Fore edge paintings (11 Ergebnisse)

Hardcover. Zustand: Very Good. 3 volumes. All three in full leather, very dark blue (nearly black) with elaborate gold lettering and decoration on the spines. Covers with gold rules and decorative borders. Extremely nice bindings. All three with gilt page edges and decorative endpapers. All three firmly bound and clean throughout. All three with title page dated 1806. All three with engraved armorial bookplates on inside front cover with the name Charles Scrase Dickens. Volume 1 has a manuscript letter written by Walter Scott tucked inside. He has written 'Dear Sir James' followed be 4 short lines, signed 'yours ever, Walter Scott.' The letter is crudely mounted on a piece of cardstock, trimmed much too tightly to the writing. Measures 5 x 5.5 inches. All three volumes have gorgeous, unique, fore-edge paintings. Volume 1 shows several people in an Italian-esque plaza with a fountain. Volume 2 is pastoral; shepherds, countryside, ruins. Volume 3 is a ruined abbey. Colors are brighter than they appear in the photos. An exquisite set. Please contact us for additional photos. Extra shipping will be necessary for this 3 volume set. Signed by Author(s).…

Full leather. Zustand: Very good. New Edition. Small octavo, [two volumes], cxiv, 228pp; xiii, 365pp. Full red morocco, four raised bands, gilt-embellished borders, gilt turn-ins, all edges gilt, green silk bookmark sewn into each volume. Marbled endpapers. Stated "New Edition" on the title page. Solid text blocks, light wear to corners and joints. Faint scuff marks to boards and along gilt edges. Touch of foxing to leaves throughout. Portrait frontispiece in Volume I. Fore-edge paintings depict the America's Cup Race from 1876, with sailing vessels flying the flag of the United States. A beautiful example. With fore-edge paintings depicting American sailing vessels, the New Edition of The Works of Thomas Gray. (illustrator). …

Leather bound. Zustand: Near fine. First Edition. Octavo, [two volumes], [8], [1]-637pp; [8], [1]-616pp. Three-quarter dark green leather, with marbled paper boards and matching endpapers. Silk bookmarks. All edges gilt. Gilt-ruled trim on covers, title within a double gilt-ruled border on spines. No additional printings listed on copyright page. Solid text blocks, light rubbing to corners, joints, and marbled boards. Previous owner's name on front flyleaf of Volume I. Complete with three lithographs and two woodcuts in Volume I, five lithographs and three woodcuts in Volume II. Each volume with frontispiece portrait and tissue guard. Volume I has fore-edge painting of Strand-on-the-Green, Volume II of Kew Bridge. Strand-on-the-Green is a medieval village in Chiswick, England that still stands today, previously used as a trading location for businesses due to its access to the River Thames. Kew Bridge crosses the Thames and connects the districts of Kew and Chiswick. The bridge depicted in the fore-edge of Volume II is the second of three bridges at this location. This one being opened in 1789 and demolished in 1899. Decorated with two fore-edge paintings, first edition of A Memoir of Baron Bunsen, as collected by his wife, Frances Baroness Bunsen. (illustrator). …

