cosway binding (39 Ergebnisse)

First edition, publisher's notice on last page dated January 28, 1713-14; variant with p. 18, line 3: "the heart" (another variant reads "their heart"). [8], 63, [1] pp. A-I4. 1 vols. Small 4to (20 cm). Nicholas Rowe (1674-1718) is known primarily for his edition of Shakespeare's plays (1709) the first modern edition, which included 'Some account of the life of Mr. William Shakespear', the earliest attempt at a biography of any length his translation of Lucan's "Pharsalia," and for his tragedies. "The Tragedy of Jane Shore" is his sole work written using Shakespearean language. ESTC T055544; Stratman 5299 Brown crushed morocco, boards with wide-spaced double-fillet border of gilt roll-tooled leaves surrounding a recessed frame of gilt-ruled rays, and a central frame of gilt roseate and lyre tools around miniatures on both covers, gilt-stamped turn-ins, olive green watered-silk doublures and endleaves, a.e.g., by Rivière & Son, gilt-stamped in upper doublure "Miniatures by C.B. Currie". In a brown cloth slipcase [8], 63, [1] pp. A-I4. 1 vols. Small 4to (20 cm) First edition, publisher's notice on last page dated January 28, 1713-14; variant with p. 18, line 3: "the heart" (another variant reads "their heart").

First edition in English. Printed at the Ballantyne Press. Illustrated by Paul Avril. Title printed in red and black with engraved vignette printed in blue, text within typographical ornaments, marginal decorations in bistre, blue, and other hues. 143 pp. 1 vols. 8vo. A superb Art Deco binding with an accomplished miniature by the famed Miss C.B. Currie. Full blue morocco with large oval miniature on upper cover, elaborate gilt floral designs on covers, turn-ins gilt, ruby silk doublures, t.e.g., by Riviere & Son, signed on upper turn-in and by the artist on lower turn-in. In full blue morocco slipcase and chemise. Two bookplates of Edward and Estelle Doheny and later Shea bookplate Illustrated by Paul Avril. Title printed in red and black with engraved vignette printed in blue, text within typographical ornaments, marginal decorations in bistre, blue, and other hues. 143 pp. 1 vols. 8vo First edition in English. Printed at the Ballantyne Press.

First edition. First edition. Engraved frontispiece (printed in sepia) of "Shakespeare's Seven Ages of Man" and 10 engraved plates. [vi], 435 pp. 1 vols. 8vo. First edition of this remarkable study of women's hairdressing in the Georgian age. The work treats hair and its growth, the utensils used to dress it, methods for constructing head dresses using false hair and stiffeners, and for applying cosmetics. Stewart comments on diet and lifestyle as an influence on the quality of the hair. With a classic miniature portrait of an elaborately coiffed and hatted belle by the unequalled Miss C.B. Currie. A beautiful exmple of the turn of the century Cosway Binding. Coles 2802; Hiles p. 816; Lipperheide 1681; ESTC T145753 Full crimson morocco extra gilt, upper board tooled in gilt spiderweb about a large miniature by Miss C.B. Currie, gilt turn-ins, silk endsheets, t.e.g., front pastedown stamped in gilt "Bound by Riviere & Son from Designs by J. H. Stonehouse" and at back "Miniature C.B. Currie". Finely rebacked with spine laid down. In red cloth slipcase Engraved frontispiece (printed in sepia) of "Shakespeare's Seven Ages of Man" and 10 engraved plates. [vi], 435 pp. 1 vols. 8vo.

COSWAY BINDING; RIVIÈRE & SON|CURRIE, Miss C.B. (illustrator). CURRIE, Miss C.B., [artist]. RIVIÈRE & SON, [binder]. Journal of my Life During the French Revolution. By Grace Dalrymple Elliott. London: Richard Bentley, 1859. Full Description: [COSWAY BINDING]. CURRIE, Miss C.B., [artist]. RIVIÈRE & SON, [binder]. Journal of my Life During the French Revolution. By Grace Dalrymple Elliott. London: Richard Bentley, 1859. Octavo (8 5/8 x 5 3/8 inches; 218 x 137 mm). [2, colophon], [i]-206, [1, printer's imprint], [1, blank], [28, publisher's ads] pp. With half-title. With frontispiece portrait and one other engraved plate. All pages within a printed red border. Bound by Rivière & Son in full red morocco ornately tooled in gilt. Font cover with two oval miniature paintings on ivory under glass by Miss C.B. Currie. Paintings are surrounded by gilt tooling. Boards ruled and tooled in gilt, with floral corner devices. Spine decoratively gilt-tooled in compartments, and lettered in gilt. Board edges and turn-ins tooled in gilt. With gray watered silk endleaves. Top edge gilt, others uncut. With gilt stamp-signed by binder on front turn-in. The front board fore-edge gilt stamped with "Cosway-Binding", and on board edge fore-edge gilt-stamped "Invented by J.H. Stonehouse." The colophon page states that "This is No. 900 of the Cosway bindings invented by J.H. Stonehouse, with Miniatures on Ivory by Miss Currie." Colophon is signed by Stonehouse and Miss. Curry. Housed in a red cloth, velvet-lined clamshell case with brown morocco spine labels. A lovely and charming copy in fine condition. The top oblong oval miniature painting, is the profiles of the family of Louis XVI including Marie Antoinette and measures (2 1/2 x 2 inches; 62 x 50 mm). The lower oval miniature is of the young Dauphin and measures (1 1/2 x 1 7/8 inches; 47 x 38 mm). These two miniatures by Miss C.B. Currie exemplify her exquisite skill and elegance in the art of miniature painting. "Grace Dalrymple Elliot was a Scottish courtesan, writer and spy resident in Paris during the French Revolution. She was an eyewitness to events detailed in her memoirs, Journal of my life during the French Revolution (Ma Vie sous la Révolution) published posthumously in 1859. She was mistress to the Duke of Orléans and to the future George IV, by whom she is said to have borne an illegitimate daughter. Elliott trafficked correspondence and hid French aristocrats escaping from the French Revolution. She was arrested several times but managed to avoid the guillotine, and was released after the death of Robespierre." (Wikipedia). HBS 68817. $15,000.

xv, 306 pp. With Thirty-two Illustrations by William Mulready. 8vo, full light brown crushed levant morocco Cosway-style binding signed by Riviere & Sons. The front cover features an oval miniature portrait of Goldsmith under glass, set within a quatrefoil panel, the whole elaborately tooled in gold. A.e.g. Moire silk ensheets; gilt turn-ins. Preserved in the original morocco-edged marbled slipcase. Very fine; entirely unrestored.

