RUBAIYAT OF OMAR KHAYYAM

London, ca. 1922. 285 x 190 mm. (11 1/4 x 7 1/2"). 14 leaves (written on one side only).Translated by Edward FitzGerald.
Plain limp burgundy calf. Housed in a red leather-backed white chemise inside a marbled slipcase. Text in red, blue, green, and black, first leaf with a full-page illumination in the style of a Persian carpet, each text leaf with elaborate borders (ranging from panel borders to full borders) incorporating Persian designs, flowers, vines, much gold illumination, and penwork embellishments, three original watercolor vignettes, the first leaf of text also with a sleeping man and a rooster in watercolor incorporated into the border. ◆A couple of creases to leather, otherwise in pristine condition, the gilt borders especially bright and pleasing.

Standing more than 11 inches tall, this gem of a manuscript was created by a mysterious female illuminator of the early 20th century who brings to life FitzGerald's perennially popular translation of the Rubaiyat with a bold mix of styles and color. Although we have been unable to find any information about our artist, Emily Swinton, it is clear that she was--at the very least--a prodigiously talented and creative amateur. Her script and illumination are confident and precise; it is obvious from the symmetry of the opposing pages that the design has been carefully planned out and executed; and her designs manage to retain an organic quality, tinged with a sense of spontaneity. Swinton was equally gifted at watercolor painting, and the charming, naturalistic vignettes, executed in soft pinks, purples, and browns, are an unusual--and compelling--contrast to the brightly colored graphic design of the borders. Very handsomely executed, this manuscript is packed with an ambitious decorative program that is delightfully unique..