Maclagan Charles (4 results)

Paperback. Condition: good. . booklet, Delittle, 16pp light foxing to end papers, nop date.

Soft cover. Condition: Very Good. undated vintage booklet, 8.5 x 11.5 inches approx, 16 pages, illus. b&w and one colour plate | this copy is intact and useable, showing moderate general wear | carefully packaged and dispatched from UK within two working days.

Hardcover. Condition: Near Fine. 1st Edition. From the library of Laura Gardin Fraser, signed and gifted to her from U.S. Fine Arts Commissioner Charles Moore, himself a student of Charles Eliot Norton. Details visible in photos of listing on Abebooks.com. Signed by Author(s).

First edition. Photogravure frontis. of Charles Ricketts by M. Arbuthnot, printed by Emery Walker. 8vo., [2], viii, 265 [1]pp, 22x14cm. Fine later binding by Philip Douglas Mclagan in full brown goatskin, covers with central rectangular inlay panel of darker goatskin with repeated pattern of triple gilt dots, border of four gilt circles and two rules, one blind and one gilt, vertical linear blind rules to either side of central panel, embellished with simple leaf tools in blind and gilt circles, triple rule to edges of boards, two gilt and one blind, spine in six main compartments ruled in gilt with five raised bands, two panels lettered with title and author in gilt, smaller gilt ruled panel at base with date lettered in gilt, edges of boards ruled in gilt, all edges gilt, brown paste paper endpapers, later blue cloth drop back box. London, Constable and Company.  Very good, extremities only slightly rubbed. Pencil inscription to ffep., presumably in his hand, reads ?Bound by Philip Maclagan?, while a note below in a hand consistent with Douglas Cockerell?s reads ?Under the supervision of Douglas Cockerell? A fine example of a student binding made under the supervision of Douglas Cockerell at the Central School of Arts and Crafts on Southampton Row. Philip Maclagan was an accomplished painter, having studied at the Royal Academy in 1920 where he became close friends with his teacher Glyn Philpot. In the hopes of finding a means of supplementing his income, Maclagan studied a course in bookbinding at the Central School of Art in the winter of 1934 under the supervision of the great Douglas Cockerell. The present binding shows Cockerell?s influence distinctly, and it would not be surprising were Maclagan to have received assistance with the skilfully executed tooling; it is interesting to note the influence of Maclagan?s training as a fine artist in the overall design. The choice of text is also particularly apt, Ricketts was a significant influence on Maclagan, and he spent much time in these years visiting the home of Glyn Philpot in the flat which had formerly been occupied by Ricketts and Shannon.