{"title":"Architecture","description":"","products":[{"product_id":"architectural-designs-for-all-souls-college-oxford","title":"Architectural Designs for All Souls College Oxford","description":"\u003cp\u003eOxford: Oxford University Press. 1960.\u003cbr\u003e\u003cbr\u003ePortfolio case in navy blue cloth over stiff boards (530x800mm) containing 6 plates (505x755mm) being prints of Hawksmoor's designs for All Soul's College, Oxford. Title printed on grey card with navy blue lettering and decorative border and pasted onto the upper cover of the portfolio. A blue ribbon ties the upper and lower boards together. The prints, which are in excellent condition show:\u003c\/p\u003e\n\u003cp\u003e1. General Plan (undated, engraved by M. Van der Gucht);\u003c\/p\u003e\n\u003cp\u003e2. Elevation of the East Range (1717, engraved by C. DuBosc);\u003c\/p\u003e\n\u003cp\u003e3. Chapel and Refectory, plan and elevation (1717, engraved by H. Hulsbergh);\u003c\/p\u003e\n\u003cp\u003e4. Portico from Great Gate to Hall and Chapel, plan and elevation (1721);\u003c\/p\u003e\n\u003cp\u003e5. Elevation of South Front (1721);\u003c\/p\u003e\n\u003cp\u003e6. Cloister in North Court, plan and elevation (1721, engraved by M. van der Gucht). \u003cbr\u003e\u003cbr\u003eIssued with the portfolio is a booklet, \"Explanation of Designs for All Souls College, Oxford by Nicholas Hawksmoor\" in grey card cover with title printed in red with printed decorative border, 248x155mm, pp.8. The booklet which is sewn at the spine, is in fine condition. \u003cbr\u003e\u003cbr\u003eThe blue portfolio case is in good condition but with bumping resulting in creases to the top left and bottom right. There is rubbing to the foot of the spine resulting in a slight tear. There is some weakness to the top flap attached to the lower board but the portfolio is complete and strong. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe booklet is a printing of Hawksmoor’s letter of explanation, thought to be to George Clarke who endorsed it “Feb:17 1714\/15 Mr Hawkesmoor explaining the drafts and designs for All Soules College”. Two days after this letter of explanation, on 19th February, the College agreed “that the Library of Colonel Codrington should be built as the College Chapel was, according to the model that was then shown to the Society”. \u003cbr\u003eHawksmoor was then asked, on 26th November 1716, “to make a draught of the new buildings as now designed to be built, and a cut of the said buildings to be shown to future Benefactors” and it is these cuts (engravings) that form this set. These prints, based on the drawings, follow, in general form, the designs set out in the earlier explanation. Two cuts were made in 1717, three in 1721 and one is undated. \u003cbr\u003eHawksmoor’s “Explanation” is therefore a valuable document for piecing together the designs for All Souls, which were not fully executed in accordance with his intentions. It is also a fine example of Hawksmoor’s sharp-tongued invective (he was not an easy man) against “brutall \u0026amp; Stupid” workmen and the shoddy manner of the rebuilding of London after the Great Fire, thus proving that the English tradition of ruining our towns and cities whilst purporting to rebuild, develop and improve them is a long one.\u003c\/p\u003e","brand":"HAWKSMOOR, Nicholas","offers":[{"title":"Default Title","offer_id":26651816197,"sku":"2791","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/2791_2.jpg?v=1490550420"},{"product_id":"lornement-polychrome-dans-tous-les-styles-historiques","title":"L'Ornement Polychrome dans tous les styles historiques","description":"\u003cp\u003ePart one. \u003cem\u003eL’Antiquité\u003c\/em\u003e\u003cbr\u003ePart two. \u003cem\u003eLe Moyen-Âge\u003c\/em\u003e\u003cbr\u003ePart three. \u003cem\u003eTemps Moderne\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLeipzig: K.F.Koehlers Antiquarium. n.d. [1915].\u003cbr\u003e\u003cbr\u003eFirst edition. Three volumes each consisting of a suite of sixty coloured plates, showing examples of polychrome decoration, design and ornament from three broad historical periods, tipped-in on grey card with descriptive captions. These are housed, loose, in their original portfolio folders of grey paper covered boards with beige cloth hinges. The title is printed in grey and yellow on the upper covers with a Greek helmet device in the centre. Title printed in black on the spine. Some shelfwear and spotting to the folders but overall in very good condition. The plates are in excellent condition, bright and vivid. The grey cards to which they are attached are generally very good with a little creasing to the edges of some of them in part three and with a tear to the top left corner of the title leaf of part three with loss but no damage to the image. Each image measures approximately 190x260mm and the card 278x374mm. Captions and text are in French. The second part (\u003cem\u003eLe Moyen Âge\u003c\/em\u003e) only has the descriptive booklet, in French, (242x328mm. pp. [viii], 50) containing an introduction to the images. (N.B. please ask about shipping costs as these are heavy items)\u003c\/p\u003e\n\u003cp\u003eAlexander Speltz was a German designer and architect. In 1904 he had published The Styles of Ornament which was expanded for the second edition two years later. The intention was to represent the entire range of ornament from pre-history to the mid-nineteenth century. The present volumes with a total of 180 plates is a survey of polychrome ornament covering antiquity (including Egypt, the Middle East, Greece, the Etruscans, the Hellenistic period and Rome), the middle ages across Europe and, the modern period which is essentially the Renaissance and early Baroque. The plates are attractive reproductions of Speltz’s own paintings and cover architecture, furniture and all the decorative arts such as floor mosaics, stained glass, metalwork, the book arts, tapestry and wall painting. A wonderful, encyclopaedic collection. \u003c\/p\u003e","brand":"SPELTZ, Alexander","offers":[{"title":"Default Title","offer_id":8107528388719,"sku":"3050","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3050_19.jpg?v=1523292579"},{"product_id":"le-dictionnaire-pratique-de-menuiserie-eba-nisterie-charpente","title":"Le Dictionnaire Pratique de Menuiserie, Ebénisterie, Charpente","description":"Paris: n.p.. From 1897\/1898.\u003cbr\u003e\u003cbr\u003eFirst edition of Storck's dictionary of carpentry, woodworking and cabinet-making. Issued in nineteen instalments (fascicules). 310x230mm. pp. 972. The pages are unopened and are loose in fifteen green paper wrappers on the front of which is the title page information and on the back, advertisements for other work by J. Justin Storck. Housed in the original folder of green quarter linen and green paper-covered boards. The front board has the title page information printed in black on pale green paper and pasted on. It also has the label of Louis de Meuleneere, 21, Rue du Chene, Bruxelles. This firm was a great Brussels booksellers and the predecessor to Tulkens from where this book was bought when it closed in 2008. Dark green ribbon of the edges of the boards to tie the folder together. The folder is in very good condition with slight marking and shelfwear and some staining to the white endpapers. The green papers wrappers are a little torn in places at the edges and the last one is torn in two at the hinge but could be repaired. The contents themselves are in near fine condition, essentially untouched. An interesting example, in excellent condition of this exhaustive practical study of woodwork, cabinet-making and woodcarving. It contains more than two thousand entries and over three thousand illustrations and took about five years to complete beginning in 1897-98. Storck worked with a team of researchers and writers who are acknowledged on the front cover.","brand":"STORCK, J.