First edition, in a handsome Cosway-style binding executed for the British luxury purveyors, Asprey, of Churchill's only volume of sustained autobiography, covering his formative years from his birth in 1874 until his election as MP for Oldham in 1900. Overall, it gives a "witty and elegiac account of his youth shot through with regret at the decline of the social and imperial order in which he had grown up" (ODNB). Cohen A91.1; Woods A37(a). Andrew Roberts, Churchill, 2019. Octavo (208 x 134 mm). Half-tone frontispiece, 15 plates, folding map, maps to text. Bound in the late 20th century for Asprey by Bayntun-Riviere in the Cosway style in red morocco, spine lettered and tooled in gilt, hand-coloured miniature of Churchill under glass to front cover, gilt facsimile signature to rear cover, gilt border to covers, gilt turn-ins, red silk endpapers, gilt edges. Housed in Asprey's red cloth slipcase. Joints repaired, light foxing to contents, slipcase a little rubbed. A very good copy.

First trade edition of Lawrence of Arabia's narrative of the Arab Revolt, in a handsome Cosway-style binding executed for the British luxury purveyors, Asprey. "Lawrence had taken part in the preliminary planning of the Arab uprising and, in October 1916, was ordered to Jiddah to assess the military situation. What followed is recorded in Seven Pillars of Wisdom, a personal, emotional narrative of the Arab revolt in which Lawrence reveals how by sheer willpower he made history. It was a testimony to his vision and persistence and a fulfilment of his desire to write an epic which might stand comparison in scale and linguistic elegance with his beloved Morte d'Arthur and C. M. Doughty's Arabia Deserta. Subtitled 'A triumph', its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arabs" (ODNB). This trade edition followed the unprocurable Oxford Times edition of 1922, of which there were just 8 copies printed, and the 1926 Cranwell edition, of which only 170 copies were designated complete for subscribers. O'Brien A042. Quarto (243 x 186 mm). Bound in the latter 20th century for Asprey in the Cosway style in brown morocco, spine lettered and tooled in gilt, hand-coloured miniature of Lawrence under glass to front cover, gilt border to covers, gilt turn-ins, marbled endpapers, gilt edges. Housed in Asprey's brown quarter morocco solander box. A fine copy.

Zustand: Fine. First thus. An exquisite binding in full crushed pink morocco by Riviere & Sons from designs by J.H. Stonehouse (stamped on the front turn-in). No artist attributed, but the miniature is quite probably the work of Miss C. B. Currie [Caroline Billin Curry] (1849 - 1940). Exceptional gilt-work on the front board with repeating geometric patterns of rules and dots to form an eight-sided star (each with a green morocco inlay) the center of which is the charming miniature portrait of a woman carrying a basket of flowers. Spine compartments decorated in similar style. Top edge gilt. Dark green silk endpapers. A code written on the title page in blue ink, otherwise clean and unmarked. A fine copy overall and an exceptional example of the Riviere bindery's true Cosway binding. This collection brings together essays on love and friendship by Ralph Waldo Emerson, Percy Shelley, Walter Savage Landor, Francis Bacon, Michel de Montaigne, and Edward Bulwer Lytton. In the first of two essays on love, Shelley writes, "What is love?.It is that powerful attraction towards all that we conceive, or fear, or hope beyond ourselves, when we find within our own thoughts the chasm of an insufficient void, and seek to awaken in all things that we are, a community with what we experience within ourselves.This is Love. This is the bond and the sanction which connects not only man with man, but with everything which exists." The timeless words of these authors are here presented in a beautiful binding that suits a grand celebration of romance, companionship, community, and family. Fine.

218 x 138 mm. (8 1/2 x 5 1/2"). vii, [1], 280 pp. ELEGANT DARK BLUE MOROCCO, GILT, BY BAYNTUN (stamp-signed on front turn-in), covers with gilt fillet frame, stippled volute cornerpieces, UPPER COVER WITH LOVELY MINIATURE PORTRAIT of a fashionable lady, the painting under glass and surrounded by a gilt-tooled frame, raised bands, spine compartments with volute frame, gilt lettering, gilt-framed turn-ins, ecru moiré silk endleaves, all edges gilt. WITH 21 PLATES OF FASHIONABLE PEOPLE, five of these called for (one color), and 16 EXTRA-ILLUSTRATED (seven of these in color, one double-page, and nine in black & white), all with tissue guards. Spine gently sunned to navy blue, just a hint of rubbing to joints, but still quite a fine copy--clean and fresh internally, and with almost no signs of use inside or out. This handsomely illustrated look at the London social scene during the Victorian and Edwardian eras and after the Great War comes in a suitably chic binding by the last Victorian bindery still in family hands. Author Ralph Nevill (1865-1933) was a denizen of the world he writes about, being the son of one of the leading hostesses of the day, Lady Dorothy Walpole Nevill (1826-1913); DNB notes that "family tradition" held that Ralph's father was her close friend, Benjamin Disraeli, Lord Beaconsfield. Nevill has a wide array of insider anecdotes to share about country house life, the pleasures of London society, and prominent politicians and journalists. He makes it clear that the Victorian era was preferable to the 20th century, and nothing is more drab that the post-war world. The illustrations feature portraits of prominent men, landscapes of stately homes, and scenes from the balls, operas, and royal occasions that made up the London Season. The very pretty binding is in the Cosway style made popular by bookseller Henry Sotheran and the Riviere bindery, characterized by a miniature painting set under glass on the covers or doublures. Our binding was done by the venerable English firm founded in Bath by George Bayntun in 1894. Among the great English workshops of the Edwardian "golden age" of lavish bindings, Bayntun has the distinction of being the only one located outside London's West End to be sought after by bibliophiles. Bayntun was a worthy rival to the likes of Sangorski & Sutcliffe and Riviere & Son (the latter being subsumed by Bayntun in 1939). Bayntun of Bath continues to create fine hand bindings for bibliophiles. Unusually, the miniature painting in our binding is signed by the artist, but we were unable to decipher the signature, and the Bayntun bindery did not have any information about the painter's identity.

