1.118 kr.
Alexandre de la Guéronnière - Etudes et Portrais politiques contemporains - 1856
København K
Billedgalleri
(1/31)
Scenes of Parisian Life - Charles Paul De Kock - William Glackens 1870-1938
Til salg
2.500 kr.
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Varebeskrivelse
Pragtindbinding:
Memorial Edition:
1. udgave og 1. oplag - nummereret og signeret af bogbinderen:
Pæn stand (bogen er fra 1903): Indbundet i rødt skind (maroquin) og guldpræget kartonnage - med ægte guld på ryggen - indsat smukt for- og bagsatspapir - med topsnit af guld - 3. ægte ryghævninger - (7.) + 275 + (7.) sider - trykt på vævet og vandmærket papir - kun kommet i 250 eksemplarer - dette er nummereret som nummer 6. (se foto) - indbindingen er udørt af "The Harcourt Bindery" (som har signeret - se foto 8. + 9.) - illustreret med ægte raderinger - hver original radering er et unikt kunstværk - i modsætning til masseproducerede tryk er hvert aftryk individuelt farvet og visket ud i hånden, hvilket skaber subtile variationer i tone og dybde - udført af kunstneren - William Glackens 1870-1938 - med indvendig fals og bogmærke af rødt silke - 23,5x16 cm - uden tilskrivninger - The Frederick J. Quinby Company: Boston, London and Paris 1903.
Prisen er fast.
Disse raderinger blev udgivet af The Frederick J. Quinby Company i Boston, som besluttede at illustrere og udgive den franske forfatter Charles Paul deKocks (1794-1871) værker. De hyrede kunstneren William Glackens til at illustrere serien. Han hyrede til gengæld radererne John Sloan, George Luks, Maurice Stern, Louis Meynell, W.S. Potts, Charles White og andre.
Billederne af disse amerikanske kunstnere fra 'Ash Can School', kendt i grafikverdenen som 'deKocks', er blevet udstillet bredt på kunstmuseer og gallerier i de senere år.
These etchings were published by The Frederick J. Quinby Company of Boston, which decided to illustrate and publish the works of French author Charles Paul deKock (1794-1871). They hired artist William Glackens to illustrate the series. He in turn hired etchers John Sloan, George Luks, Maurice Stern, Louis Meynell, W.S. Potts, Charles White, and others.
The images of these American artists of the 'Ash Can School', known in the printmaking world as the 'deKocks', have been widely exhibited in art museums and galleries in recent years.
Tidlig ætsning:
Processen, som den anvendes i grafik, menes at være opfundet af Daniel Hopfer (ca. 1470-1536) fra Augsburg, Tyskland . Hopfer var en håndværker, der dekorerede rustninger på denne måde og anvendte metoden til grafik ved hjælp af jernplader (hvoraf mange stadig findes).
Early etching:
The process as it is used in printmaking is believed to have been invented by Daniel Hopfer (c. 1470-1536) of Augsburg, Germany. Hopfer was a craftsman who decorated armor in this way and applied the method to printmaking using iron plates (many of which still exist).
Charles Paul de Kock (21. maj 1793 i Passy , Paris – 27. april 1871 i Paris ) var en fransk romanforfatter . Selvom han var en af sin tids mest populære forfattere med hensyn til bogsalg, fik han et litterært ry for lavmælt produktion og dårlig smag. I 2021 skrev Brad Bigelow : "Hvis vi i dag ser bort fra overprissatte trykte genoptryk af hans gamle udgaver, har Paul de Kocks værker ikke set en ny engelsk udgave (eller oversættelse) i mindst et århundrede."
Charles Paul de Kock (21 May 1793 in Passy, Paris – 27 April 1871 in Paris) was a French novelist. Although one of the most popular authors of his time in terms of book sales, he gained a literary reputation for low-key production and poor taste. In 2021, Brad Bigelow wrote: "If we disregard today's overpriced printed reprints of his old editions, Paul de Kock's works have not seen a new English edition (or translation) for at least a century."
