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Chinese Calligraphy and Painting in the Collection of John M. Crawford Jr.

1962008692New York NY: The Pierpont Morgan Library 1962. Limited Edition 1st Printing. Hardcover. Very Good/No Jacket. Folio - over 12 - 15" tall. This is an English language edition with auxiliary text in Chinese. Presumed first printing of the first edition. One of 850 copies only. Designed and produced by the Spiral Press NY during 1962. Printed and bound in the U.S.A. 12.5 x 9.5 inches. Bound in blue and gray buckram boards with fairly crisp gilt-stamped lettering to the spine and with the collector's seal of John M. Crawford Jr. in gilt stamping to the front board. Generally unbumped spine head and tail and with impressively sharp corners. Text block firmly bound in. 302 numbered pages of text plus numerous color and B&W plates and illustrations some of which are fold-out variously on matte stock and semi-glossy stock. A few tissue guards are also present. Book contents include a Chinese chronology a detailed overview of calligraphy and painting in the collection a glossary of Chinese terms a bibliography and more. An impressively clean interior. No demerits noticed. With the original medium-duty slipcase. The slipcase bound in blue and gray buckram and with calligraphy designs front and back. A Very Good copy in a Good Plus slipcase. 5 lbs. 8 oz. weight. This is a scholarly catalogue for an exhibition at the Pierpont Morgan Library in New York the Fogg Art Museum in Cambridge and the William Rockhill Nelson Gallery of Art in Kansas City Missouri. Additionally the Metropolitan Museum of Art in New York held two exhibitions from their Crawford collection of Chinese calligraphy and painting October 1984 to February 1985 and March to July 1985. John M. Crawford Jr. 1921-1996 was a prominent collector of Oriental art and a trustee of the Metropolitan Museum of Art. In addition to fine Chinese calligraphy and paintings Crawford also collected fine books including medieval manuscripts and bindings done by William Morris the leader of the English crafts movement of the 19th century. The Pierpont Morgan Library hardcover

Marc Sena Carrel · États-Unis150,00 $US≈ 126,92 €

Biblio.com

Gong cang shan hua yuan zhen: Gu gong zhen cang shan hua ji. Selected Fan Paintings from the Palace Museum.

1995008041Beijing: Chinese Literature Press 1995. 1st Edition . Hardcover. Very Good/Very Good. 4to - over 9¾ - 12" tall. Text in Chinese and Japanese. Two text booklets laid in one in English and one in German: 1 Selected fan paintings from the Palace Museum; 2 Erlesene Faacherbilder aus dem Museum des Kaiserpalastes. This is the first and presumed only edition. Published in 1995 by the Chinese Literature Press. Printed and bound in China. Oblong 10.5 x 11.25 inches. 26.5 x 28.5 cm. Red/black hardboards with gilt-stamped Chinese lettering to the spine. Unbumped spine head and tail and fairly sharp corners. Front cover slightly warped and with minor rippling at the top of the pastedown on the reverse. Text block firmly bound in. Illustrated pastedowns and FEPs. With 212 numbered pages. Red ribbon page marker. With approximately 105 full-page full-color plates on glossy paper. Illustrations include fan paintings in the collection of Beijing's Palace Museum culled from approximately 3000 fan paintings in the museum's collection. No marks observed. An unusually clean and attractive copy and quite tight. Respectfully read. Full-color glossy dust jacket with fan reproduction spanning almost 20 inches. DJ is uncut and with very minor rubbing/rippling. Housed in a folding orange and gold brocade cloth case with paper label imitation bone clasps. Case is 11.5 x 12.25 inches. Minor shelf wear to box minor warping to box top. Downgraded to a Very Good Minus copy due to the minor warping of the front board and the case top. Very scarce in any condition. 5 lbs. weight. The fan paintings in the book span a period of more than 1000 years. The Chinese are said to be fond of shan or fans because the traditional shan is not only a handy cooling device but also a popular objet d'art. In the long course of the development of traditional Chinese painting the art of the decorated fan has always been considered an important genre. The ISBN is listed as 750710270X. Chinese Literature Press hardcover