An Exquisite Cosway Binding with Two Fine Miniatures [COSWAY BINDING]. [BLUMER, Edith Walford]. The Table Talk and Opinions of Napoleon Buonaparte. Third edition. London: Sampson Low, Son, and Marston, 1870. Sixteenmo (5 3/4 x 3 7/8 inches; 146 x 99 mm.). [iv], [i]-iv, [1]-199, [1, blank] pp. Title-page printed in red and black and with oval portrait of Napoleon. Head and tailpieces throughout the text. Exquisitely bound in richly gilt, full blue crushed levant morocco ca. 1920 by Rivière and Sons, binders stamp on the lower front turn-in, and that of Mrs. C.B. Currie on the rear turn-in. Front and rear covers with matching design of a gilt rule frame with leaves stamped in gilt at corners, two strips of gilt-stamped vines and leaves against an elaborate pointillé backdrop, and a central square panel of inlaid brown leather corners with gilt rules framing an inset ivory disc, diameter 2 5/8 inches; 67 mm., painted by Miss C. B. Currie, whose signature appears in gilt on the rear doublure. The full-length miniature painting on the front cover shows Napoleon II as a child, his face cherubic but his attire militaristic, kneeling in prayer. The gilt titling describes the scene "The King of Rome" at head and "Je prie dieu pour mon Pere et pour la France" (I pray to God for my Father and for France) at foot. The miniature painting on the lower cover, also 2 5/8; 67 mm., in diameter, a half-length portrait depicting Napoleon II, likewise dressed in regalia, holding a bicorn hat, decorated with a pin and a bunch of violets. Spine with five raised bands richly gilt and lettered in gilt in compartments, gilt ruled board edges, decorative gilt turn-ins, red watered silk endleaves, all edges gilt. Housed in the original fleece-lined blue cloth slipcase. A very fine and exquisite example of a real 'Cosway Binding'. "Miss C.B. Currie" (December 12, 1849 - April 2, 1940) was the miniaturist artist of all the genuine Cosway bindings. Born in Cornwall, England, Caroline Billin Curry was also one of the most prominent fore-edge artists in the twentieth-century. A master of the art of miniature painting, she excelled as a copyist working for Henry Sotheran Booksellers, London. She became famous for her miniature paintings applied to two art forms. First, mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book - called a fore-edge painting. She would often take the idea for a painting from an illustration in the nook - in this case she has taken the idea from a woodcut illustration of Queen Elizabeth I (see page 101). Provenance: Stephen Ratcliffe. Cosway Bindings [p. 30]; Swann Galleries New York, 14 January 1993, lot 277.

Zustand: Fine. Later printing. A Fine copy. Octavo (8 1/8 x 5 3/4 inches; 208 x 146 mm.). [viii], 268 pp. Title-page printed in red & black. A most unusual Cosway-Style Binding ca. 1920 believed to be by Cedric Chivers for the London Bookseller Chas. J. Sawyer, stamp signed in gilt on rear turn-in. Full vellum over beveled boards, front cover richly decorated with a swirling floral gilt design with the flowers hand painted in red and green (colors faded). In the lower right-hand corner is an oval inlay of black morocco with the monogram of Marie Antoinette in gilt surrounded by leaves and the Queen's crown in gilt. At the top left-hand corner is a very fine hand-painted portrait miniature of Marie Antoinette, set under glass within a gilt metal frame surrounded by gilt dots and four sets of three red semi-precious stones (one stone missing). The rear cover with a similar floral design and the arms of Marie Antoinette in gilt. Smooth spine with similar gilt floral design, black morocco label lettered in gilt. Decorative gilt board edges and turn-ins, cream watered silk liners and endleaves, all edges rough gilt. Housed in the original velvet-lined blue buckram clamshell case, spine with black morocco label lettered in gilt. Marie-Antoinette (1755-1793) was the infamous last queen of France before the French Revolution. The youngest daughter of Empress Maria Theresa and Emperor Francis I, the archduchess of Austria became dauphine of France in May 1770 at age 14 upon her marriage to the Dauphin Louis-Auguste (the future King Louis XVI). Celebrated and criticized for her extravagant fashion (among many other things), her life continues to fascinate. An unusual Cosway-Style binding, apparently by Cedric Chivers; an exciting addition to his usual style. 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). Chas J. Sawyer (1906-1990) was a London bookselling firm specializing in the finest books. It is most likely that they supplied the miniature to Cedric Chivers when placing the binding order Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style." The quality of the miniature is quite superb. Fine.

Zustand: Fine. First thus. Octavo (7 7/8 x 5 1/4 inches; 201 x 133 mm.). xii, xl, 375, [1, imprint] pp, with an engraved portrait frontispiece of Keats and engraved text illustrations throughout. Handsomely bound ca. 1950 by Sangorski & Sutcliffe London England for the Halle Bros. Co. (stamp signed in gilt on rear turn-in). Full red morocco over beveled board, covers with triple gilt frames and knot-work corner-pieces. Front cover with monogram of John Keats in center. Spine with five raised bands decorated in gilt, fancy gilt lattice-work and lettered in gilt in compartments, double gilt ruled board edges, elaborate gilt turn-ins. Front doublure in dark blue morocco decorated with small gilt floral designs, an oval 'sunken' compartment in the center with a very fine portrait miniature (3 x 2 3/8 inches) of John Keats set under glass within a brass frame, this in turn encircled by a gilt wreath set with four inlaid pink morocco blossoms, pale blue watered silk endleaves and rear liner, all edges gilt. Housed in the original fleece-lined, blue cloth clamshell case, spine lettered in gilt. "A thing of beauty is a joy forever: Its loveliness increases, it will never pass into nothingness." The creator of some of the most famous lines in English verse, Keats' works are odes to the timelessness of the idea of beauty, even as its reality fades. Among his core themes are the tension between man's mortality and the immortality of his muse, and the role art plays in assisting the creation of a lasting legacy. This collection of works by one of the three great English Romantic poets, along with an influential biography of Keats is presented here in a luxurious Cosway-style binding by the great London bookbinding firm of Sangorski & Sutcliffe. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway-style." This particular copy is an exceptionally fine example made for The Halle Brothers Company (1891-1982) of Cleveland, Ohio, a department store known for high quality merchandise and service. In 1970 they merged with Marshall Field and Company of Chicago who were very well known for their rare book department. Fine.

