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221 222
221. MILTON, John. paradise lost. Golden Cockerel Press. 1937.
£2,750
folio., original half black morocco by Zaehnsdorf, ruled in gilt over marbled paper boards. With 30 wood engravings by mary groom. title engraved on wood by robert gibbings. Just a little rubbing to marbling on boards, the usual offsetting from the binding to the endpapers, otherwise a near fine copy.
limited edition of 200 numbered copies printed on bachelor hand-made paper in golden cockerel type designed by eric gill. the paper for the boards was hand marbled by sidney cockerel. “As to the illustrations, we find those extremely interesting and refreshingly original” (pertolete 119).
one of 25 speciAlly bound copies With An eXtrA suite of plAtes
222.MILTON, John. on the morning of christ’s nativity. milton’s hymn, with illustrations by William blake, and a note on the illustrations by martin butlin. The Whittington Press & Angscot Productions. 1981.
£1,850
4to. original full green morocco lettered in gilt on spine. pp. xii + 24 + colophon; 6 mounted coloured plates and a mounted head-piece, after blake; with a extra suite of the 6 plates housed in a paper covered folder; in original cloth box with paper label.
one of 25 specially bound numbered copies with the extra suite of plates. there was also an edition of 350 numbered copies on barcham green hand-made paper.
223. MIRO. Joan (artist) PERUCHO, Juan. les essencies de la terra per miro. Barcelona Ediciones Poligrafa, S. A. 1968. £1,200
folio, 645 x 508 mm. With two offset lithograph titlepages and 11 offset lithographs (some in colour and double-paged) by miró, on guarro paper, contents loose as issued in colour pictorial wrappers after miro; orange linen sleeve and clamshell box. box sunned, otherwise a fine copy.
number 468 of 1000 copies signed by miro in pencil, from a total edition of 1120.
“What is there in a picture by miró that casts such an irresistible spell over the spectator?… it is a dreamworld transcribed by a master technician… A poetry of the unutterable, of the unreal, of germinations and beginnings, is the secret of his power” (hazan, 187-188).
miró’s lithographic works often display “a whimsical or humorous quality, containing images of playfully distorted animal forms, twisted organic shapes, and odd geometric constructions. the forms of his lithographs are organized against flat neutral backgrounds and are printed in a limited range of bright colors, especially blue, red, yellow, green, and black [as here]. Amorphous amoebic shapes alternate with sharply drawn lines, spots, and curlicues, all positioned on the stone with seeming nonchalance” (lenin gallery). “inspired by a strong love of fantasy and imagination, Juan perucho combines catalan literary, cultural and historical references with fantasy to produce highly original narratives” (e.J. rodgers). the printer, fernand mourlot, ran a lithography press in paris, where such greats as braque, chagall, matisse, picasso and miró came to have their designs printed and to learn about this still nascent medium. text in spanish.
Cramer. MIRO, Catalogue Raisonne of the Illustrated Books. 123 223
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