Marc Sena Carrel · États-Unis200,00 $US≈ 169,22 €

(COBWEB, PAINTING ON). "GEMALDE AUF SPINNENGEWEBEBiblio.com

PORTRAIT OF A WOMAN FROM THE LOWER INN VALLEY IN HER TRADITIONAL COSTUME

1870ST11417Innsbruck ca. 1870. Folder: 240 x 206 mm; 9 1/2 x 8 1/8"; painting: 133 x 102 mm. 5 1/4 x 4". Matted and housed in a black cloth-backed folder with black paper boards. Front pastedown with a sample of the cobweb material and a large paper label in three languages; lower right corner of mat stamped with the name "F. Unterberger / Innsbruck." Edges and head and tail of spine slightly worn and bumped light foxing to the mat and interior of the folder a hint of toning to the lightly colored sky a tiny hole just grazing the hairline of the subject small closed tear at the bottom of the image but all of these imperfections quite trivial the fragile painting IN ESPECIALLY FINE CONDITION with the colors very bright and an altogether remarkable survival. Featuring a comely wistful young peasant woman this highly unusual piece of art redefines our notion of the term "fine" being both skillfully executed and painted on a whisper thin canvas consisting of actual spider webbing. While the earliest such cobweb paintings are purported to have been done by monks and nuns in the 16th century the form later became a kind of peasant art geared toward the tourist trade in the 19th century. It seems to have been a particular specialty in the areas near the Tyrolean Alps where the Agelenidae or "Funnel-Web" spiders produced webs that were gathered then layered wound and stretched producing a fabric that was then strengthened by the brushing on of diluted milk. The result was a very fragile fabric but one sturdy enough to withstand delicate brushstrokes applied by the careful hands of skilled artisans. Our piece almost certainly passed through the hands of one of the most successful purveyors of these paintings Franz Unterberger 1838-1902. Best known as a painter in oils of Italian scenery Unterberger also ran a small workshop located in Innsbruck where he commissioned and sold cobweb paintings done by accomplished locals. Anonymously painted the present piece is characterized by particularly fine brushwork a bright color palette and charming subject matter no doubt chosen to appeal to tourists seeking a cheerful memento of their travels. Due to the obvious fragility of the material involved these kinds of paintings are uncommon on the market and when they do appear are often defective. The present painting is significantly larger than the few other examples we have been able to find. There are two paintings in the McCormick Library at Northwestern each measuring 4 x 3" and larger than recent examples at auction which ranged in size from 3 1/4 x 2 1/4" to 4 1/2 x 3 1/4". According to Lauren Hock's article on the McCormick Library website 22 July 2008 there are fewer than 100 known extant cobweb paintings and most of them reside in private collections. unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis4 680,00 $US≈ 3 959,75 €