Zustand: Fine. First edition. Octavo (8 5/8 x 6 inches; 219 x 152 mm.). 388 pp. Extra illustrated by the insertion of twelve plates, three of which are hand colored. A fine Cosway-Style binding by Bayntun (Rivière) ca. 1940, stamp signed in gilt on front turn-in. Full sangria red morocco, covers elaborately tooled in gilt in a fine thistle design. Front cover with a fine hand-painted oval portrait miniature (3 1/4 x 2 1/2 inches; 82 x 63 mm.) of a young Sir Walter Scott, set under glass and surrounded by a fine thistle design in gilt. Spine with five raised bands, decoratively tooled with a thistle design and lettered in gilt in compartments. Decorative gilt board edges and wide turn-ins. Marbled liners and endleaves, all edges gilt. Housed in the original felt-lined purple cloth clamshell case, spine lettered in gilt. Sir Walter Scott was a preeminent Scottish author, historian, and biographer famed for his historical fiction and poetry. "Waverley, which he published anonymously in 1814, is now considered the first historical novel in Western literature. This story revolves around the Jacobite Rebellion of 1745" (Poetry Foundation). This biography was written by John Buchan (1875-1940) another prolific Scottish novelist and historian, whose works include The Thirty-Nine Steps and Greenmantle. He was also a Unionist politician who served as Governor General of Canada and studied classics at the University of Glasgow. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First edition. Octavo (9 5/8 x 6 inches; 218 x 152 mm.). [i]-xii, [xiii, list of illustrations], [xiv, blank], 1-479, [1, printers imprint] pp. Title-page printed in black and red. Eleven (on ten) photogravure plates, extra-illustrated by the insertion of twelve engraved plates, three of which are hand-colored. Bound ca. 1940 by Bayntun-Rivière, stamp-signed in gilt on front turn-in. Full brown crushed levant morocco, both covers with single gilt fillet around a double-ruled and gilt-dotted inner border. Front cover with a broad panel border of gilt-tooled thistles and gilt dots, portions of the background with leather dyed black. In the center a large gilt arabesque lozenge framing a fine oval portrait miniature set under glass (measuring 3 1/4 x 2 1/2 inches; 82 x 63 mm.) of Clementina Walkinshaw. Spine with five raised bands elaborately decorated in gilt in a repeated thistle and dot design, lettered in gilt in two compartments. Gilt-dotted board edges, decorative gilt turn-ins with thistle corner pieces, brown watered silk liners and endleaves. Housed in the original felt-lined brown cloth slipcase, spine with two black morocco labels lettered in gilt. A superb example of a Bayntun-Rivière Cosway-Style binding. From the renowned collections of J.F.D. Tutt and Paul Edward Chevalier with their bookplates on verso of front endleaf. Prince James Francis Edward Stuart (1688-1766) was the "only son of James II and Mary of Modena, he was raised in exile in France after his father was deposed in 1688 in favour of the Protestant William of Orange. Known as the 'Old Pretender', he became the focus of Jacobite resistance and mounted several unsuccessful campaigns to reclaim the throne in 1706, 1708 and finally in 1715 when he landed at Peterhead in Scotland. He married the Polish Princess Maria Clementina Sobieska in 1719 and spent much of the remainder of his life in exile in Rome" (Early Georgian Portraits). A final attempt at rebellion, led by his son Charles Edward Stuart, aka Bonnie Prince Charlie, was made in the Jacobite rising of 1745. The portrait medallion on the front cover depicts, not an image of the titular character, but one of Clementina Maria Sophia Walkinshaw (1720-1802) was the Glaswegian mistress of Bonnie Prince Charlie. The book was owned by John Francis Donald Tutt (1893-1971) a renowned veterinary surgeon and collector of fine bindings, whose library (including the present binding) was sold at Sotheby's London in October 1983. It was also in the library of Paul Edward Chevalier (born 1939), who collected fine bindings including jeweled and Cosway styles. Over twelve years he assembled what was possibly America's finest private collection of British, American and European bindings from the late 19th and early 20th centuries. The collection was sold at Christie's New York, November 9th, 1990. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First edition. Octavo (7 3/4 x 4 7/8 inches; 197 x 124 mm.). [ii, ads], [vi], 391, [1] pp. First issue, with "this" for "their" on p. 26, line 31; "Absolution" for "ablution" p. 110, line 12; "9" missing on p. 129; and "hate" for "fate" on p. 356, line 26. Title-page in red and black. Bound ca, 1940 by Sangorski & Sutcliffe, stamp-signed in gilt on rear turn-in. A Fine copy, bound in full dark blue crushed levant morocco over beveled boards, covers elaborately bordered in gilt with decorative anchor corner-pieces, front cover with a sailing ship in gilt. Spine with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt-ruled board-edges and turn-ins, blue watered silk endleaves. Inside front cover with a large rectangular panel of green morocco with a superb and exquisite oval portrait miniature of Joseph Conrad (3 x 2 3/8 inches) under glass and surrounded by a gilt metal frame. Original green cloth covers and spine bound in at end. Housed in the original fleece-lined blue cloth clamshell case, spine lettered in gilt. Front hinge of clamshell case neatly repaired, rear hinge starting. Joseph Conrad (1857-1924) was a Polish-British writer whose reputation as one of the greatest English-language novelists holds true today. Conrad's prose is infused with a unique sensibility blurring the boundaries between modernism and realism; he was never afraid to depict the darkness of the humanity. In much of his fiction Conrad drew from his experiences as a sailor, such as in his second novel An Outcast of the Islands (1896), which recounts the downfall of Peter Willems. As in his more famous Heart of Darkness, Conrad relishes in this jungle setting. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First edition. Octavo (8 3/8 x 5 3/4 inches; 212 x 146 mm.). [i]-xiv, [2], 334, [2, blank] pp, twenty-seven photogravure plates. Bound ca 1960 in full red crushed levant morocco, covers decoratively bordered in gilt, front cover with a central gilt design surrounding a fine oval hand-painted portrait miniature of Marie-Antoinette (3 1/4 x 2 1/2 inches; 82 x 63 mm.), set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double-ruled gilt board edges and wide turn-ins, red silk liners and endleaves, all edges gilt. A Fine copy overall. Housed in the original fleece-lined, red cloth clamshell case, spine lettered in gilt. The binding is unsigned but is very similar to the Cosway-Style bindings that were done by Sangorski & Sutcliffe for Asprey's. Marie-Antoinette (1755-1793) was the infamous last queen of France before the French Revolution. The youngest daughter of Empress Maria Theresa and Emperor Francis I, the archduchess of Austria became dauphine of France in May 1770 at age 14 upon her marriage to the Dauphin Louis-Auguste (the future King Louis XVI). Celebrated and criticized for her extravagant fashion (among many other things), her life continues to fascinate. Anna Louise Bicknell (1835?-), was an author and historian who published extensively on French history. In addition to her biography on Marie-Antoinette, she published the book Life in the Tuleries under the Second Empire (1894) and wrote several Century Magazine and National Geographic including: The Pretenders to the Throne of France (1883); Marie-Antoinette as Dauphine (1897), The Last Days of Louis XVI and Marie-Antoinette (1897); French Wives and Mothers (1898). The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. Later printing. (First published in 1924). Octavo (8 3/16 x 5 inches; 208 x 127 mm.). [ii], xiii, [xiv, blank], 322 pp. Twenty-four photographic plates and large folding map at end. Beautifully bound ca. 1931 by Sangorski & Sutcliffe, stamp-signed in gilt on front turn-in. Full brown crushed levant morocco, covers elaborately paneled in gilt, decoratively gilt-ruled board edges, elaborate gilt turn-ins. Spine with five raised bands, decoratively tooled and lettered in gilt in compartments. Purple morocco liners decoratively stamped with gilt stars, ochre watered silk end papers. Inside front cover with large rectangular sunken panel with three very fine gold-framed oval miniatures under glass of Shah Jahan (2 x 1 1/2 inches), Mumtaz Mahal (2 x 1 1/2 inches) and a painting of the Taj Mahal (1 x 1 3/8 inches). A very fine example of a Sangorski & Sutcliffe Cosway-Style binding. From the library of Ohio book collector B. C. Hoffman, with his initials in gilt at foot of spine. Housed in the original fleece-lined, brown morocco-edged, tan cloth clip case. Lawrence John Lumley Dundas, 2nd Marquess of Zetland (1876-1961), also called the Earl of Ronaldshay, was a British Conservative politician, who served British colonial interests in India for more than twenty years, notably as Governor of Bengal and Secretary of State for India. Lord Ronaldshay's India, A Birds-Eye View was written for British citizens who "want more than a mere narrative of travel" but "something less than the studies of specialists" designed as a series of "historical, pictorial, statistical, and ethnographical vignettes" interspersed with photographic plates of Indian geography and architecture taken by the author himself. Ronaldshay's goal was to "construct a mosaic which will present to the man who wishes to know something of this huge and varied land, whose recent history has been bound up so intimately with his own, an intelligible conspectus" (Preface). The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. Second edition. Two octavo volumes (7 1/4 x 4 11/16 inches; 184 x 119 mm.), 572; 580 pp. A spectacular ca. 1920 Cosway-Style binding by Sangorski & Sutcliffe for the J.L. Hudson Company (stamp-signed in gilt on rear turn-in). Full red crushed levant morocco over beveled boards, covers lavishly gilt in the Art Nouveau style, with inlaid green and light brown morocco inlays. The first volume with a central green morocco medallion with Percy Bysshe Shelley's initials in gilt. The second volume with a central green morocco medallion with the phrase "Pansies/Let My Flowers Be" stamped in gilt. Spines with five raised bands elaborately decorated and lettered in gilt in compartments, four of which have onlaid green morocco flowers. Double gilt-ruled board edges and elaborate gilt turn-ins, dark blue watered silk liners and endleaves, all edges gilt and gauffered. The first volume with a front doublure of dark blue crushed levant morocco, multi-ruled in gilt. In the center is a superb gilt framed, hand-painted portrait miniature (3 x 2 3/8 inches; 76 x 60 mm.) of Percy Bysshe Shelley. The miniature is surrounded by a rectangular recessed frame with eight onlaid red morocco flowers and twenty-four onlaid beige morocco leaves. The front and back joints of both volumes have been expertly and almost invisibly repaired. Housed in a custom-made, felt lined half red morocco (with a red felt divider) clamshell case, two spines paneled and lettered in gilt in compartments. A wonderful early Sangorski & Sutcliffe Cosway-style binding. The miniature is of exceptional quality and is quite possibly the work of Miss C.B. Currie. The J. L. Hudson Company (commonly known simply as Hudson's) was a retail department store chain based in Detroit, Michigan. Hudson's flagship store, on Woodward Avenue in Downtown Detroit was constructed beginning in 1911, with additions throughout the years, before being 'completed' in 1946. The building was named after the company's founder Joseph Lowthian Hudson, and was demolished on October 24, 1998. In 1961 it was the tallest department store in the world, and, at one time, claimed to be the second-largest department store, after Macy's, in the United States, by square footage. The Grand River Avenue Book Shop was on the Mezzanine floor. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First book form edition of the first and second series complete in one volume with Chapman and Hall revised texts and re-engraved plates used in their Parts issue. Octavo (8 1/8 x 5 1/4 inches; 208 x 133 mm.). [iii-vii]viii, [1-3]4-526. Forty inserted steel engravings. Extra-illustrated by the insertion of a duplicate suite of the original engravings expertly hand-colored. Bound by Bayntun (Rivière) Bath ca. 1955 (stamp-signed in gilt on front turn-in) in full wine red crushed levant morocco over beveled boards. Covers triple-ruled in gilt, front cover with an elaborate central gilt floral and thistle design surrounding a fine hand-painted portrait miniature (2 3/4 x 2 inches; 70 x 51 mm.) of a young Charles Dickens set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Decorative gilt board-edges, wide elaborate gilt turn-ins, marbled liners and endleaves, all edges gilt. Housed in the original felt-lined red cloth slipcase, spine with two black morocco labels lettered in gilt. "This collection of short pieces contains the earliest of Dickens's work. It is undoubtedly the most valuable from the antiquarian's point of view, containing references and descriptions of life in the 30's to be found nowhere else" (Hayward). Sketches by Boz contains stories and vignettes about daily life in London that Dickens first published in various newspapers and other periodicals between 1833 and 1836. The book is divided into four sections: "Our Parish", "Scenes", "Characters" and "Tales." A classic example of Dickensian observation. A total of forty plates were drawn and etched by George Cruikshank for this octavo edition, of which twenty-seven are the original designs as they appeared in the First and Second Series of the Sketches published in volume form, 1836-37; these, however, were enlarged in size to match an additional thirteen etchings. "When Chapman and Hall obtained the copyright of Sketches in 1837, they published all of them in twenty monthly parts from November 1837 through June 1839. Cruikshank designed a cover, enlarged the plates (except 'The Free and Easy' which was discarded), and created 13 new illustrations for these monthly parts. In may 1839, Chapman and Hall published these parts complete in one volume with all 40 of Cruikshank's illustrations" (Smith). George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style." Smith I: 2, note 4; Gimbel A7; Hatton and Cleaver, cf. pp. 91-128. Fine.

