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194034751London: Oxford University Press 1940. First Edition. Illustrated with 56 collotype plates 48 concerning paintings and represented by 36 full-page monochrome plates 3 full-page color plates 7 manifold monochrome plates and 2 manifold color plates. The remaining plates are composed of 5 full-page plates of calligraphy and 3 full-page plates of seals. The multi-folding plates provide the opportunity to view an entire painted scroll or long painting. Title-page printed in red and black. 72 paintings from pre-T'ang times into the Ch'ing dynasty are discussed. Each painting is described and the translation of its seals and inscriptions provided. Large Folio 15.25" x 11.5" publisher's original green polished buckram cloth the spine lettered in gilt the upper cover with gilt decoration of a Chinese seal. xvi 279 plates pp. A fine copy especially clean and bright the binding very strong and showing virtually no wear though with the mark of a cup which at some time was placed on the upper cover. The Supplement is in fine condition as well. FIRST EDITION SCARCE. The Moore collection contains extraordinary illustrations from some of them most important painters and calligraphers in the long history of Chinese art. The subject matter of the book is traversed by the authors of the volume with scholarship and taste their text being accompanied by the fine illustrations most of them in monochrome and some in colour. The authors are full and illuminating in their descriptions their biographical and bibliographical contributions along with their treatment of the inscriptions and seals. The reason for bringing the inscriptions and seals into the foreground is because "calligraphy has long been considered a major art by the Chinese who frequently valued the inscription on a painting as highly or even more highly than the painting itself. A number of the scrolls depicted have inscriptions which certify their authenticity and are also the calligraphy of famous scholars. These contain many valuable comments on the technique of painting and statements of historical and biographical importance. The seals on the scrolls are not only works of art in themselves but are important as a record of the painting or as an expression of appreciation of it."<br> The painters represented come from various dynasties in their noblest estate painters eloquent of the great virtues of the school--a peculiar magic in the interpretation of nature felicity in composition and linear aspect. The plates provide well the Chinese ideas of beauty and style. R. Cortissoz Oxford University Press hardcover
37010501Canton 1820-30's. A framed and glazed hand-painted color ainting frame:53.3 x 43.5 cm. matted painting: ca. 42.5 x 32.5 cm. very clean superb examplefaux bamboo wood frame cryptomeria wood mat. A METICULOUS PAINTING IN FULL COLOR . . . A STUNNING PAINTING SHOWING CHINESE CONCUBINES . . . DRESSED IN ELABORATE SILK COSTUMES . . . WITH INTERIOR VIEWS OF THEIR APARTMENTS . . . PAINTED IN THE TYPICAL MING PERIOD STYLE THE PAINTING EPOCH: . This is a superb example of later Qing dynasty painting. The work was most likely done during either the reigns of Emperor Jiaqing 1796-1820 or Emperor Daoguang 1820-1850. . The delicacy of the lines willow-like Chinese women and the background captures the essence of Chinese painting of this period. Though the scene most likely depicts and earlier period the work was done in the early to mid-19th century. . The hand-coloring is exquisite reflecting high-skill with superb composition. Clearly these artistic skills are by a famous painter of the period. Sadly this work is not signed. It is most likely one of a series of twelve scenes telling a classic story of concubine life in the Imperial palace Beijing. . THE SCENE: The central scene shows the inner apartment of beautiful Chinese women in elaborate & elegant costumes. Because of their refined surroundings furniture decorations screen ceramics lighting and the presence of hand-maids these most likely Imperial Concubines. . Three women sit at a large table. The central woman is painting a large tree. Her companion to the right points a delicate finger at the painting. The woman to the left is seated on a ceramic stool and engages in conversation with the artist. . There two hand-maids at the left who look at each other one holds a tray with two tea cups. . In the background is a very tall and wide folding screen illustrating tenderly painted bamboo sprigs with a superb border at the top and bottom edges. . The room has a beautiful stone table with a lovely flower in full blossom to the background. . The furniture is the typical "Ming" period style There is a lovely