170 x 105 mm. (6 5/8 x 4 1/8"). 4 p.l., 319, [1] pp. Quite nice period honey-brown straight-grain morocco, covers with frame of decorative blind rolls, gilt armorial supralibros of William Carr, Viscount Beresford at center, raised bands, densely blind-tooled panels, gilt lettering, gilt-framed turn-ins, vellum endleaves, leather hinges, all edges gilt. WITH APPEALING DOUBLE FORE-EDGE PAINTINGS, one depicting Richmond Bridge, the other Kingston upon Thames. (Joints expertly strengthened.) Numerous small illustrations in text. Light wear to spine, covers just slightly marked, title and last leaf a little foxed, intermittent trivial foxing elsewhere, other insignificant defects, but an excellent copy, the binding sturdy and lustrous, the contents fresh and clean, and the fore-edge paintings well preserved. This volume of Romantic poems comes adorned with two atmospheric fore-edge paintings. English poet Samuel Rogers (1763-1855), the scion of a wealthy banking family, first achieved fame with the publication in 1792 of "The Pleasures of Memory," and was later greatly inspired by his Italian travels, during which he met Shelley and Byron in Pisa. The present collection of his works is decorated with pleasing fore-edge paintings of sights closer to home. Fanned to the right, the fore-edge depicts Richmond Bridge in London, its graceful stone arches framing the reflections of trees and bobbing boats. Fanned to the left, a scene of Kingston upon Thames is revealed, a fishing boat with two silhouetted figures in the foreground, and the tower of All Saint's Church rising over the red-roofed cottages. Both scenes are executed in cheerful, though muted, colors, with lush greenery and serene waters. It is difficult to tell the age of the paintings, but we can at least say that they convey a convincing expression of quietude. As often happens with authors whose works are greatly popular and then suddenly not so much, Rogers' poetry fell abruptly out of fashion later in his life, at roughly the time our volume was issued. As a consequence, his books became a popular target for fore-edge adornment as a way to encourage the sales of volumes that otherwise might languish on the bookstore shelf. Our copy is from the library of William Carr Beresford (1768-1854), the first Viscount Beresford. He distinguished himself as a general in the Peninsular War fighting alongside the Duke of Wellington. He was elevated to the peerage in honor of his military achievements, and invested in the Order of Bath, whose motto, "Tria Juncta in Uno" ("Three Joined in One"), circles his crest here.…

207 x 135 mm. (8 1/8 x 5 5/8"). Two volumes. With a memoir and critical remarks by James Montgomery. Pleasing contemporary burgundy pebble-grain morocco, gilt, covers with graceful frame of cresting roll accented with lancets, large lyre centerpiece with leafy flourishes and small birds, raised bands, spine compartments densely gilt, gilt lettering, gilt turn-ins, all edges gilt. WITH LOVELY FORE-EDGE PAINTINGS BY THE "DOVER PAINTER," one of Milton's cottage at Chalfont, and the other of St. Giles Church, Cripplegate. With decorative engraved initials and 95 engraved vignettes after drawings by William Harvey. Weber, "Annotated Dictionary of Fore-edge Painting Artists & Binders," pp. 98-103. Muir, "Victorian Illustrated Books," p. 28. Spines gently and evenly sunned, joints and extremities a little rubbed, one margin with faint paint trail from fore-edge painter's brush, other trivial imperfections, but A VERY APPEALING COPY, internally clean and fresh, in solid bindings with bright gilt, and the fore-edge paintings especially well preserved. This copy of Milton's collected poems is very attractively illustrated inside and out, with an extremely skillful painting by a famous artist adorning each of the fore edges. Designed by William Harvey (1796-1866), who Muir tells us was "the longest lived and most important of Bewick's pupils," the engravings here range from charming figural initials to writhing residents of Hell in their smoky abyss to gentle-faced angels bathed in beams of light. The fore-edge paintings are recognizable as the work of the so-called "Dover Painter," the name given by Jeff Weber to the artist who produced very high quality painted fore edges in the 1920s and 1930s for the famous London bookseller Marks & Company. These two depict Milton's cottage and his final resting place, St. Giles' Church in London. The cottage is depicted in an idyllic scene of Milton's time, with aproned peasants milling about the ivy-covered building under the shade of the trees that frame the scene. The other painting shows a lively urban street: the church's venerable structure is flanked by bustling shops visited by gentlemen with fashionable canes, while the smoke from the chimneys trails upward into the cloudy sky. These clouds, and the trees surrounding the cottage, are particularly demonstrative of our artist's distinctive style of applying dabs of paint, a technique that almost suggests a quasi-pointillism. Taken together, the substantial content, lovely contemporary red morocco bindings, and finely executed and well-preserved fore-edge paintings combine to make up a set of considerably seductive appeal.…