Zustand: Near Fine. First edition. First issue with the suppressed woodcut of the Marquis of Steyne on page 336, with "Mr. Pitt" for "Sir Pitt" on page 453, and the rustic heading on page one. Octavo (8 5/16 x 5 1/8 inches; 210 x 130 mm.). xvi, 624 pp, with thirty-eight black and white steel engraved plates with tissue guards and one hundred and fifty woodcuts in the text by Thackeray. Expert paper repair to pages [xv] and xvi. Plates generally a little toned, still a near fine and very desirable copy of this classic. Bound c. 1920 by [Sangorski & Sutcliffe] stamped signed "Bound for Harry F. Marks. London" on lower turn-in. Full crimson crushed levant morocco over beveled boards, covers elaborately bordered in gilt, decorative gilt corner-pieces, each with a gilt triple flower design inlaid with green morocco petals. Spine with five raised bands, elaborately tooled in a similar floral design with four large flowers with tan morocco inlays, lettered in gilt in compartments. Inside front cover with large rectangular dark blue morocco inlaid panel, decorative gilt corner-pieces surrounding an oval gilt frame with a very fine hand-painted portrait miniature set under glass of the young Thackeray - possibly by Miss C.B. Currie. Double gilt-ruled board edges, highly decorative gilt turn-ins, blue watered silk endleaves (with a small chip at the fore-edge of the front leaf), all edges gilt. Minimal rubbing to joints (front joint touched up) otherwise near fine. Housed in a felt-lined red cloth clamshell case, spine with leather label, lettered in gilt. Considered by its author to be a novel without a hero, Vanity Fair follows the path of the social climbing Becky Sharp as she seeks to improve her position within the British social strata set around the time the Napoleonic Wars. One of literature's most important early iterations of the female anti-hero, Miss Sharp helped to expose the truth that women were not merely domesticated angels but could be just as ambitious and driven as their male counterparts; and her foil Amelia reveals that even an apparent paragon of femininity was imperfect. A contemporary Victorian reviewer noted "Thakeray's theory of characterization proceeds generally on the assumption that the acts of men and women are directed not by principle but by instincts.There is not a person in the book who excites the reader's respect, and not one who fails to excite his interest. The morbid quickness of the author's perceptions of the selfish element, even in his few amiable characters, is a constant source of surprise. The novel not only has no hero, but implies the non-existence of heroism" (Contemporary Atlantic Monthly review). It was first published as in 19-part monthly serial from 1847 to 1848 with illustrations by Thackeray, and in 1848 published in book form with the subtitle "A Novel Without a Hero." A literary tour de force, transformed into a popular film starring Reese Witherspoon. Harry F. Marks, was a renowned early twentieth century New York City bookman and the Black Sun Press' distributor in America. Marks had many books specially bound for his clientele by Sangorski & Sutcliffe. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style." Grolier, 100 English, 87. Van Duzer 231. Wolff 6699. Near Fine.