The Harcourt Bindery:
"Ved århundredeskiftet i Boston nød bogkunsten en vis fremtrædende plads. Dette var storheden for privatpressebevægelsen, og mænd som Daniel B. Updike og Frederic W. Goudy var aktive inden for typografi og bogdesign på den lokale scene. Foreninger som New England Bookbinders Guild og Club of Odd Volumes blev dannet omkring dette tidspunkt, og interessen for bøger - især fine bøger - var stor. Frederick J. Quinby og Harry L. Chatman optrådte i Boston Directory fra 1900, hvor de drev forretning som Frederick J. Quinby & Company, "Publishers and Importers, Rare Books and Fine Bindings." Senere samme år blev endnu et partnerskab dannet som Huegle, Quinby & Co., bogbindere, på 17 Harcourt Street. Binderen var Leopold A. Huegle, hvis søn, John, også var involveret. Ved 1902-udgaven af kataloget havde Quinbys annonce tilføjet udtrykket "Proprietors Harcourt Bindery", hvilket gav det navn, der er i brug i dag.
Bogbinderiet blev købt af Oakes og William H. Ames fra North Easton og Gilmer Clapp fra Waltham. Disse mænd, der grundlagde virksomheden i 1911, var velhavende kunstmæcener, der ønskede at støtte et håndværk i datidens bedste tradition.
Håndarbejde i fint læder har altid været Harcourt-butikkens speciale. Afdøde Fred Young, ansat på Harcourt Bindery siden 1917 og ejer fra 1931-1971, nedskrev nogle af sine erindringer om kunder og bestillinger kort før sin død i maj 1977. Mens det meste af arbejdet var for private kunder, samlere og forhandlere, kom en stor del af forretningen efter Første Verdenskrig fra vestkysten. Indretningsfirmaer, såsom Cannell og Chaffin fra Los Angeles, bestilte adskillige sæt af klassikerne, indbundet i hellæder, til at beklæde væggene i private biblioteker i Hollywood-stjerners og andre velhavende californiers hjem. Bøger synes at have været betragtet som et dekorativt element i 1920'erne: adskillige artikler i House & Garden, House Beautiful, Woman's Home Companion, Good Housekeeping og Arts & Decoration rådgav om, hvordan rum kunne planlægges omkring farverne på bind, og foreslog endda relevante titler, der var passende til specifikke farver.
Som med mange andre virksomheder bragte begyndelsen af Anden Verdenskrig i Europa en ny stimulans til håndbogbinding. Med afbrydelser i den europæiske kommunikation blev bind, der var blevet bestilt i udlandet, udført i USA. Harcourt fik nye kunder, såsom Maurice Inman fra New York, der tidligere havde sendt sit arbejde til England. Fred Young huskede, at butikken fra en spæd start pludselig blev katapulteret tilbage til en enorm omsætning. "Heldigvis var der en æskefabrik på første sal, som var ved at gå konkurs. De ansatte mænd der var alle håndværkere, der havde lavet specielle æsker og etuier af læder og stof. Vi ansatte mange af dem og fandt det let at omskole dem og introducere dem til aspekter af fin indbinding." Harcourt havde klaret stormen, men Rose Bindery på Copley Square, en af deres største konkurrenter, gik konkurs i 1930'erne. Da de gamle konkurrenter forsvandt, dukkede der ingen nye op. Det var endda svært at tiltrække ny hjælp, hvilket gjorde æskeproducenterne så velkomne hos Fred Young. Binderiet holdt stand, men det var ved at blive alene på sit område.
Fred Young (speditøren) og hans partner, Walter F. Johnston (efterbehandleren), arbejdede på Harcourt Bindery i tilsammen mere end hundrede år. Johnston, der startede på Harcourt Street 15-17 og hjalp med at flytte binderiet ved siden af til Harcourt Street 9-11 i 1916, var allerede formand, da Young tiltrådte personalet i 1917. De købte forretningen sammen i 1931, og Johnston døde i 1969. Young, der solgte til Samuel og Emily Ellenport (GBW) i 1971, fortsatte med at hjælpe dem med specialarbejde indtil sin død i foråret 1977.