224 x 131 mm. (8 1/2 x 5 1/4"). 2 p.l., 822 pp., [1] leaf (title), 1-259, [1] pp. Attractive contemporary scarlet morocco, covers ruled in blind, central panel with an elaborate gilt-tooled cross surrounded by a scrolling frame, raised bands, spine gilt in compartments tooled with small fleurons, turn-ins tooled in gilt, all edges gilt.features a well-executed and historically important fore-edge painting that depicts a famous tribute to one of the most celebrated figures in French Catholicism. The fresh, richly painted scene here shows the Place de la Pucelle in Rouen, with the fountain of Joan of Arc featured prominently in the foreground. This view inspired works from a number of artists and writers, such as watercolorist Samuel Prout and American poet Maria White Lowell, whose poem "Rouen, Place de la Pucelle" was published ca. 1858. Visual records like this of the square and fountain are historically important because they were destroyed in the Red Week bombings of 1944. WITH AN EXCELLENT FORE-EDGE PAINTING DEPICTING LA PLACE DE LA PUCELLE, ROUEN. Occasional early pencil marginalia. Corners a bit bumped, edges and joints with a little rubbing (but this well disguised with dye), spine very slightly sunned and dried. Occasional scattered spots (mostly marginal), other trivial defects, but generally fine internally, very fresh and quite bright. An attractive binding with a very lovely painting. This attractive French-language Bible features a well-executed and historically important fore-edge painting that depicts a famous tribute to one of the most celebrated figures in French Catholicism. The fresh, richly painted scene here shows the Place de la Pucelle in Rouen, with the fountain of Joan of Arc featured prominently in the foreground. This view inspired works from a number of artists and writers, such as watercolorist Samuel Prout and American poet Maria White Lowell, whose poem "Rouen, Place de la Pucelle" was published ca. 1858. Visual records like this of the square and fountain are historically important because they were destroyed in the Red Week bombings of 1944. …

FIRST EDITION. 220 x 130 mm. (8 5/8 x 5 1/8"). 2 p.l., ii, v-xix [1], 411, [1] pp. Agreeable contemporary black morocco, covers with an elaborate border in gilt and blind of numerous straight and decorative rules and scrolling foliate cornerpieces, raised bands, gilt in compartments with a central ornament in blind, turn-ins tooled in gilt, all edges gilt. Carefully rebacked, retaining original spine (hinges neatly reinforced with buckram). WITH A FORE-EDGE PAINTING DEPICTING A LANDSCAPE WITH A VERY LARGE CASTLE AND LAKE. With 13 pages of charts. Corners bumped and exposed, a handful of scratches to the front cover; occasional spots and soiling internally, other trivial defects, but still quite a good copy, the bulk of the text extremely clean and fresh, with a well-preserved fore-edge painting. This is a pleasing copy, with an attractive fore-edge painting, of the final work of Scottish mathematician and economist Robert Hamilton (1743-1829). A professor at the University of Aberdeen and one of the founders of Edinburgh's Royal Society, Hamilton wrote this work of political economy shortly before his passing, and it was published posthumously. It treats of the relationship between economic principles and the development of social life, and is considered perhaps second in importance only to his "Essay on the National Debt," issued in 1813. The fore-edge painting depicts a serene landscape with sailboat gliding across a smooth lake in front of a castle and tree-studded hills. The artist has rendered the details with subtlety (for example, the castle is faintly reflected in the lake), and the scene as a whole is brigher and richer in color than might be expected.…

