An Absolutely Beautiful Antiquarian Dickens 1st Edition, The Life And Adventures Of Nicholas Nickleby; With Illustrations by "Phiz." Frontispiece After a Portrait Painted by Daniel Maclise, With Faithfully Yours, Charles Dickens Beneath

Our most popular book purchases from The Lanes Armoury, for gifting at Christmas, will always be a fine Charles Dickens 1st edition! An heirloom for generations to come, that combines to be a fabulous read as well as an antiquarian joy.

Dickens, Charles
Published by Chapman and Hall, London, 1839
Pages: 624 complete, list of plates, or contents - this is complete. Bound in half Morocco.
The cloth was the cheapest option for buyers of the time of printing, and then a price premium was put on the half Morocco and full Morocco. A complete suite of plates by Phiz. 624p.p. 8vo.

Two blank front endpapers, two blank rear endpapers one small corner torn. All 39 plates present, though have browning at edges; foxing to the first few pages. The interior is in good clean condition with the pages in good order bar the odd spot however some of the plates have a certain amount of minor soiling - some more than others

Adventures of Nicholas Nickleby, is the third novel by English author Charles Dickens, originally published as a serial from 1838 to 1839. The character of Nickleby is a young man who must support his mother and sister after his father dies.

Background
The Life and Adventures of Nicholas Nickleby, Containing a Faithful Account of the Fortunes, Misfortunes, Uprisings, Downfallings, and Complete Career of the Nickleby Family1 saw Dickens return to his favourite publishers and to the format that proved so successful with The Pickwick Papers. The story first appeared in monthly parts, after which it was issued in one volume. Dickens began writing Nickleby while still working on Oliver Twist.  read more

Code: 25956

An Exceptionally Handsome 500 Year Old Samurai Katana, Signed Bizen Osafune ju Kanemitsu, A Museum Quality Piece of Early Samurai History

In a classic and highly sophisticated all black ensemble of koshirae, and a sword that has a breathtakingly impressive curvature. It has all its original Edo mounts, of patinated copper, decorated with takebori relief dragons, an early iron Koto o-sukashi tsuba, a stunning, original, Edo period uniformly narrow ribbed black urushi lacquer saya, in super bright and glossy original condition. Deeply curved blade showing an outstanding active and vibrant hamon in great polish. The tsukaito is over-lacquered silk, in black, over-wrapped on pure gold and shakudo menuki which in turn are on traditional samegawa giant rayskin.

The activity in the hamon is, simply, spectacularly beautiful, and shows the wide Hi horimono groove on one side and a double Bo Hi on the other side of the blade face.

The Incredible Story of Japanese Lacquer on Samurai Swords Scabbards, called Saya

Japanese lacquer, or urushi, is a transformative and highly prized material that has been refined for over 7000 years.

Cherished for its infinite versatility, urushi is a distinctive art form that has spread across all facets of Japanese culture from the tea ceremony to the saya scabbards of samurai swords

Japanese artists created their own style and perfected the art of decorated lacquerware during the 8th century. Japanese lacquer skills reached its peak as early as the twelfth century, at the end of the Heian period (794-1185). This skill was passed on from father to son and from master to apprentice.

Some provinces of Japan were famous for their contribution to this art: the province of Edo (later Tokyo), for example, produced the most beautiful lacquered pieces from the 17th to the 18th centuries. Lords and shoguns privately employed lacquerers to produce ceremonial and decorative objects for their homes and palaces.

The varnish used in Japanese lacquer is made from the sap of the urushi tree, also known as the lacquer tree or the Japanese varnish tree (Rhus vernacifera), which mainly grows in Japan and China, as well as Southeast Asia. Japanese lacquer, 漆 urushi, is made from the sap of the lacquer tree. The tree must be tapped carefully, as in its raw form the liquid is poisonous to the touch, and even breathing in the fumes can be dangerous. But people in Japan have been working with this material for many millennia, so there has been time to refine the technique!

Flowing from incisions made in the bark, the sap, or raw lacquer is a viscous greyish-white juice. The harvesting of the resin can only be done in very small quantities.
Three to five years after being harvested, the resin is treated to make an extremely resistant, honey-textured lacquer. After filtering, homogenization and dehydration, the sap becomes transparent and can be tinted in black, red, yellow, green or brown.