Der har været mange specialbestillinger til bogbinderiet gennem årene. Der blev lavet specialfremstillede kassetter til at opbevare Charles Dickens' sovehætte og den stjålne dørnøgle til hertugen og hertuginden af Windsors bryllupssuite. Mange vigtige religiøse værker blev indbundet, Memorial Edition af Science and Health for Christian Science Church og specialindbindinger for Vatikanets bibliotek og den episkopale kirke. Prisbøger for universiteter og gymnasier samt gavebøger fra forlag var blandt deres årlige produktion.
Håndværkstraditionen med håndbinderi overlever intakt på Harcourt Bindery. Ellenport-familien kom fra akademiske baggrunde og bragte en kærlighed til bøger, fine detaljer i håndarbejdet og et godt forhold til andre bogfolk, bibliotekarer, forhandlere, forlag og samlere med sig i deres arbejde.
Selvom det er en kommerciel drift, er binderiet udelukkende afhængig af håndproduktion, fra syning og læderarbejde til den sidste finish med bladguld eller blindstenning.
Meget af værkstedets udstyr stammer fra virksomhedens begyndelse, og atmosfæren er bestemt fra århundredeskiftet. Blandt andre mekaniske hjælpemidler var fire Imperial-armeringspresser, en Kensol-stempelpresse, tre stående presser og tre jobbackere. Der var otte gliderkar, hver med en kapacitet på otteogfyrre bøger. I efterbehandlingsafdelingen var der mere end 2500 håndværktøjer, herunder afrundinger, huljern, venstre- og højrehjørneværktøjer, centerværktøjer og emblematiske stempler. Der var 250 dekorative ruller, 150 pladestempler og seks sæt alfabeter.
Udover at være et af de få tilbageværende håndbinderier af denne størrelse i landet, har Harcourt en anden særpræg. Det er et af de steder, hvor håndbinding blev undervist. I et solrigt lokale ved siden af butikken, ud mod Copley Square, afholdt Ellenports regelmæssige kurser i grundlæggende indbinding, læderarbejde og efterbehandling. Der fandt også særlige workshops sted her: sessioner for udgavebindere, der beskæftigede sig med problemer i forbindelse med læderreparation, håndbagning og prioriteten af sjældne/semi-sjældne titler i det almindelige biblioteksbinderi. Harcourts skolelokale var også siden 1974 stedet for Busyhaus' (Robert Hauser, GBW) papirfremstillingsforelæsning og workshop, der dannede grundlag for Boston-sessioner om denne unikke tilgang til papirundervisning. Harcourt tilbød heldagsworkshops i kantforgyldning og æskefremstilling; værktøj, forsyninger og en fin samling af håndmarmoreret papir blev også udbudt til salg gennem binderiets katalog. Ånden i Arts and Crafts-bevægelsen og den individuelle tilgang til håndarbejde inden for bogkunst er blevet opretholdt i Boston takket være manges indsats, herunder håndværkerne i Harcourts stolte historie.
The Harcourt Bindery:
"At the turn of the century in Boston, the art of bookbinding enjoyed some prominence. This was the height of the private printing movement, and men like Daniel B. Updike and Frederic W. Goudy were active in typography and book design on the local scene. Associations like the New England Bookbinders Guild and the Club of Odd Volumes were formed around this time, and interest in books—especially fine books—was great. Frederick J. Quinby and Harry L. Chatman appeared in the 1900 Boston Directory, doing business as Frederick J. Quinby & Company, "Publishers and Importers, Rare Books and Fine Bindings." Later that year, another partnership was formed as Huegle, Quinby & Co., bookbinders, at 17 Harcourt Street. The binder was Leopold A. Huegle, whose son, John, was also involved. By the 1902 edition of the catalog, Quinby's advertisement had added the phrase "Proprietors Harcourt Bindery," giving it the name in use today.
The bookbindery was purchased by Oakes and William H. Ames of North Easton and Gilmer Clapp of Waltham. These men, who founded the business in 1911, were wealthy patrons of the arts who wanted to support a craft in the best traditions of the time.
