found: 7 books

 
BEERBOHM, MAX
Zuleika Dobson
. Folio society, 2008, Illustrated by Michael Kirkham. Bound in buckram, blocked with a design by Michael Kirkham. Set in Baskerville with Berolina display. Frontispiece and 8 colour illustrations. Size: 9" x 5¾", 216 pages. The dazzling daughter of a curate and a circus-rider, Zuleika Dobson is the world's most celebrated conjurer, and is used to men falling in love with her. When she arrives at Judas College, Oxford, to visit her grandfather, her beauty and charms very nearly cause a stampede among the undergraduates. The Duke of Dorset is particularly smitten, but Zuleika insists that she can never love anyone who is not impervious to her charms. When the Duke disregards an ancient family curse and sets his heart on Zuleika, the comic and fanciful become blended with the poignant and tragic in this uniquely English fable. Max Beerbohm was a critic, essayist, caricaturist and perennially sought-after dinner-party guest in smart Mayfair circles. Zuleika Dobson is his only novel and a joy to read. Romantic, witty and satirical, it is a sparkling fantasy of university life in Edwardian England, and undoubtedly draws on his own time at Oxford as a member of Oscar Wilde's set. Beerbohm creates a magnificently eccentric golden world, where the Duke rides a polo pony down the street and the statues of Roman emperors break into a sweat at the sight of Zuleika’s beauty. Zuleika Dobson was rapturously received at the time of its publication in 1911. A product of a golden age of English literary humour, it is a rare combination of beauty and comic oddity reminiscent of Saki and Wilde – perfectly captured, in this edition, by Michael Kirkham's charming modernist illustrations. new copy.
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Book number: F1784
GBP 14.50 [Appr.: EURO 16.5 US$ 19.57 | JP¥ 2192]
Keywords: Folio Society Oxford

 
BROWN, MICHELLE P., (COMMENTARY)
The Holkham Bible Picture Book. 2 Volumes.
. Over 150 pictures painted with exquisite tinted washes forms an entirely unique picture bible and creates a fascinating view of a medieval artist's personal devotion. Half bound in blue leather with buckram sides printed with diaperwork pattern. Separate leather title label blocked with a design by David Eccles in gold, red and blue. Gilded on all three edges, with a ribbon marker. Printed on Swiss made Furioso paper. Presented together with the Commentary volume by Professor Michelle P. Brown in a buckram bound solander box with a leather title label. Over 150 images, 84 manuscript pages. Book size: 11" x 8". A unique manuscript, recreated in all its original glory in an exclusive facsimile edition limited to 1,750 numbered copies. 'If I make it true and God grants me life, never will you see another such book'. The artist's opening prayer has been triumphantly realised: he has brought popular scenes from the Bible to life in a manner that had never been achieved before nor has been since. Dramatic composition, delicate colouring and a humorous personal touch combine to make this a unique vision of the Bible and of the medieval age which produced it. The Holkham Bible abounds with details from the medieval world, A picture of medieval London , from new developments in technology (a jointed visor, ships depicted with innovatory rudders and bow sprits) to familiar London landmarks in the Middle Ages. The centre of medieval manuscript production was Paternoster Row, beneath the spire of St Paul's (the medieval cathedral spire was taller than Wren's dome), and this is depicted by the artist when the devil tempts Christ to throw himself from the temple. Immediately afterwards Satan takes Christ to a high place, which seems to be the earliest depiction of Hampstead Heath with its newly acquired windmill. The entire book hums with the hubbub of city life, but underneath this delight in bustle runs a sincere dion that reminds the viewer of the enormous appetite for and popularity of sermons, miracle plays and religious frescoes among medieval audiences. Instead of gilding in silver and gold, the artist has chosen to use a form of tinted wash which was popular in earlier manuscripts, but had almost disappeared in favour of heavier ornamentation. The subtlety and naturalistic poses are more reminiscent of the developments in fresco painting which were sweeping Italy than of the stylised figures of medieval illumination. The depiction of drapery, textiles and clothing throughout the manuscript is exceptionally well realised, and there are unusual diamond patterned backgrounds (known as diaperwork) with figurative flowers and oak leaves painted in red. In her Commentary, Professor Michelle P. Brown raises some fascinating suggestions, noting similarities to the needlepoint opus anglicarum for which London was famous. The artist uses time lapsed compositions to enhance the dramatic nature of his story û rather as a film storyboard might do. He frequently conflates events into a single image for dramatic impact and to provide a wealth of naturalistic detail. Hence in the depiction of the Creator, overleaf, elements of the third, fifth and sixth days of the creation are presented as it were simultaneously, producing a sumptuous array of birds, beasts and bushes. Words have clearly been added after the painting was finished the reverse of the normal method of manuscript production. Instead of classical Latin, the captions are written in Anglo Norman, with a strong 'franglais' flavour, since English words and phrases occasionally slip in. This provides Michelle Brown with clues to unravel the secret of the book's making in her Commentary. The artist seems to bring a strongly individual approach to which scenes he chooses to paint. Rather than following any known existing model, he combined a mixture of sources: Scripture, entertaining details from the mystery plays, episodes from an Anglo Norman account of Christ's childhood, and Petrus Comestor's influential twelfth century Historia Scholastica. This mixture gives us such appealing scenes as Christ playing on sunbeams as a child and God telling Noah to hurry up with the Ark so that he is forced to finish the top section in wicker rather than wood. There are moments, almost Chaucerian in their bawdy comedy, designed to appeal to a less than 'aristocratic' audience Jesus tricks his master by doing all his work with a miracle and Herod peeps down Salome's skirt as she stands on her hands, her dance turned into a tumbling acrobatic display.
Thornton's BookshopProfessional seller
Book number: F0140
GBP 250.00 [Appr.: EURO 282.5 US$ 337.4 | JP¥ 37786]
Catalogue: Antiquarian Rare
Keywords: Bibliophile Weblists2 Bible Studies Limited Editions Folio Society