Once applied on an object, lacquer is dried under very precise conditions: a temperature between 25 and 30°C and a humidity level between 75 and 80%. Its harvesting and highly technical processing make urushi an expensive raw material applied in exceptionally fine successive layers, on objects such as bowls or boxes.After heating and filtering, urushi can be applied directly to a solid, usually wooden, base. Pure urushi dries into a transparent film, while the more familiar black and red colours are created by adding minerals to the material. Each layer is left to dry and polished before the next layer is added. This process can be very time-consuming and labor-intensive, which contributes to the desirability, and high costs, of traditionally made lacquer goods. The skills and techniques of Japanese lacquer have been passed down through the generations for many centuries. For four hundred years, the master artisans of Zohiko’s Kyoto workshop have provided refined lacquer articles for the imperial household . Overall 37.75 inches long, blade tsuba to tip 27 inches  read more

Code: 24324

1st Edition Hardback. The Third Man and The Fallen Idol by Graham Greene Publisher Heinemann. Frequently Voted As One of The Greatest Films of All Time.

Publication date: January 1, 1950 Hardback with original dustjacket, unclipped, priced 6 shillings, 188 pages, overall in super condition, original cloth binding {under the dust-jacket} is near mint. London: William Heinemann Ltd, 1950. Original presentation recipient's name and date on the inner first leaf

Complete with a loose newspaper clipping in the book {likely from the 1960's} detailing the burial of the actual "Third Man" Nikolaus Borrisov aka Benno Blum. And, as a smuggler of cigarettes and kidnapper of Russian born fleeing emigre's, returned into the hands of Russian Intelligence over the Austro Hungarian border, Borrisov was earning an incredible sum of around £2,500,000 per year from his enterprise of smuggling and kidnapping from 1947 to 1950. This fantastic sum today would likely be, the equivalent, of over one billion pounds a year.

First hardcover edition, and the first time Greene's novelization of his famous screenplay saw print. "Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, black-market opportunist Harry Lime and thus begins this legendary tale of love, deception, and murder." Basis for the Oscar-winning 1949 film directed by Carol Reed, starring Orson Welles and Joseph Cotten.

The Third Man is a 1949 British-American film noir directed by Carol Reed, written by Graham Greene, and starring Joseph Cotton as Holly Martins, Alida Valli as Anna Schmidt, Orson Welles as Harry Lime and Trevor Howard as Major Calloway. Set in post-World War II Allied-occupied Vienna, the film centres on American writer Holly Martins, who arrives in the city to accept a job with his friend Harry Lime, only to learn that he has died. Martins stays in Vienna to investigate Lime's death, becoming infatuated with Lime's girlfriend Anna Schmidt.

The use of black-and-white German expressionist-influenced cinematography by Robert Krasker, with its harsh lighting and Dutch angles, is a major feature of The Third Man. Combined with the use of ruined locations in Vienna, the style evokes exhaustion and cynicism at the start of the Cold War.

Greene wrote a novella as a treatment for the screenplay. Composer Anton Karas' title composition "The Third Man Theme" topped the international music charts in 1950, bringing international fame to the previously unknown performer. The Third Man is considered one of the greatest films of all time, celebrated for its acting, musical score, and atmospheric cinematography.

In 1999, the British Film Institute voted The Third Man the greatest British film of all time. In 2011, a poll for Time Out ranked it the second-best British film ever

Henry Graham Greene OM CH (2 October 1904 – 3 April 1991) was an English writer and journalist regarded by many as one of the leading novelists of the 20th century, and one of the The Lanes Armoury's, partner's, father's, drinking companions when he was in Brighton and imbibing in the Cricketer's Inn, Brighton's 500 year old oldest pub, and one of our neighbours here in The Lanes.

Combining literary acclaim with widespread popularity, Greene acquired a reputation early in his lifetime as a major writer, both of serious Catholic novels, and of thrillers (or "entertainments" as he termed them). He was shortlisted for the Nobel Prize in Literature several times. Through 67 years of writing, which included over 25 novels, he explored the conflicting moral and political issues of the modern world. The Power and the Glory won the 1941 Hawthornden Prize and The Heart of the Matter won the 1948 James Tait Black Memorial Prize and was shortlisted for the Best of the James Tait Black. Greene was awarded the 1968 Shakespeare Prize and the 1981 Jerusalem Prize. Several of his stories have been filmed, some more than once, and he collaborated with filmmaker Carol Reed on The Fallen Idol (1948) and The Third Man (1949).