-Justin (et. al.)","offers":[{"title":"Default Title","offer_id":8108059230319,"sku":"3051","price":225.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/20180501_172112.jpg?v=1525212518"},{"product_id":"devantures-et-installations-de-magasins","title":"Devantures et Installations de Magasins","description":"\u003cp\u003eParis: Charles Moreau. [1925].\u003cbr\u003e\u003cbr\u003eFirst edition. [4], 48 black and white photographic plates of shop fronts and interiors. 323x250mm. The plates are loose and housed in a portfolio (337x255mm), backed with brown linen, boards covered with dark brown paper lettered and illustrated with a minimalist, modernist design. Ribbon ties. Lacks plate one but otherwise complete. The contents are in excellent condition, near fine. The front board has some wear and there is a tear to the linen spine. A superb collection of modernist shop designs some of which are by Herbst himself. Introductory essay by Herbst.\u003c\/p\u003e\n\u003cp\u003eBorn in Paris in 1891, René Herbst studied architecture in London and Frankfurt from 1908. In 1919 Herbst began work in Paris as a furniture designer and interior decorator. He founded Établissements René Herbst to produce the pieces he designed. In 1925 René Herbst designed several exhibition stalls for the Paris \"Exposition Internationale des Arts Décoratifs et Industriels Modernes\". In 1927 René Herbst designed the revolutionary and functional \"Chaise Sandows\". The frames were nickel-plated tubular steel, the seat and back was made of rubber strips stretched taut and fastened to the frame by hooks at the end.\u003c\/p\u003e","brand":"R[ENÉ]-H[ERBST]","offers":[{"title":"Default Title","offer_id":8108059263087,"sku":"3052","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3052_1.jpg?v=1523811916"},{"product_id":"small-homes-for-the-community","title":"Small Homes for the Community","description":"London: Crosby Lockwood \u0026amp; Son. 1924.\u003cbr\u003e\u003cbr\u003eFirst edition, 4to. xi, 32pp text, 140 plates \u0026amp; plans, 6 fold-out plans, with a 52pp appendix. Chocolate brown and cafe-au-lait cloth in the original near fine dust-wrapper. Some light creasing to rear. In mylar wraps. Cracking to joints just before the appendix. A crucial work for anyone interested in the development of suburbia or metro-land. The book gives full details of the types of houses then springing up around all of England's major cites in the post-WWI effort to create 'homes fit for heroes'. Of particular interest is the fully costed appendix on houses in Welwyn Garden City, giving an insight into the development of the garden cities and New Towns.","brand":"JAMES, C.H. \u0026 YERBURY, F.R.","offers":[{"title":"Default Title","offer_id":19984593125487,"sku":"2274","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/2274_3.jpg?v=1548865118"},{"product_id":"english-domestic-metalwork","title":"English Domestic Metalwork","description":"Leigh-on-Sea, Essex: F.Lewis (Publishers) Limited. 1937.\u003cbr\u003e\u003cbr\u003eFirst edition. 325x265mm. pp. viii, 102 pages of text interspersed with 139 plates, some photographs on glossy papers, others drawings. Each plate has several examples of metalwork so this book is profusely illustrated and is a valuable reference tool. Original cream cloth letter in gilt with publisher's device stamped in gilt to upper cover. Original dust jacket with staining to spine and small chipping to head and foot of spine. Rare in the dustjacket particularly in this very good condition. Internally in excellent condition. A nice book on a curiously fascinating subject.","brand":"GOODWIN-SMITH, R.","offers":[{"title":"Default Title","offer_id":20795575894127,"sku":"3145","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3145_4.jpg?v=1559212343"},{"product_id":"comment-discerner-les-styles-enseigna-par-limage-le-luminaire","title":"Comment discerner les styles enseigné par l'image. Le Luminaire.","description":"\u003cp\u003eTransformations progressives du 1er au XIXe Siecle sept cents reproductions documentaires Appliques, Bougeoirs, Candélabres, Chandeliers, Couronnes de Lumière, Lampadaires, Lampes, Lanternes, Lustres, Torchères, Trépieds, etc. Les Publications concernant les Styles ont été honorées par les Souscriptions du Ministère de l’Instruction Publique et des Beaux-Art.\u003c\/p\u003e\n\u003cp\u003eParis: Librairie G. Baranger Fils. n.d. [c.1910].\u003cbr\u003e\u003cbr\u003eFirst edition. Folio. 323x250mm. pp. 83 leaves of thick cream paper. 3 leaves with title page, index and contents pasted on, 80 leaves on each of which is pasted a plate illustrating seven hundred different types of lamps and lighting from early Christian examples from the first century to the nineteenth century. Blue half cloth, white vellum covered boards. Illustrated and lettered paper labels on upper cover and spine. Small tear to top edge of the label on the upper cover. Some marking to vellum and bumping to head and foot of spine but overall in very good condition and internally near fine. Loosely inserted are two double sided leaves advertising books by L. Roger-Miles on the decorative arts. And there are two booklets (one of 12pp and the other of 48pp) advertising books on art and architectural history published by Librairie G Baranger. A very nice example of an early twentieth century French reference work on the decorative arts.\u003c\/p\u003e","brand":"ROUVEYRE, Edouard (Editeur)","offers":[{"title":"Default Title","offer_id":31619176038511,"sku":"3397","price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3397_5.jpg?v=1590146129"},{"product_id":"inta-rieurs-historiques","title":"Intérieurs Historiques","description":"Paris: Ch. Massin et Cie.. n.d. [c. 1930].\u003cbr\u003e\u003cbr\u003eFirst edition. 295x230mm. pp. xxii, 80 colour plates on recto only. Introductory essay in French by A. Feulner. Dark green cloth, black labels with gilt lines and titling to upper cover and spine. Illustrated dust-jacket, with some very minor marking but overall in very good condition. Slipcase, cream label with black lettering, some slight marking and scuffing on the back but otherwise very good. Internally near fine with the colour plates in particularly fresh and good condition. The plates show typical interiors in a French style from German Houses of the periods of the 18th and 19th Centuries.","brand":"FEULNER, A.","offers":[{"title":"Default Title","offer_id":31770095812719,"sku":"3409","price":95.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/20200616_143206_resized.jpg?v=1592416938"},{"product_id":"iconographie-des-chapiteaux-du-palais-ducal-a-venise","title":"Iconographie des Chapiteaux du Palais Ducal, a Venise.","description":"\u003cp\u003eParis: Librairie Archeologique de Victor Didron.. 1857.