41
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173. HASSALL, Joan. Four original pen and ink designs for the bookplate of Bevis Hillier. [c.1968-9]
£398
Varying sizes, the largest 95 x 73mm, the smallest 60 x 73mm, four original pen and ink designs.
The writer Bevis Hiller, John Betjeman’s official biographer, met Joan Hassall when he was writing a book Posters which was published by Weidenfeld in 1969. He asked her to design a bookplate for him and she in turn sent him five designs. Hillier chose his favourite and sent it back to Hassall to make the wood engraving for the bookplate, retaining the four other designs offered here.
Unfortunately Joan Hassall took exception to a passage Hillier had written in the poster book about her father, the artist John Hassall, in which he described her father going off on drunken binges, and refused to execute the wood-engraved bookplate.
The chosen fifth design was given by Hassall’s litereary executor, Brian North Hill, to the Fitzwilliam Museum in Cambridge.
These four drawings offer an interesting insight into the creative processes involved in Hassall’s artwork.
174.HEWITT, Graily. Lettering for Students and Craftsmen. Seeley Service & Co., New Art Library, 1930.
£750
4to., original white buckram, lettered in gilt on spine. With four hundred and three illustrations. A little browning to endpapers, otherwise a near fine copy.
First edition, Edition de Luxe. One of 380 numbered copies on handmade paper, signed by the author, “and containing two specially designed and hitherto unpublished alphabets by the Author”.
Born in 1864, William Graily Hewitt was educated at Westminster School and Trinity College, Cambridge. He was called to the bar in 1889 but interrupted his legal career by writing a novel and a volume of short stories. In 1899 he attended Edward Johnston’s evening classes at the Central School of Arts and Crafts and was rapidly brought in to teach there, and at Camberwell School of Art, when Johnston gave up due to pressure of work (1901). Graily Hewitt taught at the Central School until c.1930.
He published in tandem with Johnston in the early years of the century and collaborated with other scribes and illuminators throughout his life. Graily Hewitt and Ida Henstock worked together on the Book of Subscribers to the Bodleian Appeal (1949) and Graily Hewitt collaborated with many private presses as a decorator. His many publications on handwriting and type design appeared from 1915 to 1943, his work is in the Victoria and Albert Museum’s collection and he was one of the original members of the book and printing circle, the Double Crown Club.
175. HONEY DUN PRESS. SCOTCHER, George. The Fly Fisher’s Legacy Honey Dun Press 1974.
£160
8vo., original morocco backed marbled paper covered boards lettered in gilt on spine. A fine copy in original marbled paper covered card box.
Limited edition of 400 numbered copies, this one of 325 copies of the Standard Limited edition, each copy with a hand coloured facsimile of the frontispiece used in the first edition.
176
This copy belonged to the binder of the Standard Limited Edition, A.F. Sismore, with his binding ticket and initialled by him in ink.
Scotcher’s work first appeared in about 1810 described by Westwood and Satchell as “A rare local work”, originally published in Chepstow.
176. HUMPHREYS, Henry Noel. Parables Of Our Lord. Longman & Co. 1847.
£998
Small 8vo. Bound in the original black papier-mâché with moulded decoration to both covers, leather spine with the title stamped in relief, marbled endpapers, all edges gilt; 32 illuminated and chromolithographed pages, followed by 2 pages of text; very slight chip to top corner of the upper cover, but a very nice copy, preserved in a custom made cloth-covered fall-down-back box with a leather label.
First edition. Very similar in style to Humphreys’ The Miracles of Our Lord which appeared in the following year. “Noel Humphreys’ designs are in fact very interesting and deserve study … They are very warm and natural, in comparison with the more intellectual abstractions of Owen Jones. Noel Humphreys has captured some of the medieval Flemish illuminators’ spirit but has added to it an inventiveness and artistry of his own, based on an artist’s feeling for the strange intricacies of flower and leaf, backed by a naturalist’s knowledge …” (Ruari McLean, Victorian Book Design and Colour Printing, where several openings from the Parables are shown on pp. 101-3).
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