Calkin Bernard (9 results)

Paperback. Condition: Fine. 1st Edition. First edition paperback. 8 pages illustrated Fine condition No inscriptions. Scarce.

Condition: VG. 65pp. Black & white photos, maps, tables & diagrams. Reprinted from: The Archaeological Journal, Volume CXIX.

Paperback. Condition: Very Good. 9pp, illustrated, bound in card covers; Quarto.

Paperback. Condition: Fine. 27pp, 9 figs, plus 1 full-page b/w pls, Printed Card Cover.

Soft cover. Condition: Very Good. Original wrappers. Reprinted from the Proceedings of the Bournemouth Natural Science Society, Vol. XLIII, 1954.

8vo., with plates; printed wrappers, wire-stitched as issued, a near fine copy. Offprinted from the Proceedings of the Bournemouth Natural Science Society, vol. XL, 1951.

Soft cover. Condition: Very Good. Cover signed 'Best Wishes JBC'. 26 illustrations. Includes a letter from the author dated 1966. A very tidycopy. Signed by Author(s).

Soft cover. Condition: Very Good. No Jacket. 1st Edition. Published by The Royal Archaeological Institute in March 1964, this is the first softback printing of J Bernard Calkin's THE BOURNEMOUTH AREA IN THE MIDDLE AND LATE BRONZE AGE, WITH THE 'DEVEREL-RIMBURY' PROBLEM RECONSIDERED. Soft beige card covers, 65 pages, superb illustrations, charts and technical information throughout, this super little booklet is in very good condition with some very minor browning/staining to the card cover edges.…

A work of piety in more than one sense: an illuminated devotional manuscript on vellum, executed by prize-winning calligraphy student Calkin for her parents' silver wedding anniversary. The volume also marks her first foray into bookbinding, using tools of her own make; its accomplished execution is unsurprising, given that she was the great-granddaughter of Robert Rivière and that her uncles ran the bindery. Calkin (18951985) trained at the Central School of Arts and Crafts, specialising in calligraphy under Graily Hewitt; this manuscript is a fine product of the English calligraphic revival fostered by him. She won the Queen's Scholarship in the same year that she illuminated this text. Two typed notes, one tipped into the verso of the first blank and the other laid in, initialled by her brother Kenneth Bernard Calkin, explain that the binding and its tools were her own first attempts at the craft. The quatrefoil and foliate tools, designed and cut by Calkin herself, clearly show the influence of Cobden-Sanderson's work on early 20th-century binding. Particularly pleasing is the way these tooled forms are echoed throughout the manuscript decoration, creating an unusual correspondence between text and binding. In 1916, Calkin exhibited her illuminated work and binder's tools at the Arts and Crafts Exhibition Society's exhibition at the Royal Academy. Her post-war career encompassed a wide range of applied arts. She established the Rainbow Workshop in Bloomsbury and went on to design lampshades, stage props, posters, pattern papers, book jackets, fabrics, and the General Post Office's first greetings telegram. Her commissions included designs for Shell, London Transport, Jonathan Cape, the Curwen Press, the BBC, Lloyd's and the Royal Institute of British Architects. She is also known under her married name of Margaret Calkin James. The text is by William Arthur Dunkerley (18521941), a poet and journalist who published his verse under the pseudonym John Oxenham. In the 1880s he served as deacon and teacher at Ealing Congregational Church. His Little Te Deum of the Commonplace, also published in 1915, is a poem of religious thanksgiving. Octavo (216 x 140 mm). Written on both sides of 12 leaves, title page in gilt, blue, green, and pink with quatrefoil and foliate design, 12 initials illuminated in gilt with floral detail, first three lines in gilt with quatrefoil and foliate line fillers, last three lines in gilt, tailpiece of Calkin's initials and 1915 within pink, green, and blue design. With 2 blanks. Original green crushed morocco by Calkin, quatrefoil floral tool to spine compartments, boards panelled with two gilt fillets, inner panel framed by quatrefoil, foliate, and gouge tools, front board lettered in gilt, double gilt fillet to turn-ins, quatrefoil at corners, blue endpapers. Boards a touch bowed, split at inner hinge but very firm. In near-fine condition.…