\u003cbr\u003e\u003cbr\u003eFirst edition. 4to. 272x225mm. pp. 58 [2, advertisements]. Three leaves of engraved plates and a plan of the layout of the capitals of the Doge's Palace. Original brown paper wrappers, worn and chipped at extremities, tears to spine with some loss, staining to covers. Internally, there is foxing and spotting but overall it is in very good condition. Some pages unopened.\u003c\/p\u003e\n\u003cp\u003eThis is the first published book by William Burges, one of the most inventive architects and designers of the nineteenth century. The son of a rich engineer, Burges trained with Edward Blore (the surveyor to Westminster Abbey) and Matthew Wyatt who was Special Commissioner to the 1851 Great Exhibition. Burges worked closely with Wyatt in assessing designs and entries for the Exhibition, particularly for Pugin’s hugely influential Medieval Court. This was to determine the course of Burges’s career: from the early 1850s he travelled widely throughout Europe researching medieval art, artefacts and architecture. It was during a major tour beginning in 1853 that he carried out an extensive study of medieval secular buildings in Italy resulting in this book on the iconography of the capitals on the columns of the Doge’s Palace in Venice. Burges’s first love was the High Gothic of thirteenth-century France and fourteenth-century Italy and it is significant that his earliest published work should have been this important study of the meaning of the external decorations of perhaps the finest building in Venice. It is also significant that it was published by the Librairie Archeologique. This publishing house and bookshop had been founded in 1845 by Burges’s co-author Adolphe-Napoleon Didron and was managed by his brother Victor. Didron was, like Burges, a serious student of the middle ages and, with Violet Le Duc, largely responsible for the nineteenth-century Gothic Revival in French art and architecture. His Librairie Archeologique played a vital role in evangelising for that Revival. \u003cbr\u003eBurges believed that the impact and significance of a building lay less in its architectural mass and form than in its decoration. As a result, Burges was the most artistic of Victorian architects weaving wild, dreamlike Gothic fantasies into all his best work, most notably Cardiff Castle and the Tower House at Melbury Road. The capitals on the Doge’s Palace, with their imagery drawn from the natural world, astrology, the Old Testament, and Christian theology all fed into Burges’s later designs. \u003cbr\u003eBrilliant though Burges was, he has been seen as outside the Victorian mainstream. ‘Burges, with his roots in the past, designed nothing from which the future could benefit, his work embodies no architectural advances of any kind.’ (Charles Handley-Read). High praise indeed. \u003cbr\u003eCopac and Worldcat locate only six copies worldwide and it is rare in commerce not having appeared at auction since 1926.\u003c\/p\u003e","brand":"BURGES, William and Aine [Adolphe-Napoleon] Didron","offers":[{"title":"Default Title","offer_id":37584715776191,"sku":"3271","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3271.jpg?v=1608746720"},{"product_id":"cahier-de-six-noeuds-de-rubans","title":"Cahier de Six Noeuds de Rubans.","description":"\u003cp\u003eOrnee de Fleures, et Gravée en maniere de deux Crayons, par                    Inventée, et Dessinée par Jean Pillement. Premiere Peintre du Roy de Pologne\u003c\/p\u003e\n\u003cp\u003eParis: Chez Leviez. 1770.\u003cbr\u003e\u003cbr\u003eComplete set of six crayon manner engravings made from designs from Jean Pillement and engraved by Louis Gautier-Dagoty (two signed plates) and Arnaud-Eloi Gautier-Dagoty (four unsigned plates). Printed in black and red with an additional suite in the variant state printed in black, the set comprises a total of twelve plates including the two title pages (250x180mm). The engravings are trimmed close to the plate mark and pasted onto blank leaves (292x225mm). Slightly soiled in places and some staining to the monochrome prints but this is a lovely set, in very good condition, of a scarce collection of Rococo designs by one of the leading artists and designers working in the style. Worldcat records no copies. We have located only two complete sets at the Getty and the Ackland Museum at the UNC, Chapel Hill. \u003cbr\u003e\u003cbr\u003eNineteenth century mottled calf, gilt borders to covers, spine with five raised bands and gilt decoration in the compartments with red morocco label lettered in gilt. Rubbing to covers and extremities and wear to corners. Bound with six other collections of beautiful engravings of Rococo designs. \u003cbr\u003e\u003cbr\u003e1. 6 stipple-engraved plates of garlands and bunches of flowers printed in red. Paris: Ches la Ve [Veuve] de F.Chéreau, Les Deux Pilliers d'Or, n.d. Although undated, these engravings will have been made between 1729 and 1755. François Chéreau died in 1729 and his celebrated printing business (he was \"engraver to the Cabinet du Roi\") at Les Deux Pilliers d'Or (sic) was run by his widow (\"Veuve Chéreau\") until her death in 1755. Plates measure c.75 x 100mm. Some slight soiling and marking to the margins of the plates but overall in very good condition. No copies traced. \u003cbr\u003e2. Cahier de Petits Ornements et Figures Chinoises. Inventée et Dessinée par J. Pillement. Six engraved plates by J.J.Avril including pictorial title page. Paris: chèz le Pere et Avaulez. 1773, c.190 x 125mm. A scarce set of Chinese designs by Pillement \"the best known of the designers and painters of eighteenth-century chinoiserie\". Save for some slight marking and an ink stain to the margin of the title page, this suite of prints is in superb condition. A full set is held at the BNF and the V\u0026amp;A have two of the plates. \u003cbr\u003e3. Groupes de Fantaisies Inventés et Gravés par R[obert].M[enge]. Pariset a Paris. n.d. Engraved by Balchou [i.e. Jean-Joseph Baléchou]. 8 engraved plates including pictorial title, most c.160 x 110mm. Slight soiling to the title page and one other plate but otherwise in very good condition. \u003cbr\u003e4. Fruits et Fleurs Naturels et fantastiques. Lyon chez Pariset. n.d. 8 engraved plates including pictorial title by R.M. Pariset, c.210 x 150mm. The plates are closely trimmed and the final four letters of 'sculp' are missing from the bottom right corner of the title page). Pariset worked in Lyon, Paris and London. His career was cut short by bankruptcy in 1762 and all his work predates this. This (and the previous) suite are perhaps his most important collections but his work is scarce. We have located a set of the Fruits et Fleurs and the Groupes de Fantaisies (bound together) at the Bibliotheque d'INHA but none in the UK or USA.