Sangorski (Alberto).- Shelley (Percy Bysshe) The Woodman and the Nightingale and To Night, calligraphic manuscript on vellum with 4 miniatures, 10ff. and 2ff., signed by the calligrapher on colophon at end, text in red and black ink, 4 fine miniatures (2 full-page), title in red and gold with superb illuminated border, numerous initials of varying sizes and other decoartions in a variety of colours and all heightened with gold, silk guards to miniatures, in a stunning Relievo binding by Riviere & Son of full brown morocco over boards, with both covers bearing symmetrical designs of inlaid black morocco border within which is a frame of gilt-tooled acorns, vines, and oak leaves, all of which are detailed by green and black inlays, upper cover with recessed central arabesque panel depicting in molded and painted leather a pastoral scene of a grove giving way to a mill, haystacks, river, and church, lower cover with an identical recessed panel displaying a path entering a thick wood, spine in six compartments with gilt titling to two and black-bordered gilt panels to remaining four, gilt rules to edges, a continuation of the acorn and oak leaf design at turn-ins, green silk doublures, in fine condition and housed in the original silk-lined green morocco box, the upper cover of which is detached, 8vo (leaves 219 x 145mm., binding 225 x 161mm.), 1916.*** Magnificent manuscript in a stunning binding. Sangorski's unique vellum manuscript suitably echoes the romantic aesthetic championed by Shelley's poetry. Each of the four miniatures emphasises the influence of nature, either by literally or figuratively minimising the stature of the human figure (as in the full-page frontispiece depiction of the titular woodman and the sleeping woman at the title-page for "To Night"), co-opting it into allegory (as in the full-page characterisation of night itself as a woman), or eschewing humanity entirely (as in the miniature at the foot of page 13, which shows an expansive evening landscape in which a lone turret stands as solitary evidence of civilisation).Relievo binding requires a powerful fly-press, with which the binder can emboss the leather (or, in this case, leathers of many colours).Provenance: Phoebe A.D. Boyle (sale history but no evidence); Jerome Kern (label loosely inserted).