 
JOYCE, JAMES
Ulysses
. London Folio Society 2004 Limited and Numbered Edition Published on 16 June, 2004 to mark the Centenary of the day on which the action of the book is set. The edition was limited to 1760 copies. In full goatskin binding, blocked with a design by Jeff Clements (a turquoise-blue leather, with gilt and black decoration) with gold colour endpapers. In a dark blue buckram-bound solander box blocked with Joyce's signature in gilt on the front and used with special permission of the Joyce estate and the title in gilt on spine side. The text used is the one as issued in the 1998 Folio Society edition (which takes the text of the 1926 second edition) set in Old Style with Pastonchi display. Illustrated with 18 etchings with gold leaf by Mimo Paladino. With gilded top edge and ribbon marker, 758 pages, 18 plates, Introduction by Jacques Aubert and a new, revised 2004 preface by the author's grandson Stephen James Joyce. Paladino's etchings were first published in a limited edition of 18 copies. In new condition.
Thornton's BookshopProfessional seller
Book number: F1786-4
GBP 325.00 [Appr.: EURO 367.25 US$ 438.62 | JP¥ 49122]
Keywords: Wim Meeuws Ireland Eire Limited Editions Bibliophile Folio

 
MÜLLER-KRUMBACH, RENATE:
Harry Graf Kessler Und Die Cranach-Presse in Weimar. Mit Einem Beitrag Von John Dreyfus Und Einem Verzeichnis Der Drucke Der Cranach-Presse.
. Hamburg, Maximilian-Gesellschaft, 1969. 184pp. sm-folio, Black and white illustrations on plates on the pages 121 - 170 . this is the history of the famous private press founded in 1913. 57 editions till 1931 are described/listed and additionally 8 planned titles which were never issued, all shown on the plates. Annual gift of the German bibliophile society the Maximilian-Gesellschaft for 1967 in an edition of 1600 copies. Design by Richard von Sichowsky. Black cloth binding, slightly faded to the spine and edges of the front board, blind embossed design on front board.[DL 3/5]( private press ).
Thornton's BookshopProfessional seller
Book number: F1170
GBP 29.50 [Appr.: EURO 33.5 US$ 39.81 | JP¥ 4459]
Catalogue: Antiquarian Rare
Keywords: Bibliophile Private Press Bibliophile Printing( Private Press )