Zustand: Near Fine. The Aldine Edition. Small octavo (6 1/2 x 4 inches; 166 x 101 mm.). [i]-clxxxii [Life and Anecdotes of Goldsmith], [1]-156 pp, with engraved portrait frontispiece. Bound c. 1930 by Sangorski and Sutcliffe for Chas. J. Sawyer Ltd., stamp-signed in gilt on front turn-in, with the S&S monogram stamped in gilt on rear doublure. Full dark red crushed levant morocco over beveled boards with elaborate gilt-rolled borders and gilt-tooled frame. Front cover with Oliver Goldsmith's initials within a decorative thistle tool frame. Rear cover with central gilt wreath. Spine with five raised bands elaborately decorated and lettered in gilt in compartments. Gilt-ruled board edges, broad, gilt-rolled dentelles, green silk end-leaves, top edge gilt. Gilt-tooled green calf doublures with decorative gilt corner-pieces. Front doublure with a fine gilt-framed oval portrait miniature watercolor under glass of Oliver Goldsmith. Front joint expertly and almost invisibly repaired. A Near Fine example of an S&S Cosway-Style binding. The Anglo-Irish author Oliver Goldsmith (1730-1774), is probably best known for his popular novel Vicar of Wakefield (1766). Here however readers encounter a different side to his craft. Part of The Aldine Poet Seriesa twenty-year long and fifty-three volume project of new editions of classic British poets from Chaucer through to the nineteenth centurythis book highlights Goldsmith's poetry. Apart from poetry and novels, Goldsmith wrote plays and legend has it, the children's story The History of Little Goody Two-Shoes. Kept busy by writing quickly and voluminously for Grub Street, the center of London's disreputable part of the literary world, Goldsmith nevertheless also found time to hone novels such as The Vicar of Wakefield, poems such as The Deserted Village, and plays such as She Stoops to Conquer. Contemporaries celebrated Goldsmith's ability to craft deceptively complex characters, most notably in the case of Charles Primrose, the vicar from The Vicar of Wakefield. Goldsmith counted Samuel Johnson among his closest friends, and Johnson wrote the epitaph that appears on Goldsmith's memorial in Westminster Abbey's famous Poets' Corner: "To the memory of Oliver Goldsmith, poet, philosopher and historian, by whom scarcely any style of writing was left untouched and no one touched unadorned, whether to move to laughter or tears; a powerful, yet lenient master of the affections, in genius sublime, vivid, and versatile, in expression, noble, brilliant, and delicate, is cherished in this monument by the love of his companions, the fidelity of his friends, and the admiration of his readers." The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Near Fine.

Zustand: Fine. First edition. Octavo (8 1/4 x 5 3/8 inches; 210 x 136 mm.). [i]-liv, 1-[268] pp. Title-page printed in red and black. Fifty-one illustrations including many photogravure plates. Text leaves a little foxed. Bound by Bayntun (Rivière) Bath ca. 1948 (stamp-signed in gilt on front turn-in) in full dark purple crushed levant morocco over beveled boards. Front cover double-ruled in gilt enclosing a highly elaborate floral design with gilt leaves and stems and twelve inlaid eighteen-piece red flowers. In the center a gilt decorated oval frame surrounding a fine hand-painted portrait miniature of Charles II. Lower cover identically tooled but without the inlays. Spine with five raised bands, elaborately decorated to a similar design with five inlaid eighteen-piece red flowers, lettered in gilt in compartments, double gilt-ruled board edges, and fine wide turn-ins decorated in gilt. Blue and red cockerel paste-downs and end-leaves, all edges gilt. With the armorial bookplate of J.F.D. Tutt on verso of front free endpaper. Light foxing throughout. Housed in the original fleece-lined blue cloth slipcase with two black morocco spine labels lettered in gilt. An exceptionally fine example from one of the major English collections. British historian and antiquarian Allan Fea (1860-1956) specialized in the English Civil War & Wars of the Three Kingdoms period (1639-1653). Designed as a supplemental volume to Fea's history text The Flight of the King, the Worcester Fight contains five contemporary accounts of King Charles II's escape after the Battle of Worcester (1651): "The King's Narrative," Blount's "Boscobel," Whitgreave's "Narrative," "Ellesdon's Letter," and the "Claustrum Regale Reseratum" (Introduction). This elaborate Cosway-style binding pays homage to the central character in Fea's history: King Charles II (1630-1685), famed for ruling after the 1660 monarchial Restoration; a period in English history marked by significant social change. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style." This copy was previously owned by John Francis Donald Tutt (1893-1971) was a renowned veterinary surgeon and collector of fine bindings, whose collection (including the present binding) was sold at Sotheby's London in October 1983. Fine.

Zustand: Near Fine. First edition. Octavo (7 15/16 x 5 3/8 inches; 202 x 137 mm.). [xxiv], 1-[632] pp. Erratum slip inserted facing p. [viii]. Thirty-four photogravure plates containing sixty-four illustrations. Sixteen colored maps including one large folding at end. Bound ca. 1936 by Sangorski & Sutcliffe, stamp signed in gilt on front turn-in. Full red crushed levant morocco over beveled boards, covers richly decorated on gilt, spine with five raised bands decoratively tooled and lettered in gilt in compartments, decorative gilt board edges, elaborate gilt turn-ins, gilt decorated blue morocco doublures, ochre watered silk endleaves, all edges gilt. With the gilt initials of Ohio collector B. C. Hoffman at foot of the spine. Inside front cover with large oval sunken panel with a fine gold-framed oval miniature under glass of a Maharaja (2 x 1 1/2 inches), and on the inside rear cover a fine gold-framed oval miniature under glass of a Raja (2 x 1 1/2 inches). Expert and almost invisible repair to foot of spine. Minimal rubbing to joints, otherwise near fine. An excellent example of a 'double' Sangorski & Sutcliffe Cosway-Style binding. "A history of India is equivalent in range to the history of Europe George Duff-Sutherland-Dunbar (1878-1962) declares in his preface, admitting "it is clearly impossible to compress the history of India into a single volume and deal adequately with every period." That said, he makes a progressive move to "compile a History of India from the standpoint of the governed rather than the many rulers of the country." A colonial officer and historian, Dunbar had firsthand experience in India as a member of the British forces, and a deep interest in the nation's evolving culture. Across over 600 pages, his tome traces the earliest periods on the country's political and religious development, documenting how people experienced cultural shifts due to frequently jarring and violent changes in leadership across centuries; and he includes, at the end, an account of British imperialism. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Near Fine.

