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CATALOGUE

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Works

Military Report on the Sinai Peninsula
Towards 'An English Fourth'
Seven Pillars of Wisdom, The Complete 1922 Text
Paperback edition
'The Mint' and Later Writings About Service Life
Boats for the R.A.F. 1929-1935
reports and correspondence

Translation

The Forest Giant

Letters

Correspondence with Bernard and Charlotte Shaw
Correspondence with E. M. Forster and F.L. Lucas
More Correspondence with Writers
Correspondence with Edward and David Garnett
Correspondence with Henry Williamson
Translating the Bruce Rogers 'Odyssey'
Correspondence with the Political Elite 1922-1935

FULL CATALOGUE

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Portraits for Seven Pillars of Wisdom

The portraits of Arab and English participants in the Arab Revolt, reproduced in colour from a set of the original chromo-litho plates printed for Lawrence's subscribers' edition.

220 numbered copies.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


About this volume

T.E. Lawrence commissioned illustrations for Seven Pillars of Wisdom from leading artists of the day. They were reproduced in colour in his lavish 1926 edition of the subscribers' abridgement. The most important of the illustrations were portraits. These showed readers not just faces, but also the exotic clothing worn by the Arab irregulars.

The forty-one Seven Pillars Portraits are reproduced here full-page in the original colours, together with William Roberts' remarkable double-page 'Camel March'.

This volume of Seven Pillars portraits is made up from sheets left over in 1997, when The Fine Bindery bound the volume of  illustrations that accompanied the large-format first edition of Seven Pillars of Wisdom, The Complete 1922 Text.  The surplus sheets were discovered when The Fine Bindery closed in 2007.

Page dimensions 282 x 200mm. The plates were printed in 1997 by The Burlington Press on art paper. The preliminaries have been printed for this edition, in 2008. 

Hardback binding by The Fine Book Bindery in quarter cloth with paper-covered sides.

  • Spine: dark brown Canvas Extra made in Italy by Manifattura del Seveso. This is the cloth used for the 2003 Castle Hill Press Library Edition of the Oxford Seven Pillars

  • Sides: beige Bugra mould-made paper from the Hahnemhle factory in Einbeck. The title is printed on the front

 

History of this printing

In 1997 Castle Hill Press published T.E. Lawrence's complete 1922 'Oxford' text of Seven Pillars of Wisdom - seventy-five years after it was written.

The edition was a landmark in T.E. Lawrence scholarship. Many now regard the 1922 text as the better of the two versions of Seven Pillars.

There was, however, another exciting 'first'. Not long after Volume I of the text was distributed we received a call from Maggs Bros, one of London's leading antiquarian booksellers. They had just acquired a set of printed proofs of the colour portraits Lawrence had used in his 1926 subscribers' edition of Seven Pillars. These portraits had been reproduced by the chromo-litho process - the best then available - at unimaginable expense.

The proofs had come from the library of a partner Whittingham & Griggs - the printers who had produced the plates. They were in mint condition, having apparently spent the intervening years safely in a protective envelope. The images were complete, without the titles that were overprinted for Lawrence before the subscribers' edition was bound. 

The news was astonishing. The chromo-litho plates were the best imaginable source for reproducing the portraits in colour. That had not been done since 1926, when Lawrence ordered just 200 copies of each plate for his subscribers' Seven Pillars. After that, the original pastel portraits had been dispersed. In 1997 we did not know where they all were. Moreover, pastels often deteriorate over time. By the late-1990s some at least of the originals would have have lost intensity.

The discovery put us in a quandary. We were already committed to a subscription price for the 1922 Text edition - but the opportunity to print the plates in colour was too good to miss. So we decided to do it. One consequence was that we had to substantially increase the price of copies of the edition that had not been sold on advance subscription. The subscribers got a bargain!

High-quality colour printing in short runs is extremely expensive. The volume of illustrations ended up costing far more than either of the text volumes. To obtain new high-quality origination, colour transparencies were made from the plates. These were scanned, and the scans then corrected against the plates.

List of contents

Emir Feisal by Augustus John, oils, full colour
General Allenby by Eric Kennington, pastel, full colour
Camel March by William Roberts, double-page, pen and wash, full colour

Wilson by Eric Kennington, pastel, full colour
Boyle by Eric Kennington, pastel, full colour
Storrs
by Eric Kennington, pastel, full colour
Lawrence by Eric Kennington, pastel, full colour
Lloyd by William Roberts, oils, full colour
Emir Abdullah by Eric Kennington, pastel, full colour
Jaafar Pasha by Eric Kennington, pastel, full colour
Shakir by Eric Kennington, pastel, full colour
Auda Abu Tayi by Eric Kennington, pastel, full colour
Ali ibn el Hussein by Eric Kennington, pastel, full colour
Nawaf Shalaan by Eric Kennington, pastel, full colour
Ghalib by Eric Kennington, pastel, full colour
Matar by Eric Kennington, pastel, full colour
Mukheymer by Eric Kennington, pastel, full colour
Saad el Sikeini by Eric Kennington, pastel, full colour
Mohammed el Sheheri by Eric Kennington, pastel, full colour
Mahmas by Eric Kennington, pastel, full colour
El Zaagi by Eric Kennington, full colour
Seif by Eric Kennington, pastel, full colour
Alayan by Eric Kennington, pastel, full colour
Hameid Abu Jabir by Eric Kennington, pastel, full colour
Obeid el Raashid by Eric Kennington, pastel, full colour
Hussein Mohammed Bagdaddis by Eric Kennington, pastel, full colour
Abd el Rahman  by Eric Kennington, pastel, full colour
Hogarth by Augustus John, charcoal, black and white
Storrs by John Singer Sargent, charcoal, black and white with tinted border
Joyce by Frank Dobson, pencil, black and white
Young by R.M. Young, chalk, black on tinted ground
Bartholomew by Colin Gill, chalk on coloured ground
Guy Dawnay by Lamb, pencil, black and white
Junor by Gilbert Spencer, pencil, black and white
Newcombe by William Roberts, pencil, black and white with tinted border
Buxton by William Roberts, black and white on tinted ground, with tinted border
Wingate by William Roberts, chalk on tinted ground, with tinted border
McMahon by William Roberts, pencil on tinted ground, with tinted border
Winterton by William Roberts, pencil, black and white
Alan Dawnay by William Rothenstein, crayon on tinted ground
Clayton by Nicholson, pen and wash on tinted ground
Lawrence by Augustus John, pencil, black and white.
 

 
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