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THE DECORATIVE SISTERS; A MODERN BALLAD

POLLARD, Josephine, and Walter Satterlee, (illustr (AESTHETIC MOVEMENT-LITERARY SPOOF) POLLARD, Josephine, and Walter Satterlee (illustrator.). THE DECORATIVE SISTERS; A MODERN BALLAD. New York: Anson D.F. Randolph & Co., 1881. Small 4to. Color printed pictoria paper boards, red linen spine. (34) pages including chromolithographic plates First American edition. [Holzenberg, # 95]. First edition of this vibrantly illustrated cautionary tale, in which two sim English sisters are seduced by the Aesthetic Movement. Captivated by a traveling artist who finds them "so intensely picturesque," Dorinda and Dorot gradually abandon their household duties: "The Decorative Sisters were so mystically mystic -/ So whimsically whimsey - so intensely intense -/ That th who did not know 'twas Aesthetic and Artistic,/ Would surely think that neith has a grain of common sense." Published same year as Patience, Gilbert and Sullivan's satire of the Aesthet Movement, The Decorative Sisters similarly pokes fun at the props associated with the young Wilde, Swinburne, and Whistler: painted china, sunflowers and lillies, peacock feathers. In the end, Dorinda, who moves to London and marr an artist, is sentenced to an empty life of posing, while Dorothea remains in the contryside and finds happiness with an honest farmer. A very good exampl of American resistance to art for art's sake. Light rubbing and shelfwear to boards, tears along upper inner hinge, else very good.
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SUGGESTIONS IN FLORAL DESIGN

HULME, F. Edward HULME, F. Edward. SUGGESTIONS IN FLORAL DESIGN. London: Cassell Peter & Galpin, (1878-1879). Folio. Publisher's decorated cloth. 52 pages, 52 plates. First edition. [Holzenberg, For Art's Sake, 38]. Hulme's book, illustrating methods for turning designs in nature into ornamentation, was a cornerstone in the development of English Art Nouveau. emphasis, as the title suggests, is on botanical form, particularly those of indigenous wild flowers, such as Hedge Cress, Corn Marigold, Meadow Saffron, etc. This was the only edition of the work--surprising given the importance the work and the many editions of Hulme's other books. The handsome chromolithographic plates were exquisitely printed by Dupuy et fils, Paris. influence of Hulme's teacher, Christopher Dresser, is apparent in many of Hulme's designs. According to Eric Holzenberg, For Art's Sake, The Aesthetic Movement in Print and Beyond, 1870-1890, this is "one of the most arresting, yet least well-known, color plate books of the Aesthetic era.the plates in Suggestions are an entertaining riot of vivid purples, greens and yellow, oft accented with gold." This work, when met with, is often falling to pieces an damaged through the Victorian use of gutta-percha as a binding medium, which then decays. With this copy, which is in excellent condition, the spine is neatly repaired, a few missing elements replaced with compatible cloth. The copy is free from foxing, which is unusual for this title.
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ALL THE WORKS OF EPICTETUS, WHICH ARE NOW EXTANT,.

EPICTETUS EPICTETUS. ALL THE WORKS OF EPICTETUS, WHICH ARE NOW EXTANT, TRANSLATED F THE ORIGINAL GREEK BY ELIZABETH CARTER. London: S. Richardson; A. Millar, and others, 1758. Large 4to. Contemporary full calf. (xviii), xlii, 505, (11) pages. First English edition. Thomas Jefferson owned a 1768 copy of this first English translation of the Works of Epictetus by Elizabeth Carter (Sowerby, 1301). This famous second century Stoic philosopher was highly regarded in his own day, and he was especially popular from the sixteenth through the eighteenth century with man published editions in Latin and Greek. Numerous editions of Epictetus were found n colonial Virginia libraries. Elizabeth Carter was a noted member of The Blue Stocking Circle and a close friend and associate of Elizabeth Montague. She was a gifted linguist who learned Latin, Greek and Hebrew in childhood. Her circle of friends included Samuel Johnson who thought her one of the best Greek scholars of his time. H is listed among the twelve pages of subscribers to this important translation Professionally rebacked in period style; occasional light soiling, but overal remarkably clean. Nineteen lines of pencil notation regarding Elizabeth Cart on verso of second front endpaper. Early owners ink signature "George Talbot Temple" on front endpaper and two bookplates on back of front board including the bookplate of Vivian de Sola Pinto. A very good wide-margined copy.
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MEZZOTINT AND THE ARTIST’S BOOK; A FORTY YEAR JOURNEY

JONES, Shirley JONES, Shirley. MEZZOTINT AND THE ARTIST'S BOOK; A FORTY YEAR JOURNEY. (N.P.: Red Hen Press), 2019. 4to. Marble papered wrappers. x, 73 pages. Shirley Jones set up her own studio at Brecon in Wales Brecon and from 1975 t 2016 produced 28 Artist books in which her etchings and mezzotints complement her poems, prose-pieces and translation for the Old English and Old Welsh. Ea of the books is a total concept with the choice of paper and typeface, the un of text and image, and the harmony of the binding all as carefully considered the visual and literary creativity involved, and each is a work of art unto itself. The printing and the binding was done by Adrian Lack of Senecio Press and Lud binders, both very highly regarded in the U.K. There were five proofs of the book before Shirley Jones and the printer were satisfied that the prints of varying sizes and the right quality matched the text perfectly. The book measures 11 by 9 inches with 73 pages and starts with a small section about t history of mezzotints and how they are made. Then it describes how Shirley w to art college and started making mezzotints. The major part of the book is a description of the making of the 28 books including the many snags encountere during the 40 years of making them. It includes 70 images of which 49 are reproductions of prints in the books and nine of the bindings. At the end of the book is a list of all 28 books and the 98 rare book libraries who have purchased them. Shirley's work has received worldwide critical acclaim. We have sold many of her tomes at the Bookpress over the years, and this will be her final book. T marbled paper covered wrapper edition is limited to 400 copies. Fine as published.
book (2)

MEZZOTINT AND THE ARTIST’S BOOK; A FORTY YEAR JOURNEY

JONES, Shirley JONES, Shirley. MEZZOTINT AND THE ARTIST'S BOOK; A FORTY YEAR JOURNEY. (N.P.: Red Hen Press), 2019. 4to. Cloth spine, marble papered boards, cloth covered slip case. x, 73 pages. Limited edition of 100. Shirley Jones set up her own studio at Brecon in Wales Brecon and from 1975 t 2016 produced 28 Artist books in which her etchings and mezzotints complement her poems, prose-pieces and translation for the Old English and Old Welsh. Ea of the books is a total concept with the choice of paper and typeface, the un of text and image, and the harmony of the binding all as carefully considered the visual and literary creativity involved, and each is a work of art unto itself. The printing and the binding was done by Adrian Lack of Senecio Press and Lud binders, both very highly regarded in the U.K. There were five proofs of the book before Shirley Jones and the printer were satisfied that the prints of varying sizes and the right quality matched the text perfectly. The book measures 11 by 9 inches with 73 pages and starts with a small section about t history of mezzotints and how they are made. Then it describes how Shirley w to art college and started making mezzotints. The major part of the book is a description of the making of the 28 books including the many snags encountere during the 40 years of making them. It includes 70 images of which 49 are reproductions of prints in the books and nine of the bindings. At the end of the book is a list of all 28 books and the 98 rare book libraries who have purchased them. Shirley's work has received worldwide critical acclaim. We have sold many of her tomes at the Bookpress over the years, and this will be her final book. T edition is limited to 100 copies each numbered and signed by Shirley Jones. Fine as published.