238 x 145 mm. (9 3/8 x 5 3/4"). 10 volumes. Edited by George Steevens and Alexander Chalmers. EXTREMELY PRETTY CONTEMPORARY DEEP PURPLE STRAIGHT-GRAIN MOROCCO, VERY ELABORATELY DECORATED IN GILT AND BLIND, covers with frame featuring heavy gilt stippling and tooling, spine compartments densely gilt, gilt-rolled turn-ins, leather hinges, all edges gilt. EACH VOLUME WITH AN ATTRACTIVE FORE-EDGE PAINTING featuring scenic views of waterways, bridges, cottages, and castles, and one figurative scene. With frontispiece portrait, engraved ornament pasted down on title page (apparently to cover up the mention of the engravings, which this set was evidently issued without). A Large Paper Copy. Jaggard, p. 510; Lowndes IV, 2264. Just a hint of wear to joints and extremities (and this expertly refurbished), a small gouge on rear board of volume I, internally with occasional mild browning, scattered foxing and stains, but the bindings lustrous and glittering with gold, the fore-edge paintings well preserved, and the interiors clean and fresh. AN EXTREMELY ATTRACTIVE COPY OF QUITE A SPECIAL ITEM. Enriched with learned essays and commentary, this handsome printing of Steevens' acclaimed edition of Shakespeare's dramatic works comes in a lovely contemporary binding, with later--but impressive--fore-edge paintings. Our set is the 10-volume version of Steevens, printed on royal octavo paper (a slightly less desirable nine-volume set on thinner octavo paper was also available). While the set was offered with plates, the professionally printed and applied engraved ornaments covering the title page reference to engravings suggests that the publisher also sold sets without them (auction records bear out this theory). The original owner may have chosen to save money on plates so he could splash out on the present richly gilt full morocco bindings that make an impressive appearance on the shelf. Then that owner, or (more likely) a somewhat later one, commissioned the paintings of the 10 fore edges. These are richly detailed, crispy executed compositions mainly showing exterior scenes featuring castles or old city buildings. Although they do not necessarily have a clear connection with any individual play in any specific volume, they do communicate the feeling of the period of Shakespeare's life. And most important, they are skillfully done by an unusually deft painter. Steevens (1736-1800) had originally published his revision of Johnson's edition of Shakespeare in 1773, the revision being praised by Lowndes as combining "the native powers of Dr. Johnson with the activity, sagacity, and antiquarian learning of . . . Steevens." Volume I contains prefaces by Pope, Johnson, and Chalmers, a sketch of Shakespeare's life by Chalmers, Shakespeare's will, and a history of the stage by Malone. Considered in all its aspects--as an esteemed edition of the bard's works, as a gloriously decorated set on the shelf, and as 10 expert fore-edge paintings--this item has much to recommend it. …

Vignette title -page drawn by A. Nasmyth, Engraved by W. H. Lizars. 10 vols. 16mo. Each volume with a fine early fore-edge painting of a Scottish scene identified in an old hand in block letters on the ffep. Volume I : Berwick-on-Tweed Volume II : Falkland Palace Volume III : Edinburgh Castle Volume IV : Barnborough Castle Volume V : Hollyrood Palace, Edinburgh Volume VI : Norham, The Castle and The Cross Volume VII: Stirling Castle Volume VIII: Barnard Castle Volume IX : Stirling Bridge and Castle Volume X : Abbotsford. Contemporary full green straight grained morocco, gilt spine, a.e.g. Fine, some internal foxin. Signed M.T.K. Jr. Xmas 1927 Vignette title -page drawn by A. Nasmyth, Engraved by W. H. Lizars. 10 vols. 16mo.…

