Sutcliffe Binding (12 results)

Hard Cover. Condition: Very Good. First Edition. Full Leather Binding by Sangorski & Sutcliffe. VG Size: 8vo.

Hard Cover. Condition: Very Good. First Edition. 3/4 Morocco by Sangorski & Sutciffe. VG Size: 8vo.

Hardcover. Condition: Near Fine. Edition on Van Gelder Paper limited to 925 copies. Full brown morocco gilt by Sangorski and Sutcliffe. Light rubbing along spine, but an excellent copy.

Full Calf. Condition: Very Good. Second Edition. Signed binding. Sangorski & Sutcliffe. Book measures 17x11.cm. 289pp. Bound in full red leather, gilt dentells, gilt lettering, top gilt edge inner dentells, marble endpapers. Leather rubbed, some wear loss on edges. Binding in good clean firm condition. Internally, pages clean throughout. A nice well bound copy. Size: 12mo.

A truly magnificent binding by the famous London binders Sangorski and Sutcliffe. Made for presentation to F. Russell Baylis by the Master Bookbinders' Alliance of London in gratitude for his services while president of the British Federation of Master Printers. Sumptiously bound in full red fine morocco gilt, inner dentelles, all edges gilt, marbled e/ps. Leather presentation label to front pastedown. Handsomely housed in a leather edged matching slipcase. Spine sl. faded o/w FINE.

Hardcover. Condition: Near Fine condition. First Edition. London: Printed for John Murray, Albemarle-Street, 1816. Near Fine condition. A bright, pretty, unworn binding -- half morocco over brown cloth by Sangorski & Sutcliffe. Imprinted with a tiny stamp: "Bound by Sangorski & Sutcliffe, London, England." SEE PHOTOS. Sharp corners. Hinges are perfect. Top edge gilt. Raised bands and bright gold spine title. Previous owner's name at top of the half-title page. This copy collates exactly the same as Randolph 55. Tinker 551. Wise I, pp106-107. Not a rare book, but copies in condition as nice as this are scarce, especially when beautifully bound by one of Europe's most prestigious binderies. First Edition. Hardcover. Near Fine condition. 92pp. Great Packaging, Fast Shipping.

Condition: Very Good. 1164 pp., gilt decorated full green leather by Sangorski & Sutcliffe, a.e.g., front joint rubbed, else very good. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.

Condition: Very Good. 2180 pp. + index & color maps; full black leather by Sangorski & Sutcliffe for E. P. Dutton & Company, a.e.g., joints lightly rubbed, previous owner's initials stamped to the front cover by the binder, old inked gift inscription to the front blank, else very good. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country. Photos available upon request.

Later trade edition. A special copy of the 1957 trade edition bound by Sangorski and Sutcliffe in the deluxe full morocco binding of the original edition of 1939. Large quarto (10 1/2 x 8 1/4 inches; 268 x 210 mm). Printed in black, sanguine, purple, blue, red, and green inks on [56] double-folded leaves. Fourteen full-page and numerous vignettes and border decorations printed in color. Text in English and Hebrew on facing pages (the illustrations are on the Hebrew pages). "The illustrations contained herein are reproductions of originals of Arthur Szyk of New-Canaan, Connecticut, U.S.A. Engraved by The Sun Engraving Co., England" (verso of title-page). Publisher's full blue morocco by Sangorski & Sutcliffe (stamp-signed in gilt on the front turn-in). Covers with gilt triple fillet border, front cover stamped in gilt with a large emblem of a high priest holding the matzoh and Passover wine, spine decoratively tooled and lettered in gilt in compartments, board edges with gilt dotted rule, turn-ins decoratively tooled in gilt, Szyk's illustration of Moses supporting the Ten Commandments printed monochromatically on cream paper and mounted as doublures. A very fine copy. "During many of his years of travel, Szyk had been working on a large project of illumination, The Haggadah. The work took on a special meaning in light of the then growing anti-Semitism in Europe. Passover is a festival of freedom, and The Haggadah tells the story of Jewish liberation from slavery in Egypt. In order to heighten the topical message and relate the historical events to contemporary ones, Szyk emblazoned the Egyptians with the Nazi swastika. However, fearing reprisals, publishers on the continent would not touch the book as long as it included this symbol. Szyk removed the swastika, believing that the underlying message of the book was still clear and it was more important to see the project through to publication. "A deluxe volume in a limited edition of 250 copies was published in 1940 by the Beaconsfield Press in London. Bound in gold-stamped leather, with end pages printed on silk, the full color illuminations are printed on double-leaf parchment and an English translation is matched to the Hebrew text. While the pages of English are decorated with small, intricate, sepia-toned emblems, the emphasis in on the illuminated Hebrew pages and the brilliant colors and striking combinations which are jewel-like in affect. This book was amongst the most expensive new publications - in 1940 the price in the USA was $525 and in the UK 100 Guineas (£105.00). "One contemporary reviewer ['The Haggadah-A Sumptuous Illustrated Edition,' The Times Literary Supplement, 22 February 1941, p. 9] called it 'worthy to be placed among the most beautiful of books that the hand of man has produced'. The first copy of the printing was presented to George VI, King of England, to whom the book is dedicated" (Ungar, Justice Illuminated: The Art of Arthur Szyk, pp. 80-81).