(FORE-EDGE PAINTING). [SCOTT, SIR WALTER]Biblio.com

MINSTRELSY OF THE SCOTTISH BORDER

1810ST17640ccEdinburgh: Printed by J. Ballantyne and Co 1810. Fourth Edition Second Large Paper Impression. 241 x 146 mm. 9 1/2 x 5 3/4". Three volumes. Pleasing contemporary black straight-grain morocco covers with gilt floral frame enclosing central panel with blind-stamped thistle cornerpieces raised bands spines heavily gilt in compartments with much swirling foliage gilt turn-ins marbled endpapers all edges gilt. Volume I WITH AN ATTRACTIVE FORE-EDGE PAINTING OF THE MERCAT CROSS IN MELROSE ROXBURGHSHIRE. Front pastedown of volumes II and III with engraved bookplate of W. J. Denison see below; volume I with evidence of bookplate removal; copy of an engraving of Boston Church Lancashire laid in at rear of volume II. Todd & Bowden 8Ag. ◆Joints and extremities a bit worn boards with a number of abrasions well masked with dye minor foxing here and there in the text nine gatherings with faint overall browning due to poor quality of paper but still an excellent set the leaves clean the once quite dazzling bindings still sound and very pleasing on the shelf and the fore-edge painting well preserved. Apart from the fore-edge painting here this is an important work in the Scott canon offered in pretty contemporary bindings that once belonged to a person of great wealth and influence. Scott collected traditional ballads on his trips to the Borders region and in 1796 began compiling this work in an effort to preserve folklore of his native land that might otherwise be lost. Our fourth edition contains 27 historical ballads 52 romantic ballads and 20 imitations written by Scott and his friends. According to Day "The whole bent of Scott's later imaginative writings both in verse and prose was governed by this ballad spirit. Probably this work was Scott's greatest contribution to poetry." The handsome fore-edge painting depicts in a realistic style the mercat cross marking the central marketplace in Melrose a town in the Scottish Borders near Scott's home at Abbotsford. A 12th century law required that all goods for sale be presented at a town's mercat market cross a tall column usually topped with a small statue. Such is the cross at the center of our painting which is rendered in subdued grays and browns. Two streets lined with thatched houses and shops wend away from the central marketplace and a large gray-green mountain looms in the background. A small Scottish terrier trots across the center of the scene; a couple of merchants chat beside the cross; a woman and small boy head up one of the streets while an old man with a cane walks up the other. It is a tranquil scene but enlivened by the townsfolk and the cheerful little Scottie. It is unusual for only one volume in a set to be so decorated; something must have interrupted the artist before he could complete the commission. Perhaps the print laid in volume II was intended to be an inspiration for its fore-edge decoration. Former owner W. J. Denison 1770-1849 was a banker and politician who was one of the richest men in Britain; he left an estate valued at £2.3 million. A staunch Whig member of parliament for 38 years he was a strong advocate for parliamentary reform and was one of the founders of the Reform Club. He acquired vast estates in Yorkshire and Surrey but declined a peerage when it was offered in 1820. Printed by J. Ballantyne and Co unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 300,00 $US≈ 1 099,93 €