\u003cbr\u003e5. Nouveau Livre de Cartouches à l'Usage de différens Artistes. Paris: Chès la Ve de F. Chereau, aux 2 Piliers d'Or. n.d. c.165 x 120mm. 7 engraved plates by Marel after Borch including pictorial title page. Neither Borch nor Marel appear to be well-known or prolific but this is a rather splendid collection of Rococo cartouches with elements of grotesquery. By virtue of its shape, the cartouche lent itself to Rococo imaginings and books of cartouches are not uncommon in the eighteenth century but this set printed by Veuve Chéreau is rare. We have traced a full set at the Bibliotheque d'INHA and a single leaf (number two in the set) at the Kunstbibliothek in Berlin. \u003cbr\u003e6. Premier Livre de Fantaisies, Cartouches, Ornements, Fontaines, et Paysages. Gravé par P.Q.C. (Pierre-Quentin Chedel) Avec Privilege du Roy. Paris: Chèz la Ve de F. Chereau, aux 2 Piliers d'Or. n.d. c.115 x 170mm. 5 engraved plates including pictorial title. Chedel (1705-1763)was prolific but this first book of Fantaisies and Cartouches is scarce. Two copies of the Second Book are recorded (at the National Gallery of Scotland and the Sterling Morton Library) but we have located no copies of the Premier Livre.\u003c\/p\u003e\n\u003cp\u003eAlthough all the engravings in this collection are fine, the most important artist represented here is Jean Pillement. From a family of painters, Pillement trained as painter in the manner of Watteau and Boucher before working as an ornament designer at the Gobelins tapestry factory. He was Court Painter to the King of Poland and lived for ten years in London where he contributed to the growing taste for the Rococo and Chinoiserie. He was endlessly inventive producing whimsical and charming designs that were used for wallpaper, architecture, silver and furniture. As a painter, he was highly regarded: he was Marie Antoinette’s personal painter at Petit-Trianon; he was admired by William Beckford and, after Pillement’s death the Duke of Wellington bought three landscapes for Stratfield Saye where they still hang. \u003c\/p\u003e","brand":"PILLEMENT, Jean","offers":[{"title":"Default Title","offer_id":37584717480127,"sku":"3420","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3420_1.jpg?v=1606474057"},{"product_id":"the-studio","title":"The Studio","description":"London: The Studio. 1893.\u003cbr\u003e\u003cbr\u003eA set of The Studio from the Volume 1, Number 1 issued in April 1893 to Volume 100 (ending in December 1930). All 1st eds, all 4to. \u003cbr\u003e\u003cbr\u003eAlmost all, including the first six issues making up Volume One, are in the rare original paper wrappers. Seventeen volumes are in the green cloth. Of the complete set of one hundred volumes, five are missing (4, 76, 77, 83 and 85) and the set lacks a further eleven individual numbers in the monthly magazine format but this is a very good, near complete set in, for the most part, its original form. Many of the magazines have the text jointly in English and French. All are in very good condition but with some minor tears to some of those in paper wrapper. Further information and images are available on request. \u003cbr\u003e\u003cbr\u003eFounded by Charles Holme, a businessman who \"was able to take the pulse of a culture and provide exactly what was wanted at a certain historical moment\", \u003cem\u003eThe Studio\u003c\/em\u003e appeared at a time when the public were starting to take a serious and informed interest in art, design and craftsmanship. \u003cbr\u003e\u003cbr\u003eThe content of the magazine reflected the tastes of the middle-class art lover and amateur artist. This meant decorative art and design that would fit into the late-Victorian domestic setting. \u003cem\u003eThe Studio\u003c\/em\u003e, therefore, demonstrated a firm commitment to the ethos of the Arts and Crafts movement with its Ruskinian emphasis on beauty and utility. All the major Arts and Crafts architects and designers were championed in its pages.\u003cbr\u003e\u003cbr\u003eThe first editor and the man who set the tone and direction of the magazine was Joseph Gleeson White (1851-1898). The son of a bookseller, White had deep and broad interests in art, literature and music. He was a practising designer and graphic artist, and an active member of the Art Workers' Guild and has been described as \"one of the men who made the artistic and literary life of London\" in the 1890s.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe Studio\u003c\/em\u003e appealed to a specifically British bourgeois taste but its firmly local roots gave it the confidence, unselfconsciously, to broaden its geographical and aesthetic appeal. The magazine attracted a wide readership well beyond this country and so influenced Arts and Crafts and Art Nouveau movements across Europe and the United States. \u003cem\u003eThe Studio\u003c\/em\u003e was much more than a British art magazine. As Clive Ashwin says, \"Virtually all art periodicals founded in the ensuing decades owed some debt to this pioneer of art journalism\". \u003cbr\u003e\u003cbr\u003ePerhaps the most radical innovation was the adoption of a photomechanical printing technique which transferred an image photographically onto a metal block in halftone. This meant that, for the first time, the intermediate tones and shades found in paintings and photographs could be faithfully reproduced. For this reason, Clive Ashwin has called\u003cem\u003e The Studio\u003c\/em\u003e \"the first visually modern magazine\". It is the striking and beautiful illustrations that made it so popular and influential but White and Holme were fortunate in finding an artist who immediately mastered the photomechanical halftone technique. This was Aubrey Beardsley who provided the first cover and was the subject of an illustrated feature in the first issue. The Studio brought Beardsley to a wide audience and effectively launched his short but brilliant career. \u003cbr\u003e\u003cbr\u003eThe success of The Studio owed much to the ability of successive editors to understand and reflect changing tastes. Charles Holme died in 1923 but his son Geoffrey took over and, during the 1920s and 1930s cemented the magazine's reputation as one of the leading contemporary art magazines.","brand":"HOLME, Charles and Gleeson White","offers":[{"title":"Default Title","offer_id":37584717906111,"sku":"3439","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3439_1.jpg?v=1608737358"},{"product_id":"ehrenpforte-arc-triomphal-de-lempereur-maximilien-i-the-triumphal-arch-of-maximilian-i","title":"Ehrenpforte. Arc triomphal de l'empereur Maximilien I. (The Triumphal Arch of Maximilian I.)","description":"\u003cp\u003e[Vienna]: [widow of Alberti for T.Mollo]. [1799].\u003cbr\u003e\u003cbr\u003eBroadsheet (65 x 48 cm). Contemporary, probably original, pink cloth backing marbled boards. With fifty numbered woodcuts on forty three sheets, the first five sheets comprising the legend by Stabius, the last sheet also containing three woodcut inscriptions numbered fifty one to fifty three, the entire design made up from 174 original blocks and eighteen etchings by Bartsch on three sheets. Some splitting of cloth at joints but holding firm, front free endpaper renewed and helping reinforce front inner hinge, a few trivial marks at corners, but an excellent copy, clean, and fresh, with clear impressions printed on strong laid paper.\u003cbr\u003e\u003cbr\u003eFourth impression of Dürer's Ehrenpforte, one of the great giant woodcuts of the Renaissance, printed from the original sixteenth-century blocks under the supervision of Adam Bartsch. The blocks are now preserved at the Albertina Museum, Vienna. \u003cbr\u003e\u003cbr\u003eThe work was intended for assembly as a gigantic wall print measuring approximately 3.5 x 3 metres (11 x 9 feet). The Hapsburg emperor Maximilian I had insufficient funds to hold a triumphal procession or erect an arch in stone. His place in the imperial Roman tradition was nevertheless guaranteed through the truly monumental scale of this triumphal arch on paper.