Sale 2497 - Fine Illustrated Books & Graphics, January 29, 2019

66 c   SHAW, HENRY. Illuminated Ornaments Selected from Manuscripts and Early Printed Books from the Sixth to the Seventeenth Centuries. Illuminated half-title, title-page printed in red and black, and 59 hand-colored lithographs, drawn and engraved by Shaw with descriptions by Sir Frederic Madden. 4to, contemporary gilt- lettered blackmorocco, extremities worn; edges trimmed and gilt, occasional mild foxing, otherwise colors bright. Bookplate of Robert Biddulph Phillipps, Esq. London:WilliamPickering, 1833   [500/750] “Marvelous series of hand-illuminated plates recording ornaments and decorations from the middle ages to the renaissance; quite scarce in all editions”—Mc Lean, Victorian Book Design, page 65 . 67 67 c   (STRICKLAND, W. / COLOR PRINTING.) Strickland’s Lithographic Drawing of the Ancient Painted Ceiling in the Nave of Peterborough Cathedral. 7 accordion- folded and hinged chromolithographed panels unfolding to six feet, by John Sleigh. Text printed in red and black. Tall thin folio, publisher’s blind-stamped green cloth with gilt lettering within circular f loral border, contemporary trade label for A. Tarrant, Binder. Archival restoration to binding, marginal chips on leaves, and plate hinges, by Blair Jeary, Burghley House, Stamford. Printed by Day and Son. London: Bell; and Cambridge: Meadows, (1849)   [1,000/1,500] a rare and magnificent example of victorian chromolithographic illustration . The panoramic plate reproduces the painted wood ceiling in the nave of Peterborough Cathedral, which dates from around 1230. Not listed in Ruari McLean’s Victorian Book Design and Colour Printing, Abbey, Life, Tweyman’s Lithography, or Joan Friedman’s Colour Printing in England. Only five institutional copies recorded. Princeton University Rare Books and Special Collections, Firestone Library notes that: “It is conceivable that such a complex project might have taken ten years to complete; copying the ceiling, transferring the designs to multiple lithographic stones, and printing the plates. The color registration alone is an astonishing tour de force.” 66