Zustand: Fine. First edition. Octavo (8 5/16 x 5 1/4 inches; 212 x 133 mm.). [x], [1]-479, [1, blank] pp. Sixteeen photogravure plates. Bound by Bayntun (Rivière) Bath ca. 1948 (stamp-signed in gilt on front turn-in) in full wine red crushed levant morocco over beveled boards. Covers with elaborate floral design corner-pieces. Front cover with an oval border of gilt thistles and leaves and in the center a fine hand-painted portrait miniature (3 1/4 x 2 1/2 inches; 83 x 63 mm.) of Annas de Montmorency set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Decorative gilt board-edges, wide gilt-ruled turn-ins, marbled liners and endleaves, all edges gilt. With the maroon morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey on front paste-down. Housed in the original felt-lined tan cloth slipcase. An exceptionally fine example from one of the major English collections. Francis I, King of France (151547), first of five monarchs from the Angoulême branch of the House of Valois to rule France ascending to the thrown in 1515. The Renaissance ruler was famed for his patronage of the arts and intellectualism as well as his political maneuvering with other European powers. Interestingly, it is not Francis featured in this Cosway style portrait, but the Duke Annas de Montmorency (c.1493-1567), a favorite of the king, and active statesman for Francis I's court. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Near Fine. First edition. Three octavo volumes (8 x 4 7/8 in; 204 x 123 mm.) collating: xvii, [4], 232; 233-448; [2], 451-704 pp. A fine set with etched half-title, three additional title-pages printed in red and black, and fifty black and white text illustrations as issued, with over seventy-five extra engraved portraits and views. Bound c. 1930 by Sangorski and Sutcliffe for Brentano's (stamp-signed) in full crushed teal blue morocco over beveled boards with elaborate gilt-rolled borders and gilt-tooled frame. Spines with five raised bands elaborately decorated and lettered in gilt in compartments. Gilt-ruled board edges, broad, gilt-rolled dentelles. Gilt-tooled beige morocco doublures featuring three watercolor portraits in sunken panels bordered with red morocco under glass of Oliver Goldsmith, Samuel Johnson, and David Garrick respectively, with gilt laurels. White moiré silk flyleaves. Beveled edges. All edges gilt. Some expert repairs to the outer joints of each volume. With the bookplate of Samuel Wieder. Housed in the original felt-lined, marbled paper-covered slipcase with blue morocco edges. This biography details the life of Anglo-Irish author Oliver Goldsmith (1730-1774), probably best known for his novel Vicar of Wakefield (1766), the most popular book of the 18th century. Here however readers encounter a different side to his craft. Part of The Aldine Poet Seriesa twenty-year long and fifty-three volume project of new editions of classic British poets from Chaucer through to the nineteenth centurythis book highlights Goldsmith's poetry. Apart from poetry and novels, Goldsmith wrote plays and legend has it, the children's story The History of Little Goody Two-Shoes. Goldsmith was a noted Irish wit and a member of Samuel Johnson's famed literary club, who Johnson praised in a memorial epitaph as: "In genius, vivid, versatile, sublime. In style, clear, elevated, elegant." Contemporaries celebrated Goldsmith's ability to craft deceptively complex characters, most notably in the case of Charles Primrose, the vicar from The Vicar of Wakefield. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novelwhen two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Near Fine.

Zustand: Fine. New Edition. A very fine pair of Cosway-Style bindings, two large octavo volumes (9 9/16 x 7 3/16 inches; 243 x 182 mm.). xxxii, 262, (2, blank); vi, 246 pp, with two frontispieces and 14 plates by H.K. Browne and James Godwin. Extra-illustrated by the insertion of sixty-eight fine engraved portraits including one hand-colored. Bound ca. 1920 in full black crushed levant morocco, richly gilt, spines with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt board edges, wide decoratively gilt tooled-turn-ins, gilt decorated maroon morocco doublures, all edges gilt, watered silk end-leaves. The first volume with an oval portrait miniature (3 1/8 x 2 1/2 inches) under glass, of William Wycherley after a painting by Sir Peter Lely. The second volume with an oval portrait miniature (3 1/8 x 2 1/2 inches) under glass, of Talleyrand after a painting by Gerard. Each volume chemised in a light green cloth slipcase, lettered in gilt on spine. Katherine Thomson (17971862) was an English novelist and historian. After her marriage to physician Anthony Todd Thomson, the two established a literary and artistic circle. She partnered with her son John Cockburn Thomson (18341860) to co-author a few nonfiction texts under the pseudonym Philip and Grace Wharton (Database of Victorian Fiction). After their success publishing "Queens of Society," a compilation of amusing biographic profiles on historic society ladies, the mother & son writing team turned their pens to famed gentlemen. Entertaining prose composed in a "gossiping style" (Preface) offers readers a humorous early pop history. The Wits and Beaux include: George Villiers (1592-1628), Count Grammont (1621-1707), Lord Rochester (1647-1680), Beau Fielding (1650-1712), William Congreve (1670-1729), Beau Nash (1674-1761), Philip - Duke of Wharton (1698-1731), Lord Hervey (1696-1743), Philip Dormer Stanhope (1694-1773), The Abbe Scarron (1610-1660), Francois Duc de la Rochefoucault (1613-1680), The Duc de Saint-Simon (1675-1755), Horace Walpole (1717-1797), George Selwyn (1719-1791), Richard Brinsley Sheridan (1751-1816), Beau Brummell (1778-1840), Theodore Edward Hook (1788-1841), Sydney Smith (1771-1845) & George Bubb Dodington - Lord Melborne (1691-1762). Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First edition. A very fine copy, octavo (8 3/8 x 5 7/16 inches; 213 x 138 mm.). xviii, errata slip, 598p. Tipped-in color portrait frontispiece and twelve full page illustrations including a facsimile letter. A fine Cosway-Style binding ca. 1940 by Bayntun Rivière (stamp-signed in gilt on front turn-in). Full red crushed levant morocco, both covers with a geometrical design in gilt. The upper cover with a fine oval portrait miniature set under glass of John Keats surround by an elaborate gilt floral design. Spine with five raised bands decoratively tooled and lettered in gilt. Decorative gilt board-edges and turn-ins, Cockerel liners and endleaves, all edges gilt. housed original felt-lined red cloth clamshell case, spine lettered in gilt. "A thing of beauty is a joy forever: Its loveliness increases, it will never pass into nothingness." The creator of some of the most famous lines in English verse, Keats' works are odes to the timelessness of the idea of beauty, even as its reality fades. Among his core themes are the tension between man's mortality and the immortality of his muse, and the role art plays in assisting the creation of a lasting legacy. Sir Sidney Colvin (1845-1927) was an English curator and literary and art critic. As the author and editor of this "Life," he hoped to blend the biographic with the poetic to enhance readers understanding of Keat's work. It was published in honor of the hundredth anniversary of the publication of Keat's first volume (Preface). George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