\u003cbr\u003e\u003cbr\u003eThe arch was originally conceived by the Tyrolean court painter and architect, Jörg Kolderer, as a miniature. Under the direction of the Emperor, Johannes Stabius provided the program of the whole arch and the five sheets of prose commentary at the foot. Dürer supervised the execution of the multi-block print and also contributed ornamental details (see Strauss p. 504). The 192 blocks (174 survived) of varying size were cut in the workshop of Hieronymus Andreä in Nuremberg. Although probably conceived in 1512, the project was not completed till August or September 1517, despite the date of 1515 on the base of the arch. A large part of the design was the work of Dürer's assistants, Springinklee and Traut. \u003cbr\u003e\u003cbr\u003eAfter the first of 1517, second and third editions were published in 1526-28 and 1559. The fourth impression of 1799 was printed from 174 surviving blocks with eighteen etchings by Bartsch to replace the missing blocks (including the Battle of Utrecht, Maximilian's coronation, and the First Congress of Vienna; the twenty-fourth panel shows a new image of the Battle of Pavia); the Dürer block of the Burgundian Wedding was replaced by an earlier block of Springinklee. \u003cbr\u003e\u003cbr\u003eIn this copy the latter-day printed matter has been discarded, that is, the 1799 double-page letterpress title and \"avertissement\" leaf at the beginning and double-page letterpress \"avis au relieur\" (actually a plan showing how the wall print should be assembled) at the end. What remains is the complete fourth impression of the original work.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProvenance:\u003c\/strong\u003e from the library of the French sculptress Félicie de Fauveau (1801–1886) who as a fervent royalist had taken refuge in Florence, with a gift inscription in French at the foot of the first flyleaf, presenting the book to her in spring 1843. Her studio on Via degli Serragli was a regular stop for international travellers on the Grand Tour, and she had many influential friends and admirers, including Elizabeth and Robert Browning, who had also made their home in Florence. \u003cbr\u003eFauveau was a friend and art adviser to Alexander Lindsay, 25th Earl of Crawford (1812-1880). Lord Lindsay, as he was then styled, made several visits to Italy in the 1840s in preparation for his work on art, Sketches of the History of Christian Art (1847), which was in part inspired by Fauveau's religious sentiment. Lord Lindsay was an active collector of books, including illuminated manuscripts and volumes of engravings. A small paper label hand-lettered in Italian (a little worn) at the upper inner corner of the front board notes the ownership of Contessa Crawford. Lindsay’s wife Margaret was styled as Countess of Crawford from 27 March 1825 until her death in 1850. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"DÜRER, Albrecht","offers":[{"title":"Default Title","offer_id":40486170198207,"sku":"3523","price":25000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3523_1.jpg?v=1629470863"},{"product_id":"a-tessellated-floor-of-an-ancient-bath-in-nants","title":"A Tessellated Floor of an Ancient Bath in Nants.","description":"\u003cp\u003e[Winterton, Lincolnshire] n.p.. undated [pre 1804].\u003cbr\u003e\u003cbr\u003eOriginal pen and coloured ink drawing (146x108mm) of a mosaic floor on thick paper, mounted on card (198x140mm) and framed. Beneath the drawing is inscribed \"William Fowler Fecitt (sic)\" and the description \"A Tessellated Floor of an Ancient Bath in Nants (sic) in the South of France supposed to be Built by Antonious (sic) Pius\". The hand-coloured engraving of this mosaic appears in volume one of Fowler's \u003cem\u003eEngravings of the Mosaic Pavements \u0026amp;c\u003c\/em\u003e published in 1804. This beautiful drawing is in excellent condition with the colours particularly fresh. Original drawings by Fowler are rare and this is a particularly fine example.\u003c\/p\u003e\n\u003cp\u003eWilliam Fowler (1761-1832) was born in Lincolnshire where he ran his own business as a builder and architect. He also produced, in his spare time, a large quantity of drawings of old buildings, tombs and brasses, stained glass, and Roman mosaic pavements. Roman mosaics had first been excavated in Fowler’s home town of Winterton in 1747 and continued to be unearthed during his lifetime (he even discovered one himself). He was encouraged to have his drawings engraved so that copies could be sold. The first few were cut by his brother-in-law in London but Fowler taught himself the art of engraving. His prints were issued separately until, between 1804 and 1824, they were published together (there are 114 in total) in three volumes dedicated to Sir Joseph Banks. Although Fowler travelled widely in the United Kingdom (he met Queen Victoria and Sir Walter Scott) there is no record of his visiting France and all his other work is of mosaics and glass found in Britain so it seems likely that he produced this drawing of the Nantes mosaic from a print.\u003c\/p\u003e","brand":"FOWLER, William","offers":[{"title":"Default Title","offer_id":41629898965183,"sku":"3559","price":2750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/Fowler_1_2-Copy.jpg?v=1652451108"},{"product_id":"a-design-for-a-domed-octagonal-temple","title":"A Design for a Domed Octagonal Temple","description":"\u003cp\u003en.d.\u003cbr\u003e\u003cbr\u003eOriginal architectural drawing by Thomas Sandby showing a neo-classical domed octagonal temple with baroque details. Pen and grey and black and pale blue and grey watercolour on laid paper with watermark \"C\u0026amp;Honig\". Sheet 497x258mm, window mount support (with ruled brown ink border) 478x333mm, taped at left edge onto heavy cream card 558x404mm. Slight spotting, otherwise in excellent condition. Although there are important institutional holdings of Sandby's architectural drawings, they are rare in commerce and this is a particularly fine example.\u003c\/p\u003e\n\u003cp\u003eAlthough no buildings designed by Thomas Sandby (1723-1798) survive, he was one of the finest architectural draughtsmen and theorists in an age of great architects. Sandby’s family background was modest and he led a simple life despite working in the grandest circles, principally in the household of George II’s favourite son, William Augustus, Duke of Cumberland. Sandby produced military plans and drawings for the Duke’s campaigns in Scotland and the Netherlands and, in 1746, Cumberland appointed Sandby Deputy Ranger of Windsor Great Park. He was also an assistant to Henry Flitcroft who carried out the alterations to the Great Lodge where the Duke was living. It was at Windsor that Sandby and his younger brother Paul produced the famous drawings and watercolours of the Castle and surrounding landscape, now in the Royal Collection. \u003cbr\u003eIn 1757, Thomas took charge of further building and landscape projects at Windsor including the development of Virginia Water Lake on the edge of the Park and many architectural drawings date from this period. In 1760 he moved to London where he taught, first at the St Martin’s Lane School and then, in 1768, at the Royal Academy where he was a founding member and the first Professor of Architecture delivering annual lectures until shortly before his death. These lectures, illustrated with Sandby’s own drawings were wide-ranging and influential, covering architectural history, practice and theory and were amongst the first attempts to construct notions of the Picturesque and the Sublime in architecture. We have been unable to date this drawing and there is no evidence as to whether the temple was ever built although it is a highly finished and polished drawing and it is possible that it was a design for a folly at Windsor or Virginia Water. Sandby’s temple combines Palladian elements with more flamboyant Baroque details such as the buttress scrolls reminiscent of Santa Maria Salute in Venice. Whether or not this drawing by Sandby ever made it beyond two dimensions, it is a beautiful design beautifully executed.