(FORE-EDGE PAINTING - EDWARDS OF HALIFAX). CARDONNEL, ADAM DEBiblio.com

PICTURESQUE ANTIQUITIES OF SCOTLAND PARTS I AND II

1788ST19954London: Printed for the Author and sold by Edwards in Pall Mall; Also by Edwards's in Halifax 1788. FIRST EDITION quarto issue with the etchings printed directly above the text. 257 x 205 mm. 10 1/8 x 8 1/8". iv 27 1 pp. 25 leaves; 11 1 pp. 25 leaves. Two parts bound in one volume. HANDSOME ORIGINAL ESTRUSCAN CALF BY EDWARDS OF HALIFAX covers with central panel of tree calf enclosed by a gilt Greek key border and a frame of stenciled dark brown palmettes on light tan calf this surrounded by graceful gilt ivy roll on dun-colored calf all within a gilt pentaglyph-and-metoped border smooth spine divided into panels by strips of inlaid black morocco tooled with gilt Greek key roll panels with inlaid central oval medal featuring an Etruscan vase calligraphic gilt flourishes at corners black morocco label bright pink endpapers all edges gilt expertly rebacked preserving original spine. WITH A FINE BRIGHTLY COLORED FORE-EDGE PAINTING OF THE CRAIGMILLAR CASTLE RUINS WITH EDINBURGH IN THE DISTANCE. WITH 50 ENGRAVED VIGNETTES 60 x 85 mm. of the ruins of Scottish castles and abbeys. A Large Paper Copy. Front pastedown with engraved armorial bookplate of Christopher Turnor Stoke Rochford Library. Lowndes 370; ESTC T153718 but with a variant title page. Front cover with a couple small areas of lost patina from insect activity rear cover just slightly marked upper corners a bit bumped faint freckled foxing in the margins more noticeable on the first two leaves slight offsetting of engravings on facing blank versos. A few condition issues but still a very attractive book the lovely binding retaining virtually all of its antique appeal and the contents with nothing approaching a significant problem. This is an excellent atypically large example of an Edwards of Halifax binding enhanced with a most appealing early fore-edge painting depicting one of the castles pictured in this attractive quarto edition. Scottish surgeon and antiquary Adam de Cardonnel 1746/7 - 1820 wrote and illustrated the present work "to preserve from oblivion the ancient remains of Caledonian splendour." Originally intended as a supplement to the popular "Pennant's Tour" of Scotland it appeared in four parts the first two in 1788 in a few different forms including an octavo edition and the second two published in 1793. The fore-edge painting features Craigmillar castle a Medieval fortress located a few miles from Edinburgh whose most famous guest was Mary Queen of Scots. One of her stays resulted in the so-called "Craigmillar bond" which set in motion plans to dispatch Mary's husband Henry Stuart. By the late 18th century the castle had fallen into disrepair and it appears in the present painting as an idyllic ruin with sheep and cows grazing in the fore-ground and the city with Edinburgh Castle rising in the distance. The Edwards of Halifax bindery was founded by William Edwards 1723-1808 and continued by several of his brothers half-brothers and sons by far the most important of the sons being Thomas who lived from 1762-1834. This famous firm produced a number of important innovations in binding design the most significant being the idea of concealing a painting under the gilt of the fore edge. This hidden treasure could be revealed once the edge was fanned out as a special surprise element of the volumes the Edwards firm bound--typically in Etruscan calf as here or in their patented transparent vellum. Although bindings produced by the Edwards workshop are almost never signed the present item is surely Edwards' work as indicated by the characteristic binding style and by the fact that our volume was actually sold by the Edwards firm. As usual there is no clear way to assign a precise date to the painting; while it is not done in the soft grays that can be firmly associated with the earliest Edwards examples it clearly is a painting done before 1850. While fore-edge paintings likely produced at the Edwards bindery and especially produced by their imitators appear in the marketplace with some regularity most offered are octavo or duodecimo in size. Of the fore-edge paintings attributed to Edwards of Halifax that have appeared in RBH over the past 65 years fewer than one in 10 were on quarto volumes. This copy was previously owned by the MP Christopher Turnor 1809-86 a member of the House of Commons and owner of more than 20000 acres in Linconshire where he built the grand Stoke Rochford Hall. Printed for the Author, and sold by Edwards, in Pall Mall; Also by Edwards's, in Halifax unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis2 600,00 $US≈ 2 199,86 €

(FORE-EDGE PAINTING). STEVENS, REV ROBERTBiblio.com

SERMONS ON OUR DUTY TOWARDS GOD OUR NEIGHBOUR AND OURSELVES; AND ON OTHER SUBJECTS

1814ST12630London: Printed for John Booth 1814. FIRST EDITION. 225 x 133 mm. 8 7/8 x 5 1/4". 1 p.l. lviii 416 pp. Pleasing contemporary midnight blue straight-grain morocco covers framed by plain gilt rules outlining Greek key and palmette blind rolls raised bands compartments with central gilt fleuron radiating densely blind-tooled foliage gilt-ruled turn-ins all edges gilt; WITH AN EXCELLENT FORE-EDGE PAINTING OF DOVER CASTLE. A PRESENTATION COPY with slightly foxed signed autograph letter bound in opposite title with letter offsets: "The Author / begs Mr. E. S. Stephenson's / acceptance of this Volume / as a token of his / friendship and esteem. / R. S." Front pastedown with unidentified armorial bookplate. Full list of subscribers including addenda. ◆A bit of wear to corners and joints a very small ink stain to edge of preliminary leaves visible at upper left background of fore-edge painting not affecting primary image otherwise a fine copy clean and fresh internally in a lustrous binding. This is a decorative binding highlighted by an atmospheric fore-edge scene of Dover Castle painted by a skilled artist. The view depicts a cottage along a country road in the foreground with Dover Castle looming in the background against a hazy sky; a small figure presumably the cottage owner stands right of center. The scene is well designed with the eye moving from the cottage and castle towers at left toward the sea at the far right the foreground landscape's more saturated color anchoring the composition. Of particular note is how this foregound contrasted with the background's washed color creates the illusion of perspective. Despite the light browns and greens at the bottom of the scene the painting is essentially gray and particularly tranquil as a result. The skill of the painter here is seen most notably in his delicate and subtle shading a challenge that defeats even very able practitioners of the fore-edge painting. As always the dating of the painting is difficult but we think that it was done much closer to the time of publication than to the present day. Our author the Rev. Robert Stevens was a celebrated speaker who ultimately rose to become the head of the chapter of canons at Rochester Cathedral. Printed for John Booth unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 352,00 $US≈ 1 143,93 €