Presented to Richard Whittington-Egan who was a British writer and criminologist in 1950, the author of Liverpool Colonnade and Liverpool Roundabout, two colourful chronicles of Liverpool's historical characters, crimes and mysteries. And was considered in his day to the greatest living authority on Jack the Ripper.

First edition. The Third Man was written in eight weeks as "the screen treatment that Greene created as a first step in the production of the film version, which appeared in 1949 and which won first prize at the Cannes film festival" (ODNB). This is the first appearance of the story as a novel.

The Fallen Idol was based on Greene's 1935 short story "The Basement Room", which was adapted into the Oscar nominated film in 1948.

Original black boards, spine lettered in perfect silver, light brown endpapers. With dust jacket unclipped. named to presented original author owner dated 20th July 1950  read more

Code: 25961

Original, 1939 Pattern WW2 Free Polish Forces (Army In Exile) Beret Side Cap Badge. Cast With Threaded Stem Mount

The Polish Army in France, which began to be organized soon after fall of Poland in 1939, was composed of about 85,000 men. Four Polish divisions (First Grenadier Division, Second Infantry Fusiliers Division, 3rd and 4th Infantry Division), a Polish motorized brigade (10th Brigade of Armoured Cavalry, 10me Brigade de cavalerie blinde) and infantry brigade (Polish Independent Highland Brigade) were organized in mainland France. Polish Independent Highland Brigade took part in the Battles of Narvik in early 1940; after the German invasion of France, all Polish units were pressed into formation although, due to inefficient French logistics and policies, all Polish units were missing much equipment and supplies particularly the 3rd and 4th divisions, which were still in the middle of organization. A Polish Independent Carpathian Brigade was formed in French-mandated Syria, to which many Polish troops had escaped from Romania and would later fight in the Middle East. After the fall of France (during which about 6,000 Polish soldiers died fighting), about 13,000 of Polish personnel had been interned in Switzerland. Nevertheless, Polish Commander-in-Chief and Prime Minister General Wladyslaw Sikorski was able to evacuate many Polish troops to the United Kingdom (estimates range from 20,0002 to 35,0004). The Polish I Corps was formed from these soldiers. It comprised the Polish 1st Armoured Division (which later became attached to the First Canadian Army) and the Polish Independent Parachute Brigade, and other formations, such as the 4th Infantry Division, and the 16th Independent Armoured Brigade. It was commanded by Gen. Stanislaw Maczek and Marian Kukiel.

Despite its name, it never reached corps strength and was not used as a tactical unit until after the war, when it took part in the occupation of Germany as part of the Allied forces stationed around the port of Wilhelmshaven. Prior to that date its two main units fought separately and were grouped together mostly for logistical reasons. In 1941, following an agreement between the Polish government in exile and Joseph Stalin, the Soviets released Polish citizens, from whom a 75,000-strong army was formed in the Soviet Union under General Wladyslaw Anders (Anders’ Army). This army, successively gathered in Bouzoulouk, Samarkand, was later ferried from Krasnovodsk to the Middle East (Iran) through the Caspian Sea (in March and August 1942). The Polish units later formed the Polish II Corps. It was composed of Polish 3rd Carpathian Infantry Division, Polish 5th Kresowa Infantry Division, Polish 2nd Armoured Brigade and other units.

Zbigniew Mieczkowski at the unveiling of a statue of General Stanisław Maczek (commander of the famous 1st Polish Armoured Division) in Edinburgh, November 2018 Credit: Barbara Eva Photography  read more

Code: 25959

A Most Rare, Original, 1941 Third Reich Spanish Falangist Volunteer 'Blue Division' {Blaue Division} Badge of The División Azul. the Spanish Volunteers That Fought with Germany on The Eastern Front In Russia Against Stalin

German combat Helmet with Laurel wreath of Victory, against the Spanish Falangist arrow symbol. The rear of the badge was the Blue Division Volunteer's Filangist Member's number and his group, from an early volunteer, one of only 18,000 men.

Approximately only 47,000 men served in the Spanish Blue Division over the course of its existence. While the initial division had 18,000 volunteers, the total number includes all men who served in the unit between 1941 and 1943.
Initial force: The division was established in 1941 with an initial strength of about 18,000 volunteers.
By the end of its deployment, the total number of men who served in the unit reached approximately 47,000

The 250th Infantry Division (German: 250. Infanterie-Division), better known as the Blue Division (Spanish: División Azul, German: Blaue Division), was a unit of volunteers from Francoist Spain operating from 1941 to 1943 within the German Army (Heer) on the Eastern Front during World War II. It was officially designated the Spanish Volunteer Division (División Española de Voluntarios) by the Spanish Army.