\u003cbr\u003e\u003c\/p\u003e","brand":"SANDBY, Thomas","offers":[{"title":"Default Title","offer_id":41629899129023,"sku":"3621","price":3750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3621_2.jpg?v=1652450649"},{"product_id":"perspective-studies","title":"Perspective Studies","description":"\u003cp\u003en.d. [pre-1775].\u003cbr\u003e\u003cbr\u003eOriginal drawing of classical capitals and urns with lines of perspective. Pen and brown and black ink, pencil and grey wash on laid paper without visible watermark, ruled border in brown ink. Sheet 302x218mm, window mount 350x275mm. Very slight soiling and foxing but overall in excellent condition. A very good, and rare, example of a study for an important book on perspective.\u003c\/p\u003e\n\u003cp\u003eIn 1775 Thomas Malton the Elder (1726-1801) published A Compleat Treatise On Perspective, In Theory and Practice; on the True Principles Of Dr. Brook Taylor. This drawing is a preliminary study for plate XXII from this book. Such drawings are rare; the last to appear before this one was sold at Christie’s in 2011. \u003cbr\u003eMalton’s book was important: the Royal Academy had been founded only seven years before and in its Instrument of Foundation there was a specific requirement that the art and science of perspective be taught. A Compleat Treatise was the first book to be published on the subject following the founding of the RA. Malton was perhaps making a bid for his book to be adopted as a sort of “set text” and many Royal Academicians were among the initial subscribers. It was, from the outset, regarded as one of the best modern books on the subject, based as it was on the newest contemporary mathematical studies of perspective. The combination of science and art is captured beautifully in this drawing. \u003cbr\u003eBad luck in business forced Malton to leave England to start afresh as an artist in Dublin where he died in 1801 but his influence extended well into the nineteenth century thanks to his son (also called Thomas) and to Turner’s use of A Compleat Treatise in his own lectures at the Royal Academy where he was Professor of Perspective. Malton’s book and drawings would almost certainly have been introduced to Turner by Malton’s son in whose studio Turner worked as an apprentice in the 1780s and whom Turner regarded as his “my real master”. Some of Turner’s own drawings and sketches used in these lectures are held at the Tate and among them are two of the capitals from plate XXII of A Compleat Treatise whose origins can be traced back to this drawing by Thomas Malton the Elder.\u003cbr\u003e\u003c\/p\u003e","brand":"MALTON, Thomas (the Elder)","offers":[{"title":"Default Title","offer_id":41629899161791,"sku":"3622","price":7500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/products\/3622_2.jpg?v=1652450420"},{"product_id":"seven-sketchbooks","title":"Seven sketchbooks","description":"\u003cp\u003en.p. n.p.. 1880-1934.\u003cbr\u003e\u003cbr\u003eAn archive collection of seven sketchbooks extensively illustrated with, in total, over 500 drawings, sketches and studies by the Arts and Craft architect William Bidlake (1861-1938). The drawings are in pen and ink or pencil. Most are highly worked, detailed drawings of buildings (particularly churches) either standing alone or in the context of more developed street scenes but there are numerous studies of architectural details such as gothic window tracery and column capitals. Landscape scenes also feature and there is a small number of sketches of the human form. The standard is uniformly high throughout and demonstrates Bidlake's mastery of the decorative detail of medieval architecture. The sketchbooks are in a variety of formats but all with hardcovers and, although the covers are worn, they are all in remarkably good condition and internally they are very good indeed with the drawings beautifully preserved. \u003cbr\u003e1. 150x230mm (oblong). 36 leaves with 57 drawings and 2 poems. On the front pastedown is inscribed: W.H.Bidlake, 12 Houghton Place, Ampthill Sq. N.W. 1880-1882. This book has drawings of Cambridge where Bidlake studied at Christ's College: these include Pembroke College, Newton's Bridge and a sketch entitled \"View from my Rooms\". There are studies of buildings in Leicester (where Bidlake spent university vacations working in the offices of the architect James Tait), scenes from Cornwall and, towards the end, sketches from London including the Houses of Parliament. By 1882, Bidlake had moved to London where he studied at the Royal Academy and started his architectural training with R.W.Edis who is probably best known now for his work expanding and renewing Sandringham House. \u003cbr\u003e2. 227x190mm. Upper cover has a paper label inscribed \"The Pugin Tour 1885. W.H.Bidlake. May 21st-July24th\". 50 leaves with more than 70 drawings, sketches and technical studies. These mainly cover Lincolnshire (including Lincoln Cathedral) and Nottinghamshire. At the back of the book are a few later sketches from 1890 and 1891. The front pastedown has the bookplate of the RIBA which has been scored through with a red pen and marked \"Cancelled 10 Aug 86. Alex Beazeley Librarian\". A number of blank pages have the RIBA library stamp marked cancelled in red ink. In 1885 Bidlake won the RIBA Pugin Travelling Fellowship for his draughtsmanship. This prize funded a study of cathedrals and churches in the East Midlands and East Anglia and also enabled him to undertake a study tour of France and Italy which is represented by the next sketchbook. \u003cbr\u003e3. 227x190mm. Inscribed in the book are two addresses for Bidlake - 37 Waterloo St. Birmingham and 11 Calthorpe Road, Edgbaston, Birmingham. 62 leaves with over 90 drawings including, from the summer of 1886, Rouen, Genoa, Siena, Florence and Bologna. He also travelled to Sweden later that year and then the rest of the book contains drawings from Scotland (1887), the Midlands (1887), Yorkshire (1888) and a small number of later drawings from 1919. There are also three pages of Italian grammar and vocabulary. Shortly after winning the Pugin Fellowship, Bidlake moved to the leading firm of Gothic Revivalists, Bodley and Garner. Working in such a distinguished practice brought Bidlake into contact with the best architects, artists and designers of the day: G.F. Bodley had been a pupil of Sir George Gilbert Scott, was a friend of William Morris and closely associated with the Pre-Raphaelites. \u003cbr\u003e4. 