Condition: Fine. First edition. Edition Deluxe, number 40 of 500 copies, numbered and signed by the artist. A Fine copy. Large quarto (12 x 9 7/8 inches; 305 x 252 mm.). [2, limitation leaf], xii, [13]-163, [1] pp. Inserted title and twenty-six mounted color plates on gray paper with descriptive tissue-guards. Fifteen black & white text illustrations, decorative top margins to text leaves. Bound ca. 1925 by Sangorski & Sutcliffe, stamp signed on verso of front free-endpaper. Three-quarter crushed tan morocco over patterned boards ruled in gilt. Spine with five raised bands decoratively paneled and tooled in gilt in compartments. Two blue morocco labels lettered in gilt. Matching patterned endpapers, top edge gilt. The writer and compiler Arthur Quiller-Couch (1863-1944), is known in part for his anthologies of fairy tales. Here we present his third collection, In Powder and Crinoline: Old Fairy Tales Retold (1913), which includes Minon-Minette, Felicia or The Pot of Pinks, Rosanie or The Inconstant Prince, The Man Who Never Laughed, John and the Ghosts, The Czarina's Violet, and a version of The Twelve Dancing Princesses (The Oxford Companion to Fairy Tales). Danish illustrator and designer Kay Nielsen (1886-1957) created the fantastical illustrations. Nielsen "was drawn early on to fairy tales and illustrated many volumes for Hodder & Stoughton: In Powder and Crinoline (1913), East of the Sun, West of the Moon (1914), Hans Andersen's Fairy Tales (drawings completed in 1912, but first published in 1924), Hansel and Gretel (1925), and Red Magic (Jonathan Cape, 1930), a collections of fairy tales from around the world. Nielsen's designs unite strong linearity with delicate colouring.Characterized by a sense of two-dimensional flatness, Nielsen's objects and people are highly stylized: foxglove blossoms hang in measured asymmetry; princes and princesses stand on improbably long legs; and their garments billow in gravity-defying parabolas. The power of his illustrations lies in his uncanny ability to retrieve a story's emotional effect on its reader and to recreate it visually in two dimensions" (The Oxford Companion to Fairy Tales). An excellent example of a mid 1920s binding by Sangorski & Sutcliffe, very similar to the bindings used for The Golden Cockerel Press Troilus and Criseyde (1927) and The Canterbury Tales (1929-31). The story of the Sangorski & Sutcliffe Bindery reads like something out of a novel-when two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Fine. Signed.