Fine leatherwork has always been the specialty of the Harcourt shop. The late Fred Young, employed at the Harcourt Bindery since 1917 and owner from 1931-1971, wrote down some of his recollections of customers and orders shortly before his death in May 1977. While most of the work was for private customers, collectors, and dealers, after World War I a large portion of the business came from the West Coast. Interior design firms, such as Cannell and Chaffin of Los Angeles, commissioned numerous sets of the classics, bound in full leather, to line the walls of private libraries in the homes of Hollywood stars and other wealthy Californians. Interior design firms such as Cannell and Chaffin of Los Angeles commissioned numerous sets of the classics, bound in full leather, to line the walls of private libraries in the homes of Hollywood stars and other wealthy Californians. Books appear to have been considered a decorative element in the 1920s: several articles in House & Garden, House Beautiful, Woman's Home Companion, Good Housekeeping, and Arts & Decoration advised on how rooms could be planned around the colors of the volumes, and even suggested relevant titles appropriate to specific colors. As with many other businesses, the onset of World War II in Europe brought a new stimulus to manual bookbinding. With European communications disrupted, volumes that had been ordered overseas were completed in the United States. Harcourt gained new customers, such as Maurice Inman of New York, who had previously sent his work to England. Fred Young recalled that the shop, from its humble beginnings, was suddenly catapulted back to enormous turnover. "Fortunately, there was a box factory on the first floor that was about to go bankrupt. The men employed there were all craftsmen who had made special boxes and cases out of leather and cloth. "I employed many of them and found it easy to retrain them and introduce them to the aspects of fine binding." Harcourt had weathered the storm, but the Rose Bindery on Copley Square, one of its main competitors, went bankrupt in the 1930s. As the old competitors disappeared, no new ones appeared. It was even difficult to attract new help, which made the box makers so welcome at Fred Young. The bindery held on, but it was becoming alone in its field.
Fred Young (the forwarder) and his partner, Walter F. Johnston (the finisher), worked at Harcourt Bindery for a combined more than a hundred years. Johnston, who started at 15-17 Harcourt Street and helped move the bindery next door to 9-11 Harcourt Street in 1916, was already president when Young joined the staff in 1917. They bought the business together in 1931, and Johnston died in 1969. Young, who sold to Samuel and Emily Ellenport (GBW) in 1971, continued to assist them with special work until his death in the spring of 1977.
There have been many special orders for the bookbindery over the years. Custom-made cases were made to house Charles Dickens's sleeping cap and the stolen key to the door to the Duke and Duchess of Windsor's bridal suite. Many important religious works were bound, the Memorial Edition of Science and Health for the Christian Science Church, and special bindings for the Vatican Library and the Episcopal Church. Prize books for universities and colleges, and gift books from publishers were among their annual output.
Although a commercial operation, the bookbindery relies entirely on hand production, from sewing and leatherwork to the final finishing with gold leaf or blind stone.
Much of the workshop equipment dates from the company's early days, and the atmosphere is decidedly turn-of-the-century. Among other mechanical aids were four Imperial reinforcing presses, a Kensol stamping press, three upright presses and three job backers. There were eight slide vats, each with a capacity of forty-eight books. In the finishing department there were more than 2,500 hand tools, including roundings, gouges, left and right corner tools, centre tools and emblematic stamps. There were 250 decorative scrolls, 150 plate stamps and six sets of alphabets.
In addition to being one of the few remaining handbookshops of its size in the country, Harcourt has another distinctive feature. It is one of the places where handbinding was taught. In a sunny room next to the shop, facing Copley Square, Ellenport's regular courses in basic binding, leatherwork, and finishing were held. Special workshops were also held here: sessions for edition binders that dealt with problems related to leather repair, handbaking, and the priority of rare/semi-rare titles in the regular library bindery. Harcourt's schoolroom was also the site, since 1974, of the Busyhaus (Robert Hauser, GBW) papermaking lecture and workshop, which formed the basis for Boston sessions on this unique approach to paper education. Harcourt offered full-day workshops in edge gilding and box making; tools, supplies, and a fine collection of hand-marbled paper were also offered for sale through the bindery's catalog. The spirit of the Arts and Crafts movement and the individual approach to handcrafting in book art have been maintained in Boston thanks to the efforts of many, including the artisans of Harcourt's proud history.
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Sidst redigeret: 29.1.2026 kl. 11:33 ・ Annonce-ID: 18163701