283x218mm. Front pastedown has Bidlake's signature. 75 leaves with 145 drawings, sketches and architectural studies of French churches, cathedrals including Beauvais, Louviers, Evreux, Lisieux and Notre Dame at Grand-Andely. These are dated 1920 and 1921. In addition there are two nude studies (1913\/14) and a drawing of a car and a horse-drawn carriage. \u003cbr\u003e5. 228x178mm. Front pastedown is inscribed \"W.H.Bidlake, Vespers, Wadhurst, Sussex\". 57 leaves with 64 drawings and sketches dated from September 6 1930 to September 11 1933. The images are all of places in England and include the Cotswolds, Sussex and some fine studies of Ely Cathedral. There are also numerous landscapes which show another side of Bidlake's skill as an artist. \u003cbr\u003e6. 228x178mm. Front pastedown inscribed W.H.Bidlake, Vespers, Wadhurst, Sussex. 56 leaves with 71 drawings dated 1933-1935. These are mostly of Sussex churches and landscapes but there are three sketches of human figures. \u003cbr\u003e7. 228x178mm. Front pastedown is inscribed W.H.Bidlake, Vespers, Wadhurst, Sussex, Angleterre. 34 leaves with 36 detailed drawings and sketches and two drawings loosely inserted. This sketchbook records a trip to France in July -October 1934 and contains drawings of churches, street-scenes and landscapes. The principal town featured is Caudebec in Normandy. \u003cbr\u003eThese sketchbooks date from the early and late parts of Bidlake's career and show him to be, \"influenced by Ruskin and Morris...at heart a romantic idealist, whose creations were tempered by a fond attachment to past traditions\". (Trevor Mitchell, ODNB). Medieval churches, cathedrals and houses lie at the heart of this collection and one is struck not just by the brilliance of the draughtsmanship but by the manner in which Bidlake absorbs the spirit of these stupendous buildings. Architectural drawings can, too easily, lapse into the merely technical but these have a lively directness and authenticity. Bidlake was an artist-architect whose interests encompassed craftwork and design which he taught at the Birmingham School of Art. As well as a running a successful architectural practice in Birmingham, he was a director of the city's School of Architecture and was instrumental in the creation of the Birmingham Guild of Handicraft in 1890 which was one of the country's leading institutions in fostering the development of the Arts and Crafts Movement. Bidlake designed numerous houses, including two for himself, the second of which Vespers (now Loth Lorien) was the home to which he retired. He was also a fine garden designer (he appears in Gertrude Jekyll's book on small country house gardens), ensuring, in the Arts and Crafts spirit, that the house and its landscape sit together as an organic whole. He designed ten churches firmly in the Gothic mode, unsurprising given the architectural drawings on display in these books. Bidlake was an important figure in the world of the Gothic Revival and the Arts and Crafts Movement. Like many in those worlds (one thinks of Voysey, Lethaby and Prior to whom Bidlake has been compared) he was more than just an architect. He was as his biographer notes, and these sketchbooks attest, \"an accomplished artist, an active promoter of craftwork, and an influential teacher\".\u003c\/p\u003e","brand":"BIDLAKE, William","offers":[{"title":"Default Title","offer_id":43105342783679,"sku":"4070","price":5750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/4070.Bidlake_1.jpg?v=1718118272"},{"product_id":"small-views-drawn-by-harraden","title":"Small Views Drawn by Harraden","description":"\u003cp\u003eLondon and Cambridge Richard Harraden. 1798-1800.\u003cbr\u003e\u003cbr\u003eFirst edition. 277x385mm. Frontispiece and eighteen engravings showing scenes of Cambridge Colleges. Platemarks measure approximately 170x250mm. The Small Views are bound with the frontispiece to \"Views of Cambridge Drawn by Rd. Harraden\" which has been trimmed resulting in the loss of the first three words. Also bound in are six engravings of country house views by William Poole, published by R\u0026amp;J Snare, Reading in 1798. The leaf following each country house view is a handsome descriptive letterpress with a brief history of the house. Bound in contemporary half calf with marbled paper covered boards, rebacked with original spine laid down, joints strengthened, corner pieces worn and some further wearing and rubbing to the edges of the boards. The front pastedown has an ownership inscription: \"Matthew Robinson 1809\" and a manuscript shelf mark. Internally fine, the Small Views set being particularly clean and fresh. Some foxing to the margins of the country house views.\u003c\/p\u003e","brand":"Harraden, Richard","offers":[{"title":"Default Title","offer_id":43581347692735,"sku":"3528","price":750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/3528.Harraden_3.jpg?v=1722350617"},{"product_id":"picturesque-views-of-the-principal-seats-of-the-nobility-and-gentry-in-england-and-wales","title":"Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales","description":"\u003cp\u003eLondon: Harrison \u0026amp; Co.. [1786].\u003cbr\u003e\u003cbr\u003eFirst edition. 205x260mm. One hundred engravings of country houses in England and Wales with, on the opposite page a brief description of the house. Bleinheim Palace gets four engravings and four pages of description. Tissue guards. Copper engravings by Birrell, Walker, Ellis, Fittler and others after Burney, Courbould, Dayes, Robert Nixon, Malton and others. Handsomely bound in red morocco. Upper and lower covers with a green morocco border on which is tooled, in gilt, a greek key design. Inside this is a further border of acanthus leaves. Spine lavishly decorated in gilt with black label lettered in gilt. Gilt decorated turn-ins, marbled endpapers. Corners bumped and a little word and some rubbing to joints but overall this is a very smart binding, fitting the grand subject matter of the book. The late eighteenth century is pretty much the high point of the classical English country house and this splendid collection of engravings captures the period beautifully.\u003c\/p\u003e","brand":"[Harrison \u0026 Co]","offers":[{"title":"Default Title","offer_id":43581348184255,"sku":"4259","price":1250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/20240724_143220_inPixio.jpg?v=1722348704"},{"product_id":"public-baths-and-wash-houses","title":"Public Baths and Wash-Houses","description":"\u003cp\u003eLondon: Batsford. 1906.\u003cbr\u003e\u003cbr\u003eFirst edition. 4to. xii, 281pp, frontispiece and illustrations and plans throughout text with an old label to the front pastedown. Original red cloth with blind-stamped bands and gilt titles to upper board. gilt bands and titles to spine (An old water stain to the top of the upper board and some light shelfwear). Original dust-jacket (wear to edges with some small closed tears to bottom edge and a shallow missing section to the very top quarter-inch of the rear). In very good condition. With chapters on Turkish, Russian and other special bathing operations this is a comprehensive technical guide to the golden age of public hygiene in Britain. Sadly the majority of these wonderful facilities have now gone.