Zustand: Fine. First edition. A very fine copy, octavo (8 1/2 x 5 1/4 inches; 215 x 133 mm.), viii, 446p. Illustrated with vignette engraving as head piece on first text page, extra illustrated with twenty-one plates of portraits and views, of which five are hand colored. A fine 'Extra-Illustrated' Cosway-Style binding ca. 1940 by Bayntun Rivière (stamp-signed in gilt on front turn-in). Full brown crushed levant morocco, both covers with an elaborate 'thistle' design in gilt, the upper cover with a fine oval portrait miniature set under glass of a young Robert Burns. Spine with five raised bands decoratively tooled and lettered in gilt and with small green inlays in the thistles. Decorative gilt board-edges and turn-ins, gray watered silk liners and endleaves, all edges gilt. Housed in it's original felt-lined red cloth clamshell case, spine lettered in gilt. This biography details the life of Scotland's national bard. Robert Burns (17591796) was one of the chief poets of Romanticism as well as an accomplished lyricist and though much of his work was heavily influenced by Scottish folk sources, he would achieve worldwide renown. Burns fame as poet happened almost by accident. He had his first collection Poems, Chiefly in the Scottish dialect published essentially to finance a move to Jamaica, where he planned to continue working as a farmer. Poems, however, became an immense success and Burns was fortunately able to continue working as a writer for the rest of his life. John Gibson Lockhart (1794-1854) was a Scottish writer and editor. He is best known as the author of a biography of his father-in-law Sir Walter Scott, which has been called the second most admirable in the English language, after Boswell's Life of Johnson. In 1828 he published his somewhat controversial Life of Robert Burns. George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.". Fine.

First Bagster edition. Octavo (8 x 4 7/8 inches; 204 x 124 mm.). [iv], vi, vii-512, pp. Hand-colored frontispiece and nineteen engraved plates and two sheets of music. Ten of the plates are engraved by Audinet, eight after Wale, two after Samuel; two music plate; two plates of fishing tackle and flies. There are seventeen fine engravings of fish and two large woodcuts in the text. Extra-illustrated by the insertion of fifty-five engraved plates of which ten are hand-colored. Bound ca. 1925 by Bayntun, stamp-signed in gilt "Bayntun. Binder. Bath. Eng." on front turn-in. Full green crushed levant morocco over beveled boards, covers with elaborate gilt frames, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt decorated board edges, wide gilt turn-ins, all edges gilt. Front doublure of brown morocco surrounded by a frame of inlaid maroon morocco. Set into the front doublure is a fine oval miniature painting of Isaac Walton under beveled glass within a double gilt frame. Set into the rear doublure is a fine oval miniature painting of Charles Cotton under beveled glass within a double gilt frame. Both miniatures measure 3 1/4 x 2 1/2 inches; 82 x 63 mm. Green watered silk end-leaves. Expertly and almost invisibly rebacked with the original spine laid down, spine very slightly sunned, otherwise a fine example housed in its original felt-lined green cloth clamshell case, spine lettered in gilt. Walton's famous pastoral work on fishing, The Compleat Angler, is combined here with additions by Robert Venables and Charles Cotton on the art of fly fishing in particular. Walton, the son of innkeepers, moved to London to become an ironmonger but would spend the last forty years of his life collecting information and writing on fishing. The book was first published in 1653 but re-released in numerous editions both due to its popularity and Walton's propensity to revise and contribute more chapters to it. It has stayed in print since it was first published and is noted for its well observed descriptions of English country life. "The Compleat Angler has something in common with 'Lady Chatterley's Lover:' while many know the title, few have actually read it. Yet it's the most frequently reprinted book in the English language after the Bible" (The Guardian). George Bayntun (1873-1940) was the founder of Bayntun Bindery (1894) dedicated to using traditional hand-crafted techniques and high-quality materials. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style." Coigney, 18.

First Mulready illustrated edition. Octavo (8 3/16 x 5 1/2 in; 208 x 140 mm). xv, [1], 306 pp, with thirty-two black and white drawings as headpieces. Beautifully bound ca. 1930 by Rivière & Son, (stamp-signed) in full dark red crushed morocco, spine gilt in compartments. Upper board with wide gilt-tooled frame enclosing a central gilt-decorated oval with an original miniature portrait of Goldsmith in watercolor under glass. Rear board with gilt rolled borders and corner piece. Engraved (unidentified) armorial bookplate pasted onto front doublure. Bookplate of L.B. Rossbach to front free-endpaper verso. Gilt decorated turn-ins. Green moiré silk endleaves. All edges gilt. A lovely example housed in the original faux lizard, leather edged slipcase. One of the most popular books of the 18th century. This novel, both a work of sentimental fiction and a satire on the genre itself, follows the trials and eventual triumph of the Primrose family, led by the Rev'd Dr. Charles Primrose, the vicar. Goldsmith was a noted Irish wit, novelist, playwright, poet, and a member of Samuel Johnson's famed literary club, who Johnson praised as: "In genius, vivid, versatile, sublime. In style, clear, elevated, elegant." Contemporaries celebrated Goldsmith's ability to craft deceptively complex characters, most notably in the case of Charles Primrose, the vicar from The Vicar of Wakefield. The legend of the book's publication is that Goldsmith was about to be arrested by his landlady for debt, when Johnson was able to sell the manuscript of the novel to a publisher for sixty pounds, saving his friend in the nick of time. "I brought Goldsmith the money, and he discharged his rent, not without rating his landlady in a high tone for having used him so ill." Kept busy by writing quickly and voluminously for Grub Street, the center of London's disreputable part of the literary world, Goldsmith nevertheless also found time to hone novels such as The Vicar of Wakefield, poems such as The Deserted Village, and plays such as She Stoops to Conquer. Goldsmith's facility among different genres brought him fame and friendship with many great eighteenth-century British authors. "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" (Princeton). Bath-based Bayntun Bindery acquired the firm in 1939, transforming into the "Bayntun-Riviere bindery," which is still in existence and family owned. Although named after the English miniaturist Richard Cosway (1742-1821), the desirable "Cosway Binding" with its jewel-like portrait miniature set into a fine binding was first developed at the turn of the century by J.H. Stonehouse, director of London's Henry Sotheran Booksellers. Their miniatures were painstakingly crafted by the talented painter Miss C. B. Currie (1849-1940). As the style grew in popularity, other publishing houses quickly began to reproduce this techniqueeach developing their own desirable take on the aestheticreferred to as "Cosway style.".