table in the right front foreground with three flower vases. . The floor tile are drawn in "Western" perspective showing the lines diminish in size showing the depth of the room. . In the left background is a round door leading to another room. In this room is an elaborately furnished table with comb brush and mirror. Before the mirror is a young & beautiful Chinese women arranging her coiffure. The room is decorated with flower vases ceramic stool wooden table a table cloth and a screened window. . From the activities of the artist its clear that some of the Imperial Concubines were gifted and talented painters. . CONDITION: The Painting: This work is painted in fine laid paper. The painting is in excellent condition there are no marks or defects of any consequence. There is a small lift of the paper in the upper left approximately x cm.xxxxxxxxxxx else the work is immaculate. . The Frame: The wood frame is in excellent condition the cryptomeria wood mat is excellent with a beveled edge in red as issued. . A NOTE ABOUT THE PHOTOS POSTED TO OUR WEBSITE: We post several photos of this painting as the camera light and colors vary in the photos. There are some unavoidable reflections from the lighting above. All discoloration marks and bright spots are reflections on the glass only they are NOT on the actual painting. . REFERENCES: . BERTHOLET Ferry M.: CONCUBINES AND COURTESANS WOMEN IN CHINESE EROTIC ART YIMEN Rev.: DREAMS OF SPRING: EROTIC ART IN CHINA. The Bertholet Collection. VAN GULIK R.H.: SEXUAL LIFE IN ANCIENT CHINA: A Preliminary Survey of Chinese Sex and Society from ca. 1500 B.C. Till 1644 A.D. . --. EROTIC COLOUR PRINTS OF THE MING PERIOD: With An Essay on Chinese Sex Life From the Han to The Ch'ing Dyansty B.C. 206 Chinese Title Ahead of Title PI-HSI TIU KIAO. FRANZBLAU Abraham N.:EROTIC ART OF CHINA: A Unique Collection of Chinese Prints And Items Devoted to The Art of Love. HUMANA Charles. et al.: CHINESE SEX SECRETS: A Look Behind the Screen. . --. THE CHINESE WAY OF LOVE. . --. THE YIN-YANG: The Chinese Way of Love. DE SMEDT Marc.: CHINESE EROTISM. FANG Ru Ruan. et al.: SEX IN CHINA: Studies in Sexology in Chinese Culture. See our listing: CHINESE EROTIC PAINTED SCROLL. A SUITE OF TWELVE UNIQUE EROTIC PAINTED CHINESE SCENES: From the Ch'ing Ping Mei or Erotic Adventures of Hsi-men. JASCHOK Maria.: CONCUBINES AND BONDSERVANTS: A SOCIAL HISTORY STANDAERT Nicolas.: The Intercultural Weaving of Historical Texts: Chinese and European Stories about Emperor Ku and His Concubines. Qing Dynasty Emperor Reign Names & Dates: dynasty . . unknown
68992China ca. 1880. Large painting on glass 85.0 x 54.0 cm in contemporary Chinese wooden frame 91.7 x 60.7 cm. = A Chinese reverse painting on glass. This method of painting has a long history in China. These kind of paintings reached Europe in the 18th century and immediately became quite popular. Many were deliberately made for export. Due to their fragility few examples have survived until this day and they are therefore much sought-after fetching high prices at auction. A painting of this unusually large size is not very common. This is an example from the late Qing-dynasty. It likely depicts a ceremony as the children's toys each carry a red ribbon and light. The toys are all animals a dog deer hog and falcon. A very decorative and amazing painting in a very good state with bright and vivid colouring. The frame is very good and in its original state. unknown
1820ABC_45805China 1820. 47 x 61 cm. picture; 61 x 74.5 cm. frame. Oil painting on canvas in a black lacquered Chinese export frame. An elegant interior scene from a Chinese Mandarins home in the early nineteenth century: a Manchu Mandarin and his consort taking tea in a domestic setting. He wears non-official semi-formal winter attire including rank badge sitting beside ahis beautiful Chinese lady surrounded by fine furniture and fittings. The whole scene reflects his good taste and social standing.Whilst tea had been the driving force of the China Trade since the early eighteenth century giving rise to export paintings illustrating its cultivation and production process the style and subject of the early export paintings was firmly rooted in traditional Chinese art and culture as in this delightful painting.l Cf. Choi Kee Il Tea and design in Chinese export painting in: The Magazine Antiques vol. 154 no. 4 October 1998. unknown
