[Rowlandson, Thomas] Advice to Sportsmen, Rural or Metropolitan - Rare Book Insider
[Rowlandson

Markwell, Marmaduke

[Rowlandson, Thomas] Advice to Sportsmen, Rural or Metropolitan

Thomas Tegg, London: 1809
First Edition. 12mo. 4 3/4 x 7 inches. Original boards, half-title, 16 etched plates by Rowlandson, rather browned, text foxed, original boards, uncut, rubbed, rebacked, new endpapers. An attractive book with humorous plates by the ìforemost caricaturist of this date". (Schwerdt).
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[Macmurdo, A. H.- Among Earliest Art Nouveau Illustration Printed- William Fredeman’s Copy, with Extra Bookplates] Wren’s City Churches

First Edition. Quarto, 9 1/2 x 6 1/2 inches. Original publishers half-parchment with exquisite and historical cover image (also appearing as full-size title page) considered to be one of the earliest appearances of a distinctly Art Nouveau design in a printed book. Half-title, decorative "Art Nouveau" title-page, and striking mezzotint frontispiece by G. Allen (after Mackmurdo). In 1882 Mackmurdo founded the Century Guild "to render all branches of Art the sphere no longer of the tradesman but of the Artist," and in the following year designed the striking title and cover design to his Wren's City Churches, which, "with its swirling pattern, is one of the precursors of English art nouveau." (ODNB). Arthur Heygate Mackmurdo (1851 ñ 1942) began as a progressive English architect and designer, who influenced the Arts and Crafts Movement, notably through the Century Guild of Artists, which he set up in partnership with Herbert Horne in 1882. He was the pioneer of the Modern Style (British Art Nouveau style) and in turn global Art Nouveau movement. His earliest artistic influence was John Ruskin, who had been a major source of inspiration for both first- and second-generation Pre-Raphaelites. Mackmurdo learned the tenets of Pre-Raphaelite design from William Morris, who convinced him to establish the Century Guild, which he founded in 1882 with Selwyn Image. "The illustration ó nearly identical to Mackmurdo's design carved on the back of a dining room chair produced about 1882 and to Thorns and Butterflies, a wallpaper conceived around 1886, depicts serpentine stalks of flowers that separate at the top of the page and coalesce into one large stalk at the bottom." (Timothy R. Rogers, for Victorian Web). This was originally William E. Fredeman's Copy (foremost Pre-Raphaelite scholar), with his circular monogram bookplate, and a packet of four other unused "WEF" bookplates loosely inserted. As well, with prospectus for Sparrow Simpson's "St. Paul's Cathedral and Old City Life" loosely inserted. An amazing copy, in fine condition, with only minor bumping to corners. The parchment spine, almost always seen discolored and/or worn, is nearly as new. Most scarce thus.
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[Binding, Fine- Bound by CapÈ, y and Superbly Tooled by Marius Michel] Poesis Tacins, Pictura Loquens

12mo. 5 x 3 inches. Magnificently bound in 19th century crushed red morocco, by CapÈ, and finely tooled in gilt by Marius-Michel, featuring an all-over fanfare binding with strapwork, leafy sprays and other small ornaments; spine with title and compartments tooled in gilt with five raised bands, inner gilt dentelles, signed by CapÈ to head of front free endpaper. Engraved architectural title, coat-of-arms and 11 exquisite full-page illustrations, woodcut initials and tail-pieces. A fabulous and scarce early work examining and presenting the association of poetry to painting, a concept often misunderstood by later followers, who wrongly interpreted Horace's original famous phrase, "ut pictura poeses" ("as is painting, so is poetry") to completely conflate poetry and painting, but not in its original intention which was to try to use aspects of painting as a metaphor to illustrate ways to express beautiful poetry. Among the more prominent of these followers was Daniel Manasser, whose scarce title herewith can be translated, "Silent Poetry and Speaking Pictures," indicating the idea that the "picture" and the "poem" should be seamlessly united together. The Solar-Huth-Abbey Copy (FÈlix Solar, sale, Paris, 1860, lot 2297 as noted in pencil on front free endpaper); Henry Huth (small morocco book-label); J.R. Abbey, (small morocco book-label). Preserved in later blue cloth drop-back box with red morocco label and Abbey book-label mounted on lid. Most scarce thus.
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[Binding, Fine- Bound by Marguerite Duprez Lahey, Her Tour de Force, 1 of 20 Copies] Aspects du Vieux Paris

HÈnard, Robert; Descaves, Lucien (preface) Large folio size (13 x 10 1/2 inches. Exceedingly scarce Special Edition, Limited to 20 Copies Only (from a total edition of 330) on Imperial Japan paper, illustrated with 50 original etchings by Pierre Desbois, in three states: 1) a suite of the first state of the etchings, 2) a suite of the final state before letter and signature, and 3) a suite within the text. Superbly bound by the master bookbinder Marguerite Duprez Lahey in wonderfully impressed half tan quarter morocco over beveled oak boards (one continuous flowing design element). The binding is stamp-signed on front dentellle: "Duprez Lahey | Meligavit," and presents a and elaborately embossed (in blind) design featuring both vignettes and crests, in the style of the 15th/16th century. Braided leather straps and catches (lower catch replaced). Spine with twelve raised bands, title stamped in blind to second compartment, with remaining compartments similarly embossed in blind. Cream-colored endpapers, all edges trimmed. Matching brown morocco chemise with wood veneer and cutouts for leather braids. Gift inscription dated 1926 from Louis Roberts Taylor and his wife, Else Suetterle Taylor, a prominent Milwaukee businessman, to their son John on his third birthday. Lower catch sympathetically replaced in oak. Minor offsetting to endpapers and minor offsetting from etchings, some scattered foxing and staining.â Marguerite Duprez Lahey had an illustrious career, obtaining pivotal instruction and apprenticeship in bookbinding, early on, under many well-known bookbinders such as Alfred Schleuning in New York (Adams Bindery). Lahey laterâmoved to Paris and ".studied tooling with Marius Michel, Jules Domont, Emile Mercier, and Antoine Joly; learned edge gilding from Chapiers and Koch; and studied design with Coulomb and Henri Noulhac" (Haqqi). She began rebinding books for J. Pierpont Morgan in 1908 andâcontinued to work for the Morgan Library until her deathâin 1958. Morgan's personal librarian, and later the inaugural director of the Pierpont Morgan Library, Belle da Costa Greene, described Lahey's work as "the very best bookbinding in America." This package Includes a catalogue ofâThe Fine Bindings of Marguerite Duprez Laheyâfrom the Morgan Library exhibition of 1951/1952. While this volume was not included within the exhibition, several volumes bear similar descriptions to this one. A truly wonderful production, near the pinnacle of rarity with respect to early 20th Century printing of fine etchings, together with an exemplary binding by an illustrious bookbinder.