Item #31922 The Progress of Poesy: A Pindaric Ode. Thomas Gray.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
The Progress of Poesy: A Pindaric Ode.
(Sangorski, Alberto)

The Progress of Poesy: A Pindaric Ode.

Sangorski, Alberto (illus.)

London: 1916. Octavo. (11)ff., + 3 blank leaves. Signed at the colophon, after the certification statement, by Alberto Sangorski. A unique illuminated manuscript on vellum, in which Sangorski engages with and inserts himself into a genealogy of Romanticism. His devotion to the tradition of the medieval manuscript is at once classical and modern, and deeply entrenched in naturalistic aesthetics; the title page features a lush floral border surrounding a field of vines, a similar border ornaments each of each page of text, and nine large illuminated initials are intertwined with the greenery, the language itself relying on and supporting the landscape of the page. Sangorski's miniatures, of which there are four total, depict scenes of Classical Greek pastoral life, save for the title-page portrait of Gray. These images likewise seat Sangorski himself among the Romantics and Pre-Raphaelites, but also serve the greater purpose of establishing Gray's position at a sort of proto-Romantic. Although that title alone is too simple a reading of Gray's entire corpus, in the context of the specific poetry transcribed by Sangorski the label bears out, the illustrations underscoring the Pindaric structure foundational to the text. The miniatures offer a further valence to the Romantic heritage Sangorski signals - he has styled rather obviously after Lawrence Alma-Tadema, being equally devoted to texture, reflective surfaces, and tableaux of ancient Greece. Uncommon to Sangorski's series of manuscripts is the penultimate leaf, which bears a short biography of Gray.

Bound by Rivière & Son relievo-style, in full blue morocco with inlaid red morocco and gilt-ruled border around a dense frame of gilt floral and leaf designs, grounded in pointillé and punctuated with dots in dark blue and petals in red. Frame on upper cover surrounds arabesque recessed panel containing molded leatherwork design of rose bush on which are alighting a bird, a butterfly, a bees with mother-of-pearl wings. Lower cover with identical frame around arabesque recess, this with molded leatherwork showing blue morning glories inhabited by a moth, a caterpillar, ladybugs, and more bees with mother-of-pearl. Spine in six compartments, two with titling in gilt and remaining four with borders of red and gilt around gilt panels. Maroon morocco doublures, blue silk flyleaves, edges gilt. Fine. Housed in silk-lined box. A.e.g. Bookplate of Cornelius J. Hauck on front flyleaf. Item #31922

(Hauck 668).

Price: $150,000.00

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