1890FF2442London:: William Reeves n.d. ca.1890. 1890. Head of title: Flagellation & the Flagellants. Small 8vo. xi 1 544 pp. Frontis. 20 illus. index. Modern full black calf and triangle-shaped red morocco onlays raised bands gilt stamping upper cover with gilt central "rod and birch" motif all edges gilt marbled endleaves hand bound by Martin Frost with his gilt-stamped monogram label on rear board. Red cloth thumb-hold slip-case. Fine. "THE ALLURE OF THE WHIP!" With a splendid fore-edge painting showing a pair of horse or carriage riders "riding" their partners back-sides prominently showing in the spirit of Thomas Rowlandson and in this case like Martin Frost who often displays a remarkable sense of humor and the exotic for artistry. Frost's signed book label mounted as a bookplate in front dated 2007. The artist is playing with us by making the trees into the shape of a phallus all of them!. Painting also signed "MF". Frost himself describes this as "A Rowlandesque road scene of travelers 'whipping up' themselves as well as their mounts!" / This is one of the early efforts of MF to bind and paint the book himself. William Reeves, n.d. [ca.1890]. hardcover
1846FF2480Cantabrigiae:: J. et J.J. Deighton; Londini: Joh. Gul. Parker 1846. 1846. Two parts in one vol. 8vo. xii 13-335 1 pp. Title & leaves with red borders throughout. Text mostly in Latin and English with some Greek. Original full dark green gilt-stamped morocco raised bands all edges gilt "Bound by Dodd" Cambridge; rubbed. Foxed. Armorial bookplate of Thomas Sebastian Bayley M.A. "Finem Respice". With an erotic fore-edge painting showing a bedroom scene the young man wearing only his shirt lying in bed the nude lady-lover stroking his erect penis and taking some pleasure as his feet play between her legs. Painted for Harrington's London by their house artist ca. 1995. / The text is compiled by Drury with numerous poetic contributions from various sources. Includes "A Song of Sixpence." p. 113. Among the English selections are contributions by Samuel Rogers Gray Burns Shakespeare Tennyson Gammer Gurton unknown Sheridan Byron Andrew Marvel Ben Jonson Cowper Milton Congreve Prior Colton etc. "In 1838 Drury became classical lecturer at Caius but having been ordained he left Cambridge in 1839 to take sole charge of Alderley Gloucestershire a curacy which he exchanged the following year for that of Bromham Wiltshire. Drury together with some friends projected and published the Arundines Cami a collection of translations into Latin and Greek verse by several Cambridge men. The first edition was published in a beautiful form in 1841 and four subsequent editions appeared during Drury's lifetime; a sixth after his death was edited by his son-in-law Mr. H. J. Hodgson in 1865. These successive editions contained several new pieces." Wikipedia. See: "Sudden Death of the Archdeacon of Wilts and Chaplain to the House of Commons" The Times London Tuesday 27 Jan 1863 p. 8. PROVENANCE: Thomas Sebastian Bayley M.A. fl.ca.1855 Lancashire. J. et J.J. Deighton; Londini: Joh. Gul. Parker, 1846. hardcover
3417818. FAN PAINTING Murata KAGEN artist. An unmounted fan painting by Kagen d.1849 an Osaka artist mentioned in both Hillier's UNINHIBITED BRUSH and his 2 vol. work on ehon as a book designer and book illustrator. A lovely simple Shijo-style composition of flowers in light ink and muted colors. Signed and sealed. In near perfect condition. unknown
19296286London: William Heinemann Ltd 1929. First edition. Octavo 7 1/8 x 4 5/8 inches; 180 x 117 mm. ii Miss Currie signed limitation verso blank i-xxvii i blank 1-1088 pp. Inserted folded "Forsyte Family Tree" small neat repair to one fold. Inserted limitation leaf at front "This is No. 160 of the Books/with Fore-edge Paintings/by/Miss Currie/The Painting under the gold/is a view of/Mapledurham./Signed/ C.B. Currie". Bound ca. 1930 by Rivière & Son for Henry Sotheran. Full dark blue straight-grain morocco covers elaborately tooled in gilt and blind spine with five raised bands decoratively tooled in gilt and blind and lettered in gilt in compartments. Gilt-ruled board edges gilt decorated turn-ins gray endpapers all edges gilt. A very fine example housed in a custom made felt-lined black cloth clamshell case with black leather label on spine lettered in gilt. With a very fine fore-edge painting by Miss C.B. Currie of Mapledurham Oxfordshire from The Forsyte Saga.<br /> <br /> John Galsworthy's The Forsyte Saga is a multi-novel & short story series following the tumultuous lives of a wealthy English family as they navigate relationships and changing times in the late-19th and early 20th centuries. A Modern Comedy is the sequel to the series consisting of three aditional novels and two interludes.