(FORE-EDGE PAINTING). VIRGILBiblio.com

WORKS. P. VIRGILIUS MARO: IN USUM SCHOLARUM / AD NOVISSIMAM HEYNII EDITIONEM EXACTUS

1809ST12251Londini: Impensis J. Johnson et al. 1809. 248 x 146 mm. 9 3/4 x 5 3/4". 2 p.l. 700 pp.With commentary by Christian Gottlob Heyne. HANDSOME CONTEMPORARY NAVY BLUE STRAIGHT-GRAIN MOROCCO DENSELY GILT covers with thick and thin gilt rule border and large central laurel wreath that on the front with the Latin motto "Honoris Causa" "For the sake of honor" that on the rear with the name Thomas T. Churton and the date 1817 raised bands spine lavishly gilt in compartments filled with foliage and small tools emanating from a central fleuron gilt titling and turn-ins all edges gilt. WITH A SPLENDID LATER PAINTING OF MOUNT ETNA ON THE FORE EDGE. In a recent plush-lined blue folding cloth box with gilt spine titling. With ink stamp of Bolton Public Library on verso of title and first page of text. Lowndes IV 2777. Corners slightly bumped boards a little faded first two gatherings mildly foxed isolated rust spots or faint freckled foxing but still AN ESPECIALLY DESIRABLE COPY the handsome binding virtually unworn the text clean and smooth and the unusual fore-edge painting very well preserved. This scholarly edition of Heyne's acclaimed Virgil comes in a fine contemporary binding with a noteworthy fore-edge painting. Dibdin Gibbon and Sandys all praise Heyne's edition of Virgil and Sandys credits him with being "the first who with any decisiveness attempted . . . to read in the writings of the Ancients not their language alone or even their detached opinions and records but their spirit and character their way of life and thought." First published in Leipzig in 1767-88 Heyne's edition was deemed "incomparable" by Dibdin and even inspired a poem by William Cowper "On Receiving Heyne's Virgil from Mr. Hayley." Our painting shows a coastal landscape in Sicily rendered in strong greens and deep blues. There is a bay on the left and a tiny village perched above the sandy beach with white-capped Mount Etna emitting a thin wisp of smoke in the background. Purplish clouds are gathering in the distance which combined with the smoking volcano lend a frisson of foreboding to an otherwise tranquil scene. As often the age of the painting is difficult to determine: not the work of any recognizable painter it is very probably not as old as the binding yet is almost certainly not something done during the last 100 years. In any case the quality of its execution is high and the subject matter--which is something quite different from the typical fore-edge design--is entirely appropriate for the classical contents of the book. The attractive binding indicates a milestone in the life of its owner Thomas Townson Churton 1798-1865. The phrase "Honoris Causa" on a 19th century binding or bookplate is often found in conjunction with an academic prize being granted and in 1817 Churton then a top student at Rugby School was awarded a prestigious "leaving exhibition" to support his further education which he duly started the same year at Brasenose College Oxford. He was one of only two students in his year granted the full seven-year exhibition funding that was more than sufficient to support undergraduate studies and beyond at the university. In keeping with the content of the book at hand and with the subject of its fore-edge painting Churton was a classicist and he excelled at Oxford as he had at Rugby being elected Dean of Brasenose in 1828 and being a Fellow from 1821 to 1852. Not emblazoned with the Rugby arms this exceedingly fine binding was possibly commissioned privately perhaps by family to commemorate Churton's superb performance at Rugby and in hopes of a bright future at Oxford. Impensis J. Johnson et al. unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis3 016,00 $US≈ 2 551,84 €