Bax, Clifford and
Austin Osman Spare (eds. )
The Golden Hind.
A Quaterly Magazine of Art and Letters, Complete Set of The Volumes 1 and
2 Each 4 Parts. Chapman & Hall October 1922-July 1924 . numbers 1 -4
are in the regular edition, folio-sized 280 x 390 mm ., 3 in printed wrappers,
Volume 1 number 2 (January 1923) in printed boards with linen spine and
[4]pp prelims containing adverts ,the numbers 5 - 8 in the edition
limited to 75 copies, 210 x 280 mm., signed by Spare & Bax ( nos 67,
4, 37 & 60 respectively); 48pp per issue, 285 x 205mm; cloth-backed
decorated boards (crack at top right hand corner of no.5, corners rubbed);
With numerous illustrations
by Spare, Alan Odle, John Austen, Evelyn Waugh, Harry Clarke, Norah McGuinness,
Alastair, Grace Rogers, Henry Keen etc; literary contributions by Dorothy
Richardson, Graham Greene, Edith Sitwell and others;
Poems by W.H. Davies,
Stanley Snaith, Cecil French, and many others. Illustrated with pen drawings,
woodcuts, lithographs, etchings and initials, by E.A. Cox, Laurence
Bradshaw, Nora Wright, signed presentation plates by Grace Rogers(2), John
Austen & Walter Spadbury loosely inserted (fraying with slight loss
to one of Rogers, fraying to the edge of the Spadbury); Scarce, especially
with the presentation plates in 5 - 8, which are usually missing
TOGETHER WITH:
Chapman & Hall's A-3 sized leaflet (= size of the journal)
announcing the publication of the Golden Hind , printed on both sides in
black and sepia showing a specimen lithograph and with a separate
illustration by Cecil French signed and titled in pencil by this artist.
£
1250
ORDER
HERE
2 of the loose
illustrations signed by the artists
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Shakespeare, William, 1564-1616.
The Library Shakspeare illustrated by Sir John Gilbert,
George Cruikshank, and R. Dudley. 3 Volumes
London : William Mackenzie, [1873-1875]. Half-title: The illustrated
library Shakspeare. Title in red and black within red border. Text in double
columns. v. 1. Comedies -- v. 2. Tragedies -- v. 3. Historical plays, &c.
Three sm. folio volumes. [vi], 396; [iv], 406; [iv], 476 pp., with beautiful
mounted chromolithographed colour plates, a pictorial title page in duotone
for each play, and numerous engravings in the text. In full red calf,
richly gilt decorated front and rear boards, gilt inner dentelles, gilt
edges all around, with new spines tooled and lettered in gilt in
compartments with five raised bands, all edges gilt, marbled endpaper.
Inner hinges and rear of first plate re-inforced necessary due to weight
of the volumes. Reverse of first plates with some foxing. Corners sl. bumped/worn.
Ask for photographs. Suppl.: Notes, critical and explanatory, by Samuel
Neil [ Gilbert, John <Sir> *1817-1897* ; Cruikshank, George *1792-1878*
; Dudley, Robert ; Neil, Samuel *1825-1901 ] £ 575
ORDER
HERE
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TAYLOR, Tom, (ed.) ,Life of Benjamin Robert Haydon
Historical Painter, from his Autobiography and Journals.
Second Edition. Three volumes, London, 1853; xvi, 419, viii, 407, viii,
419 pp., AN EXTRA - ILLUSTRATED COPY with TWO AUTOGRAPH LETTERS BY HAYDON
and
very numerous plates from contemporary and Victorian sources, mostly portraits;
early 20th century brown half morocco over cloth boards, spines gilt in
compartments with raised bands; plates to Volumes I and II damp-stained,
mostly in the margins, a few light marginal pencil marks. * Today
Haydon is better remembered for his remarkable diary and tragic end than
for the historical painting he tried desperately to promulgate. His writings
are replete with anecdotes, of contemporaries, artistic and others, records
of encounters and friendships, and trenchant, if controversial, criticisms
and judgements. The two four-page, signed autograph letters date from 1840,
and both explain and repeat his profound opposition to artistic academies
in general and the Royal Academy in particular. His campaign on this subject
is famous, or notorious: one could hardly hope to find any letters more
characteristic and typical - except for the fact that his forceful character
seems to have been expressed in practically everything he wrote on. The
first two volumes have been exposed at some early time to damp: the heavy
paper of the plates added to these two volumes has stained in consequence,
but mostly in the margins. Many of the plates were window-mounted, and
it is then ususally only the mounts that display marks; the text in these
volumes dried out and is not stained, though it is very slightly rippled
at the outer edge. Volume III, which also contains plates, as well as the
two letters, has not been exposed to damp and is unaffected. The plates
comprising the extra illustrations are the usual mixture for the time of
binding of mostly steel-engraved, or copper-engraved, portraits and views,
usually relating to the text opposite which they are bound in, some common,
some scarce or very scarce. It would be hard now to assemble such a document
of English art in the early 19th Century. £
1200
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