265 x 163 mm. (10 3/8 x 6 3/8"). Two volumes. Contemporary green straight-grain morocco, covers with double gilt fillet border, raised bands, gilt titling, turn-ins with decorative gilt roll, marbled endpapers, all edge gilt (inexpert older repairs to joints). EACH VOLUME WITH RICHLY DETAILED FORE-EDGE PAINTING, that on volume I depicting the old Tabard Inn, Southwark, and that on volume II showing Furnival's Inn, Holborn. Housed in a fleece-lined double-compartment slipcase. Title pages with engraved vignette. Front flyleaf of each volume with ink ownership inscription of Mary Erskine dated 1803, noting it was a wedding gift from her cousin Lord Wodehouse, and with later ink presentation inscription to "Walter and Katherine" on their 13th wedding anniversary (17 February 1931) from "their mother, Kate Goodrich." Spines faded to brown, as usual with green morocco, and with half a dozen minor abrasions, joints somewhat worn (front joint of vol. II with four-inch crack at head), but the bindings entirely solid, the contents clean and fresh with only insignificant imperfections, and the fore-edge paintings very well-preserved. This is a charming pair of large fore-edge paintings depicting two historic London inns, each full of detail and painted on text blocks that fan out beautifully with very little effort. The text here is a late 18th century edition of a controversial and short-lived periodical known as "The Guardian," spearheaded by writer and politician Richard Steele (who also founded "The Tatler" and "The Spectator"). "The Guardian," as DNB relates, ran from 12 March to 1 October 1713 and "is chiefly remembered for the quality of the contributors on whom Steele drew, including Edward Young, George Berkeley, Alexander Pope, and of course [Joseph] Addison." The two inns depicted in the fore-edge paintings here also have literary credentials: the Tabard Inn in Southwark was chosen by Chaucer as the starting point for the "Canterbury Tales," and Furnival's Inn in Holborn will be known to Dickens enthusiasts as the place where he began writing "The Pickwick Papers." The original Tabard Inn burned down in the Great Fire, but was immediately rebuilt and became a popular stopping point for stagecoaches, as depicted in the present painting. The dirt road in front of the inn is dominated by a large covered wagon and team of horses, with a pair of men gesturing in the foreground and others idling nearby; Furnival's Inn, by contrast, was an Inn of the Chancery, and enjoyed much tidier surroundings: the streets in the fore-edge painting here are cobbled, the ladies and gentlemen are well dressed, and even the rubbish has been neatly piled to one side. Both paintings date from the late 19th century and are based on engravings found in "Old and New London" by George Walter Thornbury (ca. 1880). Though unsigned, they are extremely well done and offer wonderful views of London haunts from both sides of the Thames.…

210 x 133 mm. (8 1/4 x 5 1/4"). xvi, 291 pp.Translated by Louisa A. Marshall. Contemporary dark blue straight-grain morocco, covers bordered with gilt rule, flat spine with simple gilt rules and titling, gilt-ruled turn-ins, all edges gilt and WITH A FINE FORE-EDGE PAINTING OF A SCENIC RIVER VIEW FEATURING CHRIST CHURCH PRIORY in Hampshire. Front free endpaper with owner signature of E. A. Fetherston(?). Slight variation in color of boards, half title with one inch trimmed away at head (probably removing owner inscription), leaves a shade less than bright, occasional minor foxing or offsetting in the text bed, but still an excellent copy, the text clean and fresh, the pleasant binding entirely sound, and the lovely fore-edge painting very well preserved. The typically bucolic fore-edge scene here--boat in tranquil water, stately building occupying center stage, trees all around, puffy clouds--stands out for the level of achievement in execution by the artist. The clouds are painted in a delicately applied range of shades, so that they are very convincing; there is considerable architectural detail visible on the side of the church; and it seems as if one can almost see individual leaves in the trees. These features are all hallmarks of the work of the so-called "Dover Painter," the name given by Jeff Weber to the artist who produced very high quality painted fore edges in the 1920s and 1930s. He did work for the famous London bookseller Marks & Company, for Dawson's Bookshop in Los Angeles, and for J. W. Robinson Company, the Los Angeles department store. Estelle Doheny (1875-1958), whose library comprised one of the great collections of the 20th century, bought actively from Dawson's, and Weber estimates that approximately half of the very considerable number of especially fine fore-edge paintings in the Doheny collection in Camarillo, California, were done by the Dover Painter. As the fore-edge painting here evokes a feeling of serenity, so too does the content, religious meditations by François Fénélon (1651-1715), priest, writer, and tutor to King Louis XIV's grandson, for whom he composed his best-known work, "The Adventures of Telemachus.".…