 
ROBERTS, DAVID
The Holy Land and Egypt and Nubia. 2 Volumes
. Edition of 1,000, hand-numbered on a special limitation page in both volumes. 2 magnificent volumes measuring 20" x 13 ¾" published by the Folio Society. Bound in full canvas cloth printed silkscreen in black and gold. Designs by Neil Gower derived from Roberts’s originals. Gilded top edges, ribbon marker. All 247 Lithographs In The First Ever Large-scale Reproduction. ‘One of the richest folios that ever left the East’ David Roberts was an artist with ambition. Born in relative poverty outside Edinburgh, he spent years developing his skills as an apprentice and a jobbing artisan, graduating to a career painting backdrops for the theatre, first in Edinburgh and then in London’s Covent Garden and Drury Lane. By 1837, he had achieved renown for his landscape paintings of the Rhine and Spain. Unlike most artists, who relied on sketches brought back by other travellers, Roberts had visited these countries himself. His adventurous approach and his technical brilliance would serve him well on the journey of a lifetime – an artistic pilgrimage to Egypt and the Holy Land, the first ever undertaken by a British artist. Roberts set off in August 1838, travelling from London to Marseilles and on to Alexandria. From there he began his journey up the Nile with a crew of six men. He was awestruck by the landscape - 'I cannot express my feelings on seeing these vast monuments' - and sketched the sights that caught his eye, whether a group of crocodiles or architectural wonders such as the Temples of Dendera and Karnak, and the pyramids of Gizeh, which reminded him of the 'instability of all human greatness'. In Cairo, he determined to record modern buildings as well as ancient, and made sketches of minarets, alleys and market places. His observations remain among the few records we have of the early 19th-century city. Thanks to the intervention of the Viceroy of Egypt, Muhammad Ali, Roberts became one of the first Westerners ever to set foot in a mosque and sketch the interior, making sure to discard his hog's-hair brushes before entering. Ultimately continuing as far south as Abu Simbel, Roberts produced over 100 sketches on his journey through Egypt: 'We shall see what impression they make in England.'Roberts next set his sights on Palestine. He travelled across the Sinai desert along the route thought to have been taken by the Israelites when they left Egypt for the Promised Land. He and his team rode camels, wore Turkish costume and carried pistols, rifles and sabres, as much as a disguise as for protection. They slept in tents under the stars and took shelter in the Monastery of St Catherine, where Roberts produced some of his most famous vistas of the Holy Land. Jerusalem was closed to visitors because of plague, but Roberts's luck held and he was able to enter during Holy Week, along with a throng of pilgrims from all over the world: Syrians, Armenians, Copts and Greek Orthodox, 'a vast congregation gathered by one powerful impulse to do homage to the most awe-filled place of recollection on the globe'. For Roberts, it was a memorable culmination to an extraordinary voyage. As well as having visited biblical sites from the Mount of Olives to Jericho, he had assembled, as he put it, 'one of the richest folios that ever left the East'. David Roberts was the first British painter to make an artistic expedition to Egypt and the Holy Land. The result of his travels was a picturesque vision of the Near East that has been hugely influential ever since. Nearly 200 years later, his work is held in institutions such as the Library of Congress in Washington and London's Victoria and Albert Museum. This new Folio Society limited edition reproduces all 247 of his lithographs for the first time on this scale. On his return to London, Roberts sought a publisher for his work, eventually signing a contract with Francis G. Moon for £3,000 - an enormous sum, the equivalent of over £200,000 today. Critics and the public lined up to praise Roberts's works when they were first exhibited. The press lauded the aesthetic quality of his art, its historical and topographical accuracy, and the grandeur of its subject matter. Publication of the first edition was a slow and enormously expensive process. It was printed in sections, each one containing six hand-coloured lithographs created from the original drawings. But Moon's investment paid off. There was no shortage of subscribers, with Queen Victoria (to whom the Holy Land series is dedicated) and Charles Dickens among those reserving a set. Roberts's pictures had caught the imagination of the British public and set a trend for Orientalism in art that would continue to shape the way in which the West perceived the East. Because of its scale, and the scarcity of complete first editions, Roberts's work has rarely been reproduced in its entirety and never before on this scale. In this Folio Society limited edition, all 247 lithographs have been reproduced from one of the few complete hand-coloured copies, held at the John Rylands Library in Manchester.
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Book number: F1780
GBP 1350.00 [Appr.: EURO 1524.75 US$ 1821.97 | JP¥ 204044]
Catalogue: Antiquarian Rare
Keywords: Egypt Folio Society

 
TOLKIEN, J.J.R.,
The Hobbit Or There and Back Again
. One of the Folio Society's hand numbered limited edition of 1750 copies. Quarter-bound in Moroccan goatskin leather, with sides of hand-woven pure Indian silk. Illustrations drawn by Eric Fraser from original designs by Ingahild Grathmer (pseud. of the Queen of Denmark). Gilded top edges, with ribbon markers. Calligraphy on spines and slipcase by John Andrew. Slipcase bound in full Moroccan goatskin leather, with scalloped edges. (2002 ) Illustrated by Francis Mosley, printed at the Bath Press, 245 pages. An immaculate copy.
Thornton's BookshopProfessional seller
Book number: F0176-3
GBP 375.00 [Appr.: EURO 423.75 US$ 506.1 | JP¥ 56679]
Catalogue: Antiquarian Rare
Keywords: Weblists2 Tolkien Limited Editions Bibliophile Foliotolk1750

 
TOLKIEN, J.J.R.,
The Lord of the Rings. The Hobbit. The Silmarillion 5 Volumes.
. 2002 (2001 ?) /2004. One of the Folio Society's hand numbered limited edition of 1750 copies. Quarter-bound in Moroccan goatskin leather, with sides of hand-woven pure Indian silk. Illustrations drawn by Eric Fraser from original designs by Ingahild Grathmer (pseud. of the Queen of Denmark). Gilded top edges, with ribbon markers. Calligraphy on spines and slipcase by John Andrew. Slipcases bound in full Moroccan goatskin leather, with scalloped edges. 1328 pages in total for the Lord of the Rings. Together with The Hobbit (2003) and the Silmarillion (2004 ) Illustrated by Francis Mosley, printed at the Bath Press, All volumes have the same limitation number. Payment for this title by bank transfer only. Forwarding by UPS in the UK, by DHL abroad.
Thornton's BookshopProfessional seller
Book number: F0176
GBP 1250.00 [Appr.: EURO 1411.75 US$ 1687.01 | JP¥ 188930]
Catalogue: Tolkien
Keywords: Bibliophile Weblists2 Tolkien Limited Editions Bibliophile Foliotolk1750

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