\u003c\/p\u003e","brand":"CROSS, A.W.S.","offers":[{"title":"Default Title","offer_id":54812496986489,"sku":"2270","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/2270.Cross_1.jpg?v=1732790094"},{"product_id":"monasticon-anglicanum","title":"Monasticon Anglicanum","description":"\u003cp\u003eLondon: Richard Hodgkinsonne. 1655.\u003cbr\u003e\u003cbr\u003eFirst edition. Volume one (first part). Folio in 4s. 332x210mm. [ff.23], pp.1- 608. Ends on 4G4 after the survey of the Benedictine foundations and before the Cluniac. Engraved title page and fifty-one engraved full page (and some folding) plates, many by Wenceslaus Hollar, and with engraved illustrations in the text. The folding map of Thanet is present. In an extraordinary binding of eighteenth century red morocco with triple fillet borders. The lower cover is a highly eccentric confection: a smaller panel of cat's paw calf has been inserted into a red morocco (but not the same as that on the upper cover) covered board. The calf has a large crowned fleur de lys indicating a French aristocratic ownership. Spine with six raised bands, compartments lavishly decorated in gilt and in the second and third compartments, lettered in gilt. Beautifully decorated turn-ins, marbled endpapers, all edges gilt and blue silk ribbon book-mark. Front pastedown has the book label of the bibliophile and writer Charles Whibley (Sum Caroli Whibley) and the bookplate of the Bibliotheque Paroissiale de Notre Dame St Louis. Loosely inserted is a manuscript copy (19th century) of an entry from the diary of William Dugdale referring to the third volume of his Monasticon and a two page copy (20th century) of the Confirmation Charter of Henry I from p437 of the book. \u003cbr\u003eThe binding is, notwithstanding its peculiarities, in excellent condition and internally the book is very good, fresh and crisp with the occasional spot of foxing and some browning. Some marginal annotations in various hands. \u003cbr\u003eA somewhat bizarre copy of the Benedictine section of the 1655 first edition of part one of Dugdale's \u003cem\u003eMonasticon \u003c\/em\u003e(parts two and three followed in 1661 and 1673 respectively). The clue to the binding (which is like nothing we have seen) lies, we feel, in the book's ownership by Charles Whibley. It is unsurprising that the \"acerbic High Tory\" Whibley should have owned a copy of Dugdale reactionary work of antiquarianism. It is also unsurprising that he should have had an eye for this strange binding. He lived in Paris for a number of years and it seems certain that he bought this there. The bookplate suggests this . The cat's paw panel with the fleur de lys is undoubtedly French. It is hard to see why it was done, though. The rest of the binding (very English red morocco) is in superb condition so it is unlikely that restoration was needed. We can only assume this was done because someone thought that it improved the look of the book or, perhaps would make a recondite point about Anglo French bibliophilic or, given the subject matter of the book, ecclesiastical relations. All the same, a striking and weirdly beautiful object.\u003c\/p\u003e","brand":"DUGDALE, William and Roger Dodsworth","offers":[{"title":"Default Title","offer_id":54812497346937,"sku":"4433","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/4433.Dugdale_2.jpg?v=1732789425"},{"product_id":"murrays-buckinghamshire-guide","title":"Murray's Buckinghamshire Guide","description":"\u003cp\u003eLondon John Murray. 1948.\u003cbr\u003e\u003cbr\u003eFirst edition. Signed by the author. 263x185mm. pp (iibl) xii, 132, (iiibl). Publisher's red cloth with white and black lettering to spine and front cover, printing to front cover. Original dust jacket. Slight bumping to head and foot of spine; slight chipping to head of dust jacket. Internally very good; overall in very good condition. Inscription reads \"Kay Francis from John Betjeman 1957\", surrounded with decorative flourishes.\u003cbr\u003eThe last of Betjeman and Piper's British travel guides to be published by Betjeman's own publisher, John Murray. The friends collaborated on a series of these guides from 1934 through to the 1960s, with a hiatus during World War II. In 1968 Betjeman quarrelled with the publishers over some derogatory remarks he wrote in the Northamptonshire guide and resigned.\u003c\/p\u003e","brand":"BETJEMAN, John; PIPER, John","offers":[{"title":"Default Title","offer_id":57090383774073,"sku":"5110","price":200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/Scan_20260403.jpg?v=1776441036"},{"product_id":"5247","title":"Official Descriptive and Illustrated Catalogue. In three volumes.","description":"\u003cbr\u003eLondon: Spicer Brothers \u0026amp; W. Clowes \u0026amp; Sons. 1851.\u003cbr\u003e\u003ch4 class=\"vrb_heading\"\u003e\u003c\/h4\u003e\u003cbr\u003e\u003cspan class=\"vrb_desc\"\u003eFive volumes. First edition. 280x175mm. Vol. I: pp. cxcii, 478, 465*-476*; Vol. II: pp. [6], 480-1002; Vol. III: pp. [4], 1003-1462. Vol. IV: pp. xxviii, [2], [1471]-1532. \u003cem\u003eFirst report of the Commissioners for the Exhibition of 1851. \u003c\/em\u003eliv, 211 [1]; \u003cem\u003eSecond report:\u003c\/em\u003e [2], 76; 15pp press reports of the Exhibition, [8pp adverts]. Vol. V.\u003cem\u003e Report of the Juries on the subjects in the thirty classes into which the exhibition was divided.\u003c\/em\u003e pp[8], cxx, 867 [1], 16pp press reports of the Exhibition. (lacking 8 leaves of the index. Illustrated throughout with engraved plates (three of which are coloured) and many engravings in the text. Two of the called-for plates are missing but there are two additional plates which do not appear to be called for. In the original publisher's blue cloth with elaborate borders in blind with, in the centre of the upper cover, a design in rich gilt representing the four continents of Europe, Asia, Africa and America represented in the Exhibition. This is repeated in blind on the lower cover. All edges gilt. Some slight rubbing to extremities and bumping to head and foot of spine and some slight marking to the boards in places but otherwise in very good condition. Internally very good throughout, this is a very nice, full set in the very well preserved original bright blue cloth. \u003cbr\u003eAlmost as impressive as the Exhibition itself, the full Catalogue is a great testament to Victorian energy. It is huge and extensively illustrated and is by far the most complete guide to the Great Exhibition making it perhaps the best compendium of, and source book for, mid nineteenth-century taste not just in Britain but across the world. Usually found in only three volumes, this set contains the full four volumes listing all the items in the exhibitions and also includes the Reports of the Commissioners and the Juries.\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"vrb_note\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"vrb_prov\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"vrb_biblio\"\u003e\u003c\/span\u003e","brand":"Great Exhibition of the Works of Industry of all Nations, 1851","offers":[{"title":"Default Title","offer_id":63929142706553,"sku":"5247","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1484\/0910\/files\/5247_1.jpg?v=1783688460"}],"url":"https:\/\/voewoodrarebooks.com\/collections\/architecture.oembed","provider":"Voewood Rare Books","version":"1.0","type":"link"}