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The Kelmscott Chaucer is the most memorable and beautiful edition of the complete works of the first great English poet. Next to The Gutenberg Bible, it is considered the outstanding typographic achievement of all time. There are 87 full-page illustrations by Sir Edward Burne-Jones, and the borders, decorations and initials are drawn byWilliam Morris himself. Only 425 copies of this magnificent work were produced in 1896, and this beautiful monochrome facsimile, slightly smaller than the original, makes this glorious book available to all. A fascinating Introduction by Nicholas Barker places the book and its importance in context. The main text is followed by a black and white facsimile of ANoteby William Morris on his Aims in Founding the Kelmscott Press, together with a Short History of the Press by S C Cockerell.
Paul Mellon (1907--1999) was an unparalleled collector of British art. His collection, now at Yale in the museum and study center he founded to house it, rivals those in Britain’s national museums and is unquestionably the most comprehensive representation of British art held outside of the United Kingdom. This book and the exhibition that it accompanies celebrate the centenary of his birth. Five introductory essays examine Mellon’s extraordinary collecting activity, as well as his role in creating both the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art in London as gifts to his alma mater (Yale 1929). A lavishly illustrated catalogue section showcases 148 of the most exquisite and important paintings, watercolors, drawings, prints, sculpture, rare books, and manuscript material in the Yale Center’s collection, including major works by Thomas Gainsborough, Joshua Reynolds, George Stubbs, John Constable, and J. M. W. Turner.
This volume includes concise, illustrated entries on the more than 450 examples of furniture, porcelain, and silver from the Museum's collection. New to this expanded edition are sections devoted to maiolica and glass. An index of previous owners and updated bibliographies are of particular help to the scholar.
In the seventeenth century, the Persian city of Isfahan was a crossroads of international trade and diplomacy. Manuscript paintings produced within the city’s various cultural, religious, and ethnic groups reveal the vibrant artistic legacy of the Safavid Empire. Published to coincide with an exhibition at the Getty Museum, Book Arts of Isfahan offers a fascinating account of the ways in which the artists of Isfahan used their art to record the life around them and at the same time define their own identities within a complex society.
An Oak Spring Pomona is the second in a series of catalogues describing selections of rare books and other material in the Oak Spring Garden Library, a collection formed by Mrs. Paul Mellon. The Pomona describes one hundred books and manuscripts about fruit, with illustrations taken from some of the most beautiful books on the subject as well as from original drawings and paintings. The earliest book described is Bussatos Giardino di Agricoltura of 1592, the latest The Herefordshire Pomona, an encyclopedia of apples and pears from the 1870s. In between there are fruit books large and small: La Quintinie's Instruction pour les Jardins fruitiers, Duhamel's Traite des arbres fruitiers, and many others. The book is divided into sections on fruit-growing in France and Britain, fruit elsewhere in Europe, and fruit in America, as well as citrus fruit, apples and pears, peaches and soft fruit, grapes, melons, and tropical fruit. Each description gives the background of the book and its relationship to others and is accompanied by illustrations of its contents in color and black and white. The Pomona includes not only brief bibliographical summaries of each book but also background wssays that place the books in a historical setting.
Celebrating the marriage of word and image on the written and printed page, The Art of the Book presents rarely examined treasures from the National Art Library at the Victoria and Albert Museum, London. Featuring a huge range of material spanning six centuries -- including illuminated manuscripts, fine bindings, the classics of children's literature, comic novels, and artists' books, it explores the ways in which books not only transmit information but become works of art in their own right. Thematic sections illustrate the key aspects of book design and production over the ages. With medieval books of hours sitting alongside contemporary paperback novels, the choice of artists, designers, subjects, and authors is wonderfully varied -- from Leonardo da Vinci to Sir Eduardo Paolozzi, Aesop to Charles Dickens, and de Brunhoff's Babar the Elephant to Art Spiegelman's Maus. Strikingly illustrated with 100 colorplates, this absorbing compendium will be of interest to collectors, graphic designers, and booklovers.
From the 16th to the 19th century, illuminated manuscripts were collected by the great printer-publisher Christophe Plantin and his Moretus successors and descendants. Ranging in date from the 9th to the mid-16th centuries, the manuscripts in the Museum Plantin-Moretus come from all over Europe, chiefly the Southern Netherlands and France with a significant representation of 15th-century Dutch illumination. More surprisingly, about a quarter of the collection comes from England: manuscripts of the 10th to 15th centuries that left the country with Catholic refugees. Alongside the acknowledged masterpieces and rarities, like the Bohemian Bible of 1402, are volumes that have remained virtually unknown, their aesthetic appeal and historical or textual interest often passing unnoticed in the absence of published reproductions. In this beautifully produced catalogue, each of the 102 volumes is illustrated in colour, with more extensive coverage of the 55 volumes with the most rewarding illumination. For the first time it is possible to gauge the extent and nature of this fascinating and under-explored collection, still housed in the building on the Vrijdagmarkt in Antwerp to which Plantin moved his famous sign of the Golden Compasses in 1576.