G. Heywood Hill Ltd

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A Shy Bird. The U.S. Copyright Edition of Seven Pillars of Wisdom.

LAWRENCE, T.E.] EILERS, Charles. First edition, limited edition of 275 copies, this one of 20 special copies. housed in a drop-back box, with an original leaf from the second-state prospectus (1925) for the London Seven Pillars of 1926. 4to., original half imitation vellum with leather spine label "in homage to the Doran binding of Seven Pillars of Wisdom". With 42 illustrations. "Seven Fleece Press books on T. E. Lawrence have been published since 1985. For bibliophiles, his interest in fine printing, and the story of the making of his magnum opus, Seven Pillars of Wisdom are fascinating. In the run-up to publication of Seven Pillars in Britain in 1926, when he hired a private printer to make his book, Lawrence felt the urgent need to avoid the book being pirated in the USA. He therefore arranged to have the text printed there in an edition of 22 copies in order to establish copyright protection. Two books were sent to the Library of Congress to establish publication, and copies nominally offered for sale on the publisher's list – but to deter purchase however, they were priced at $20,000 each. In fact 28 copies were made – none of them sold – and the book tells the complex, intriguing story of the publication, while also tracing the history of each copy. This is an impressive, well-written and beautifully researched book by Charles Eilers. His work is complemented by 42 illustrations, of books, typography, manuscripts and the people involved." (Fleece Press website)
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A Garland for Stephen Spender.

SPENDER, Stephen HUMPHRIES, Barry. Limited edition of 150 numbered copies. This copy signed by Barry Humphries on title-page, additionally inscribed by Humphries on front-free endpaper, "To Elizabeth Cavendish with fondest love from Barry. London 1991". With loosely inserted an ALS from Humphries to Elizabeth Cavendish "Dear Elizabeth, Here's a little book to celebrate Stephen Spender's 82nd. Hope you enjoy it! Just come back from OZ after a Sandy Stone tour. I delivered an entire evening about old Sandy and the public loved it! I hope you are well and not too busy. Let's have lunch together soon. I'll ring you after Easter. Much love Yours Barry" (letter a little creased). Tall 8vo., original printed wrappers with an illustration of Spender by David Hockney. Barry Humphries arranged this tribute to his father-in-law. Includes Poems by Dannie Abse, John Ashbery, George Barker, Patricia Beer, Joseph Brodsky, Alan Brownjohn, Charles Causley, Patric Dickinson, Geoffrey Dutton, D.J. Enright, Gavin Ewart, Roy Fuller, David Gascoyne, Bryan Guinness, Seamus Heaney, John Heath-Stubbs, Ted Hughes, Barry Humphries, Elizabeth Jennings, P.J. Kavanagh, Edward Lowbury, Roger McGough, Edwin Morgan, Pete Morgan, Iris Murdoch, Dorothy Nimmo, Charles Osborne, Ruth Pitter, David Plante, Peter Porter, Peter Reading, Peter Redgrove, Alan Ross, A.L. Rowse, Nikos Stangos, R.S. Thomas, Anthony Thwaite, Charles Tomlinson, Ted Walker and Roger Woddis. With drawings by John Craxton, Ghika, Matthew Spender and Maro Gorky.
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Majmua’ al-anhur fi sharh multaqa al-abhur.

SHEIKHZADEH, 'Abd al-Rahman bin Muhammad bin Suleiman. 4to (300 x 210 mm); two parts in one volume, with continuous pagination; printed in Arabic on wove paper; pp. [viii, index], 948; with two printed headpieces; text within double-ruled frames; a few spots, and a handful of slight marginal tears; in a contemporary blind-stamped Islamic binding, with flap, pastedowns of yellow glazed paper and blue marbled-paper; some early repairs to the joints; a remarkably crisp, clean copy in excellent condition. Second edition, rare, preceded by a first edition of 1842 (BL and Pennsylvania only), of this 17th century commentary on Burhan-al-Din al-Halabi's Multaqa al-abhur, his great compilation of Hanafi jurisprudence in the 16th century, a foundational work for Ottoman scholars and judges of the early modern period. This is a splendid example of the hybrid state of Istanbul book production in the 19th century. While Muteferrika's 18th century Istanbul press marked the introduction of printed Arabic script to the Ottoman world, it was not until the following century that Ottoman printers would be permitted to produce theological or sacred books. The present work was printed at an imperial press and bridges neatly the gap between manuscript and printed text – reproducing the illuminated headpieces and text-frames of a manuscript, underlines, and even catch-words, but adding brackets and other typographical devices as textual annotation and ornamentation, as well as a continuous printed pagination. The printed index which begins the book is as one would find in many manuscripts, and the two parts of the text each reproduce the colophons of the source manuscript, in typical shape of down-ward triangle. A square colophon, following the reproductions of the manuscript colophon, at the end of each part identifies the press. The second of these square colophons provides the name of the reigning Sultan (Abdülmecid I), the date on which printing was completed, and the name of the printer responsible for the book, one Muhammad Labib. The naming of an individual printer suggests that the Ottoman authorities still required some guarantee of accuracy in their printing, lest errors be repeated and multiplied, and that Labib was the man held liable should such errors slip into the printed text. Toronto and Princeton only; no copies of either the first or second edition traced at auction.
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Titian, Tintoretto, Veronese: Rivals in Renaissance Venice.

ILCHMAN, Frederick, et al. Brand new Book. For nearly four decades in the 16th century, the careers of Venice's three greatest painters - Titian, Tintoretto and Veronese - overlapped, producing mutual influences and bitter rivalries that changed the course of art history.Venice was then among Europe's richest cities, and its plentiful commissions fostered an exceptionally fertile and innovative climate. In this climate, the three artists - brilliant, ambitious and fiercely competitive - vied with each other for primacy, deploying such new media as oil on canvas, with its unique expressive possibilities, and such new approaches as a personal and identifiable 'signature style'. They also pioneered the use of easel painting, a newly portable format that led to unprecedented fame in their lifetimes.With over 150 stunning examples by the three masters and their contemporaries, "Titian, Tintoretto, Veronese" elucidates the technical and aesthetic innovations that helped define the uniquely rich 'Venetian style', as well as the social, political and economic context in which it flourished. The essays range from examinations of seminal new techniques to such crucial institutions as state commissions and the patronage system. Most of all, by concentrating on the lives and careers of Venice's three greatest painters, the volume paints an equally vibrant human portrait - one brimming with savage rivalry, one-upmanship, humour and passion. ISBN: 9781848220225 Binding: Hardcover Book Condition: New