Francisco Franco had secured power in Spain after the Nationalist victory in the Spanish Civil War (1936–1939), during which the Nationalists received support from Nazi Germany. Franco's authoritarian regime remained officially non-belligerent in World War II but sympathised with the Axis powers. After lobbying by the Spanish Foreign Minister Ramón Serrano Suñer and by senior figures within the Spanish Army following the 22 June 1941 launch of Operation Barbarossa, Franco agreed that Spanish people would be permitted to enlist privately in the German Army and undertook to provide tacit support. An infantry division was raised from Falangist and Spanish Army cadres and was sent for training in Germany. The unit fought on the Eastern Front, in the 1941–1944 siege of Leningrad, notably in the Battle of Krasny Bor. They eventually withdrew from the front after Allied political pressure on Spain in October 1943 and returned to Spain shortly afterwards. Several thousand non-returners were incorporated into the 121st Infantry Division, the short-lived Blue Legion, and eventually into the Waffen-SS.  read more

Code: 25948

Germany - Third Reich: Italo-German African Campaign Medal in Zinc Italo-German Operations in North Africa 1942 1943 by De Marchis & Lorioli

The Italo-German African Campaign medal was a World War II medal introduced by Italy in 1942 to commemorate the Axis forces' involvement in North Africa. The bronze medal features an obverse with two knights and a crocodile, and a reverse with an archway showing an Italian fasces and a swastika. Its ribbon has stripes of green, white, red, white, and black, representing the Italian colours, with black added for the German involvement.

Purpose: Commemorated the actions of the German Africa Corps (DAK) and other Italian and German forces in the North African campaign.
Timeline: Awarded for service between 1940 and 1943.
Obverse design: Two armoured knights standing on the forelegs of a crocodile.
Reverse design: An archway with an Italian fasces on one side and a swastika on the other, surrounded by the inscription "GERMAN-ITALIAN CAMPAIGN IN AFRICA" in both German and Italian.
Ribbon: Features stripes of green, white, red, white, and black.
Awarded to: German and Italian personnel who served in the campaign.

Italy was among the first and most famous Axis countries to join the Germany's cause. Its flamboyant dictator, Benito Mussolini, provided a political example on the seizure of power, which Hitler followed. With many goals in common, they would become Allies and friends.

Italy entered the War in July of 1940 as the French Campaign was drawing to a close. The Italian Army, though unprepared for war, crossed the border in an attempt to reap the spoils. It would be a long road for the Italian soldier, who fought the length of the war often with courage but almost always with inferior equipment. Along with France came Africa, where Italian interests were severally compromised after a series British of attacks. The legendary Afrika Korps, lead by Field Marshall Erwin Rommel, arrived to help in 1941 and wreaked havoc in the dessert during the next two years. The Italian Army went on to fight on many fronts, from the Balkans to Russia.

On July 25, 1943 with the war turning against Italy and the Allies landing in Sicily, Benito Mussolini was deposed and arrested. In September of the same year, Badoglio announced an armistice with the Allies before fleeing along with the King into their custody. Germany, aware of this development in advance, quickly invaded and disarmed the Italian Army. The problem facing them was that Mussolini was being held at an undisclosed location, and any hope of restoring order hinged around him. After a frantic search, he was located, and German Parachutists under the direction of Otto Skorzeny staged a daring rescue mission. El Duce was brought back safely, and on September 23rd, 1943, the "Repubblica Sociale Italiana" (RSI) was founded. Italy, or at least part of it, continued on the Axis camp.

Many experienced units (some veterans of the Eastern front) of the former Italian Army were absorbed into the “Esercito Nazionale Repubblicano” and continued to fight until the end. Because of mistrust on the part of the OKW, they were not extensively used in combat roles but did well when they were called upon. The end of the war found the RSI in existence. In the chaos that reigned in the days prior to the surrender, Mussolini, and many members of the Esercito Nazionale Repubblicano, were butchered by newly formed “partisans” units.

