbered 76, reverse of half title signed by Sir William Russell Flint, two colour plates, monochrome illustrations, marbled endpapers with the artist's initials, top edge gilt, remainder uncut, original blue quarter morocco, gilt by Mansell, lightly spotted, spine marked, original glassine jacket, somewhat creased, edges frayed, chipped with some loss at foot of spine, adhesive tape repair to rear panel, original marbled paper board slipcase and in original card box. Size: Quarto. By Artist. Illustrated.

Zustand: Near Fine. First edition (hardback), limited to 275 copies, of which this is copy number 229. 4to (35cm by 21cm), 115pp. Illustrated in colour and b&w by the author. Bound by Mansell in quarter blue moroccowhite cloth boards, gilt tlitling to the spine, gilt design to the front board, top edge gilt, marbled slipcase. There is some very minor spotting, else the book is in very good condition. The slipcase is in good to very good condition (some rubbing, light chafing to one panel). Signed and inscribed by the author.

Hardcover. Zustand: Near Fine. 1st Edition. One of 240 (275) copies bound by Mansell in quarter blue morocco with canvas, gold-blocked 'Three Mermaids' device on the front board, marbled endpapers, t.e.g., others uncut. Handset in 20-point Van Krimpen Cancellaresca Bastarda, with a line-block reproduction of an initial by Margaret Adams, printed in black, red and blue on Hodgkinson hand-made paper, signed by the artist/author. Illustrated with collotype reproductions of 26 pencil drawings and two water colours. A few leaves slightly foxed, marbled paper-covered slipcase, a very good to fine copy. The text consists of a series of prose fantasies inspired by the old ships' figureheads on the 'Cutty Sark'. The marbled papers, in different patterns, were Russell Flint's first designs for marbling. Signed by Author(s).

Zustand: Good. Als. 2 pages signed. 25 x 20cm. Autograph letter signed ('W Russell Flint') to Mr Stewart, reading "Indeed I wish I could help you to a copy of 'The Lisping Goddess' for your customer. I handed the entire edition (240 for sale) to Messrs Frost & Reed and they appear to have disposed of the lot with startling promptitude. I wish it could be seen because it is an unusual production over which I spent three years. The Times. review was comically grudging and gave little indication of its interest and will not be so hard with my next book 'Breakfast in Perigord'. It is printed and just going to the binders but I have not yet decided on a distributor", two pages, mild folding marks, 4to, Peel Cottage, 80 Peel Street, 20 July 1968.