Condition: Fine. First edition, later printing. Small quarto (6 7/8 x 5 1/4 inches; 174 x 133 mm.). 51, [1] pp. First edition, later printing (with "1905" on the verso of the title-page). "The year 1905 appears on the front of the title-page of the first printing. The early printings have plain mottled lavender end-papers, which were shortly replaced by an end-paper design featuring a pie and a patty-pan. The cover picture was then changed from a cat in a small circle, to one of Ribby sitting by the fire, in a large circle" (Linder). Color frontispiece and nine color plates (included in pagination), twenty-one vignettes in black and white. Sumptuously bound by Sangorski & Sutcliffe ca. 1980 (stamp-signed in gilt on rear turn-in). Full dark brown crushed levant morocco. The front cover with a fine oval multi colored morocco image taken from the black and white illustration on page 11 of Duchess "And my pie was going to be veal and ham." The cover also decorated in gilt with tiny circles and a vertical stalk with leaves. The rear cover a fine oval multi colored morocco image taken from the color plate of 'Ribby' on page 50 "So there really was a patty-pan" similarly decorated in gilt as on the front cover. Smooth spine lettered in gilt with a small orange and green floral inlay at top. Gold and brown decorated end-papers, original front end-papers with a 'pie and patty-pan' design in pink and original brown front cover bound in at end with an onlaid picture of a cat in a small circle. Housed in a dark brown morocco edged, brown cloth slipcase with fleece-lining. Inspired by a summer spent at the Lakefield Cottages, the story follows the misadventures of a cat and dog at a tea party, when the latter thinks they have mistakenly eaten the serving plate (also called the patty-pan). While filled with anthropomorphic animal characters, scholars see the narrative as a commentary societal conventions, hierarchy, and etiquette. "Beatrix Potter, writer of some of the most beloved children's books of all time, was a woman of immense talent, indefatigable spirit, and a generous heart.Although she grew up in London, she was deeply influenced by long family holidays in the countryside, first in Scotland and later in the English lake district. As was the custom in families of her class, she was educated at home by governesses. An eager student of languages and literature, she grew up loving classic folk and fairy tales.Her talent for drawing and painting was discovered early and encouraged" (Beatrix Potter Society). Her career began with the release of the now-beloved Tale of Peter Rabbit; and her subsequent works expanded into a magical world of anthropomorphic animals such as Tom Kitten, Squirrel Nutkin, and Benjamin Bunny. In a superb 'double' pictorial inlaid binding by Sangorski & Sutcliffe, one of the leading bookbinders in London. The story of the Sangorski & Sutcliffe Bindery reads like something out of a novel-when two of Douglas Cockrell's talented apprentices, Frances Sangorski and George Sutcliffe, were laid off during an economic downturn they began working out of an attic. Eventually their bindery would be famous for its intricate multicolored leather inlays and elaborate gold and jeweled bindings. Linder, p. 425. Quinby 9. V & A 1542. Fine.

A Superb Early Sangorski & Sutcliffe Cosway-Style Binding COSWAY-STYLE BINDING. SANGORSKI & SUTCLIFFE, binders. SHELLEY, Percy Bysshe. The Poetical Works of Percy Bysshe Shelley. Given from his own editions and other authentic sources. Collated with many manuscripts and with all editions of authority together with his prefaces and notes his poetical translations and fragments and an appendix of Juvenalia. Edited by H. Buxton Forman. Second edition with the notes of Mary Wollstonecraft Shelley. In two volumes. London: Reeves & Turner, 1886. Two octavo volumes (7 1/4 x 4 11/16 inches; 184 x 119 mm.). 572; 580 pp. A spectacular ca. 1920 Cosway-Style binding by Sangorski & Sutcliffe for the J.L. Hudson Company (stamp-signed in gilt on rear turn-in). Full red crushed levant morocco over beveled boards, covers lavishly gilt in the Art Nouveau style, with inlaid green and light brown morocco inlays. The first volume with a central green morocco medallion with Percy Byshhe Shelley's initials in gilt. The second volume with a central green morocco medallion with the phrase "Pansies/Let My Flowers Be" stamped in gilt. Spines with five raised bands elaborately decorated and lettered in gilt in compartments, four of which have onlaid green morocco flowers. Double gilt-ruled board edges and elaborate gilt turn-ins, dark blue watered silk liners and endleaves, all edges gilt and gauffered. The first volume with a front doublure of dark blue crushed levant morocco, multi-ruled in gilt. In the center is a superb gilt framed, hand-painted portrait miniature (3 x 2 3/8 inches; 76 x 60 mm.) of Percy Bysshe Shelley. The miniature is surrounded by a rectangular recessed frame with eight onlaid red morocco flowers and twenty-four onlaid beige morocco leaves. The front and back joints of both volumes have been expertly and almost invisibly repaired. A wonderful early Sangorski & Sutcliffe Cosway-style binding. The miniature is of exceptional quality and is quite possibly the work of Miss C.B. Currie. Housed in a custom-made, felt lined half red morocco (with a red felt divider) clamshell case, two spines paneled and lettered in gilt in compartments. The J. L. Hudson Company (commonly known simply as Hudson's) was a retail department store chain based in Detroit, Michigan. Hudson's flagship store, on Woodward Avenue in Downtown Detroit was constructed beginning in 1911, with additions throughout the years, before being 'completed' in 1946. The building was named after the company's founder Joseph Lowthian Hudson, and was demolished on October 24, 1998. In 1961 it was the tallest department store in the world, and, at one time, claimed to be the second-largest department store, after Macy's, in the United States, by square footage. The Grand River Avenue Book Shop was on the Mezzanine floor.