Once Italy capitulated to the allies Hitler forbad it to be worn on the uniform.  read more

Code: 25949

A Fabulous 1953 Pattern Original Headdress Badge For Officers of "The Life Guards", In Gilt with St. Edward's (Queen's) Crown Surmounting a Garter With Blue Enamel Over Red Enamel. Nr Mint Condition

The badges for the 'Household' cavalry regiments (Life Guards and Royal Horse Guards) originated in 1913. In that year's manoeuvres the Regiments wore khaki for the first time, and thus could not, as previously, be distinguished by their uniforms. King George V noted that his Household troops, of all the Army, had no cap badge and offered to supply the deficiency if they so wished. As Household troops the badge was inevitably going to be closely associated with the sovereign. The first design was for the Service Dress cap, showing the Royal Cypher surrounded by a circlet bearing the name of the Regiment, surmounted by a Royal crown. This design was first issued on the outbreak of war in 1914. A second design, with the circlet replaced by a Garter with motto and including no Regimental title, was common to all three regiments of the time (1 & 2 Life Guards and Royal Horse Guards). This was for the Forage cap, which was re-introduced in 1919.

Identical as worn by His Royal Highness, Prince William, The Prince of Wales

Photo of His Majesty's loyal son and his wonderful bride HRH Princess Catherine, The Princess of Wales

Made by Gaunt of London  read more

Code: 25958

A Beautiful & Sacred, Antique Tibetan Buddhist Wall Hanging Featuring A Dragon & Buddhist Symbology. A Simply Stunning, Somewhat Esoteric, Work Of Art

This rare sacred ritual wall hanging is a stunning embodiment of traditional Tibetan craftsmanship, blending deep spiritual symbolism with intricate artistic detail. Measuring 35 inches long, this piece features vibrant turquoise and coral stones, thoughtfully embedded into a brass symbolic cross, to enhance both its visual appeal and spiritual energy. Made with stones, including turquoise and coral, the materials used elevate the beauty and symbolism. This stunning wall hanging serves not only as a beautiful decorative element but also as a meaningful symbol of Tibetan ritual traditions. Its exceptional design, crafted from brass and copper and adorned with turquoise and coral stones, and spiritual significance make it an ideal addition for those seeking to enrich their environment with authentic cultural artistry and serene energy.

It showcases exquisite, intricate detailing that captures the core of Tibetan spiritual traditions. The embedded turquoise stones, renowned for their protective and healing qualities, complement the vibrant coral, which represents life force and vitality, creating a piece rich in symbolism and positive energy. Beyond its striking aesthetic, the wall hanging serves as a meaningful tribute to Tibetan culture and its profound spiritual heritage. Perfect for enhancing the ambiance of your home, meditation room, or sacred space, it brings a sense of tranquility and reverence. This artful creation not only elevates your décor but also invites healing and vitality, making it an essential addition for anyone seeking to deepen their connection with Tibetan spirituality and enrich their surroundings with authentic cultural significance.  read more

Code: 25953

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

A Unique Leaf From The Published Work of Nicolas Jenson Printed in 1472

A single original surviving leaf from one of the earliest and rarest books ever printed. A complete volume of this work, if were ever to be on the open market could be worth well over a million pounds. Nicolas Jensen, who is roundly considered one of history?s greatest printers and typographers, turned out beautiful volumes from his Venetian workshop in the 15th century. There is a similar leaf from Diogenes Laertius, Lives of the Philosophers by the Jensen Press, 1475. In resides in the Salisbury House Permanent Collection. A great and incredibly rare treasure from the very earliest days of printed text, with original handwritten annotations. This is a Folio. 6pp plus and original unique leaf from Ambrosius Aurelius Theodosius Macrobius's "In Somnium Scipionis Exposito". In Publisher's wrappers. 1 of only 73 ever published folio's that contained an original unique leaf from the master's great work of 1472. In very good condition. In The Manual Of Linotype Typography, the folio containing the rare single leaf was published in 1923, he clearly regarded him as one of the three greatest master printers of all time, alongside Gutenberg and Aldus. To own an original unique piece of Jenson's work, with annotations may be considered by some as one of the greatest privileges afforded to admirers of the printed word. An entire volume would be priceless, or at the least exceeding a million pounds or considerably more. Some hypothesize that Jenson studied under the tutelage of Gutenberg, the man who printed the rarest and most valuable book of all time, the Gutenberg or Mazarin Bible [one was apparently lost on the Titanic]. Jenson worked before the greatest English printer, the legendary William Caxton, and the very first book ever to be printed in English by Caxton was in 1473, "Recuyell of the Historyes of Troye" Jenson's story; In October 1458, while acting as Master of the French Royal Mint, Jenson was sent to Mainz, by King Charles VII, to study the art of metal movable type. Jenson then went to Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. By 1472, Jenson had only been printing for two years. Even so, his roman type quickly became the model for what later came to be called Venetian oldstyle and was widely imitated. Though Jenson's type was soon superceded in popularity by those of Aldus and Garamond, it was revived again by William Morris in the late 19th century and became the model of choice for a number of private press printers.

