The graphic images that comprise this package are superior re-creations of all the borders and decorative elements from the 1865 edition of Joseph and His Brethren, illuminated by Owen Jones and Henry Warren, published in London by Day & Son, Lithographers to the Queen.
Each element has been meticulously hand-drawn by AlfredoM in vector format.
Resolution independent vector graphics insures high quality reproduction at any size, allowing, also, complete latitude for modification of each graphic element.
Joseph and His Brethren
Genesis Chapters XXXVII, XXXVIII. XL.
London: Day & Son, Lithographers to the Queen & H.R.H. the Prince of Wales, (1865) Publisher’s binding by Leighton Son & Hodge
Victorian chromolithography, brilliant example of mid-Victorian color printing.
Illuminators: Owen Jones & Henry Warren, and On Stone Albert Warren.
Chromolithographic plates with illuminated geometric, Egyptian borders and ornament, the bold borders reflect the books' settings of Egypt. Alternating pages of drawn text and illustration designed as pairs of facing pages, all within Egyptianesque rectangular borders. From six to thirteen colors were used per page.
Ruari McLean, Victorian Book Design: “ ...his pages owe nothing to the traditions of book design which are based on engraving: but since the text is drawn to imitate the regularity of type, there is no obvious link with the manuscript tradition either... a new conception of book design, which prefigure the Kelmscott openings of thirty years later.”
Born in 1809 to a Welsh antiquarian and furrier, he studied architecture at Charterhouse School, London and was the apprentice of the architect Lewis Vuillamy. In 1832 he set for the Continent on a Grand Tour. His travels included Greece, Spain, Egypt, and Turkey. In Greece Jones met Jules Goury (1803-34), a young French architect; both travelers become fascinated by classical architecture polychromy. In Spain they undertook a detailed survey of the Alhambra. After Goury died of cholera in 1834, Jones completed their research and published it himself as Plans, Elevations, Sections and Details of the Alhambra in 1842. in 1841 he published an illuminated edition of J. G. Lockhart's Ancient Spanish Ballads. At the same time he was involved in architectural and interior design projects; the most successful was Christ Church (1840-42), Streatham, London, designed by James William Wild. Well known in the 1840s for the design of mosaic and tessellated pavements in geometric patterns; Owen Jones submitted in 1844 a design for the floors of the new Palace of Westminster, which, although praised, was not accepted. In 1851 Owen Jones was involved as Superintendent of the Works with the plans for the Great Exhibition, his tasks involved the decoration of the Crystal Palace designed by Joseph Paxton.
After the Great Exhibition, Jones was involved in re-erecting the Crystal Palace at Sydenham, London, where, with his friend Sir Matthew Digby Wyatt, he undertook the design and furnishing of the Fine Arts Courts. As a result of coloring the Greek Court according to what he believed were the ancient methods, he was obliged to publish an Apology in 1854, in which he was assisted by his friend the philosopher George Henry Lewes. In 1852 he began to lecture at the newly formed Department of Science and Art, which was founded by his friend Henry Cole. With Cole's help Jones evolved his principles into 37 axioms of design, which appeared in his influential publication the Grammar of Ornament in 1856. Working in collaboration with the London firm of Jackson Graham, Owen Jones decorated many domestic interiors. For Alfred Morrison he decorated the interiors of his country house at Fonthill, Wilts, and his town house at 16 Carlton House Terrace, London, which contained some fine examples of Moorish and other styles. Owen Jones's most important decorative schemes for public buildings were those for the Langham Hotel and for the Fishmongers' Hall, both in London. Jones worked closely with several firms: he designed wallpapers for Trumble Sons and for Jeffrey Co.; carpets for James Templeton Co. and for Brinton; silks for Benjamin Warner; and numerous paper items for the firm of De la Rue, and many others. His association with De la Rue over thirty years covered virtually all the items produced by the firm, from playing cards to stamps. The packaging they produced from Owen Jones's designs for Huntley Palmer, the biscuit manufacturers, is an early example of the modern approach to graphic design and marketing.
Each decorative image and element is meticulously hand-drawn. Many advanced designers will find our vector file versions with the following desirable feature: preserved, original hierarchies and groupings to facilitate modifications and enable the extraction of unique elements. Though resolution-independent vector formats insure high-quality reproduction at any size and allow complete latitude for pre-production modifications, our CD collections also include common pixel-based file formats of each graphic and a vector format supported by Office applications for desktop publication.