Twentieth century commercial interpretations include Centaur and Cloister lightface, and most recently, ITC Legacy and Adobe Jenson. The books of Johann and Wendelin de Spira were printed with a new fount, a roman
type; this was a style of type that is familiar to the present day, but was at the time a radical innovation. A year later, in 1470, a new, slightly lighter and more elegant version appeared in books with a new imprint, that of Nicolas Jenson. In the colophons of books
printed from 1470 his name appears along with praise for his typographical skills. It is here that we see for the first time statements that leave no room for doubt. Jenson hasrightly become famous as the designer and cutter of the punches for the new roman typefaces as well as other founts that for a long time were the standard for legal and
theological works. Confirmation of his status as typographer is found in his last will and testament, written in 1480, where he made careful dispositions for what should be done
with his punches, the tangible results of a life?s experience and work that he wished to be protected. All these circumstances together lead to the notion that it was Jenson who improved the production of movable type by cutting excellent punches, a skill that he
had brought from the traditions of the Mint in Paris, and that he may first have applied inMainz to the long-lasting types used by Fust and Schoeffer.It is only in the last ten years of his life that Nicolas Jenson abandoned his anonymity,
and became prominent as a printer of magnificent books. Executed in sober, almost sculptural layouts they became models for centuries of printing. A famous example is the monumental edition of Pliny?s classical encyclopaedic work, his Historia naturalis, published by Jenson in 1472. An Italian translation, also published by Jenson, appeared in 1476 . The translation and printing were commissioned by the Florentine merchant Girolamo Strozzi, who also took care of the marketing.
Following in the tradition of Thomas Jefferson, whose library contained numerous works on European history, politics, and culture, the Library of Congress has many comprehensive European collections. The rarest of these works come to the Rare Book and Special Collections Division.
A special category of the division's European holdings is its collection of incunabula--books printed before 1501. Printed during the first decades of printing with movable type, these very rare and valuable books cover the whole spectrum of classical, medieval, and Renaissance knowledge and represent many of the highlights of the division's European materials. Over its nearly two-hundred-year history the Library of Congress has collected nearly 5,700 fifteenth-century books, the largest collection of incunabula in the western hemisphere. When Congress originally established its Library in 1800 and saw its collections destroyed by fire in 1814, it had no fifteenth-century books. Neither did the collection that Thomas Jefferson sold to Congress in 1815. This is not surprising because the books in the first Library served the need for general literature, and Jefferson primarily collected modern, scholarly editions in handy formats.

For the first fifty years or so after the acquisition of Jefferson's collection, the Library acquired incunabula very sparingly. The 1839 Catalogue of the Library of Congress lists only 2 incunabula: the Chronecken der Sassen (Mainz: Peter Schoeffer, 6 March 1492) and Ranulphus Hidgen's Polychronicon (Westminster: Wynkyn de Worde, 13 April 1495). The earliest incunabulum with a recorded date of acquisition is a 1478 edition of Astesanus de Ast's Summa de casibus conscientiae (Venice: Johannes de Colonia and Johannes Manthen, 18 March 1478).
The date that marks the real beginning of the incunabula collection at the Library of Congress is April 6, 1867, when the last shipment of Peter Force's library was received at the Capitol. His personal library held approximately 22,500 volumes, including 161 incunabula. The collection had some important books. The earliest imprint was Clement V's Constitutiones (Mainz: Peter Schoeffer, 8 October 1467); also included were a copy of Hartmann Schedel's Liber chronicarum (Nuremberg: Anton Koberger, 12 July 1493) and Jenson's printing of Pliny's Historia naturalis (Venice: Nicolaus Jenson, 1472).
Gutenberg, Aldus and Jenson  read more

Code: 22403