<br /> <br /> The artist Miss C.B. Currie Caroline Billin Curry 1849-1940 was one of the most beloved book painters of the 20th century who spent the majority of her career working for Henry Sotheran Booksellers in London. "She became famous for her miniature paintings applied to two art forms. First on ivory mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book -- called a fore-edge painting. Most of these paintings were signed and numbered by the artist. Whereas fore-edge painting history is replete with unknown artists Currie is a notable exception. In the book world the name Miss C.B. Currie is widely recognized yet her personal life and real name remained guarded and unknown until now. It turns out her name was in fact partly a pseudonym. Though her work is highly prized there is no known published biography. Her correct full name was recently discovered to be Caroline Billin Curry. During her entire artistic career Curry used the slightly altered version of her name "Currie". Her true full name is not to be found in any published record of her work from Sotheran's" Weber.<br /> <br /> Provenance: Sotheran's catalogue 819 supplement item 1690 illustrated; Christie's London 29th October 1969 lot 19 purchased by E. Joseph London; Brauun Rasmussen 6th December 2005; New England Book Auction 18th April 2006 purchased by Jeff Weber; Sold to Randall Moscovitz 2007.<br /> <br /> Weber. Annotated Dictionary of Fore-Edge Painting. Catalogue Raisonné No. 160 p. 344 with photograph. William Heinemann Ltd unknown
188280265London:: Kegan Paul Trench & Co. 1882. full gilt straight-grain morocco; gilt paneled spine by Sotheran & Co; a.e.g. Very fine. 8vo. With five folding colored maps. With a fine fore-edge painting by Miss Curre of Mucross Abbey Killarney. Bound in is a calligraphic colophon reading "This is No. 101 of the Books with Fore-edge Paintings by Miss Currie. The Painting under the gold is a view of Mucross Abbey Killarney Signed signature C.B. Currie." Kegan Paul, Trench & Co., unknown
1801FF2530London:: Printed for T. Cadell Jun. and W. Davies by G.R. Clarke 1801. 1801. Small 8vo. xx ii 232 pp. Original full dark navy blue straight-grained morocco gilt Greek-key tooling surround five raised bands elaborate gilt compartments all edges gilt. Very good . With a fine fore-edge painting under the gilt showing "Christchurch in Hampshire here James Fordyce lived" inscribed in the artist's hand note somewhat unusual handwriting style and the use of parenthesis. With an early typed note in ALL CAPS relating to the painting take note of the sheet being hand-outlined in red. The artist possibly copied the engraving "Christchurch Hampshire" from the print by E. Finden after a picture by W. Westall published in Great Britain Illustrated 1830. This view shows the single rowboat in the foreground similar to the image with this fore-edge painting. Artist unknown; painted ca. 1900-1955. This scene is delicately and skillfully painted. The painting suggests early 20th century work though it is not signed and there are not yet any recognizable characteristics yet to suggest the artist's identity. Very finely painted view. / "Fordyce's delivery and gestures were studied and he drew crowds to Monkwell Street. His topics were didactic but he also satisfied cultured tastes and dealt with the ethics of actual life. David Garrick was impressed; Fordyce associated with Samuel Johnson and introduced him to Blair. He gave sympathetic account in Addresses to the Deity 1785 of Johnson's religious character speaking as an evangelical moderate." DNB. Printed for T. Cadell, Jun. and W. Davies, by G.R. Clarke, 1801. hardcover
1832D19411London: T. & W. Boone 1832. First Edition. Hardcover. Very Good. 8vo full morocco gilt. a.e.g. With a fore-edge painting of Netley Abbey. Inscribed by the author. Armorial bookplate of Netley Abbey Hampshire. The binding with slight rubbing to extremities but still a quite nice copy. <br/><br/> T. & W. Boone hardcover
1820TK0306Parma:: Dalla Duclae Tipografia 1820. 1820. 8vo. iv III 1 312 pp. Original full dark red richly gilt-stamped calf all edges gilt blue silk endleaves; rubbed. Very good. With a modern erotic fore-edge painting applied to these civil codes of Parma civil penal code somewhat a sound-alike for 'penis'. This fore-edge painting supports two nude male statues each with matching erect penises two either side of a lover's mattress both in a naked embrace. While it is possible to think this is a homosexual scene if maybe also a heterosexual one – just that it is not painted in quite an identifiable way. Perhaps as the artist intended. Perhaps a hidden joke is the 'penal code' aspect of this text the Romanesque style of the painting would further support the homosexual display a known Roman relationship. c340/113 Dalla Duclae Tipografia, 1820. unknown
1884TK0295London:: Kegan Paul Trench 1884. 1884. 8vo. xliv 2 336 pp. Original full maroon blind- and gilt-stamped morocco raised bands gilt spine title all edges gilt gilt inner dentelles marbled endsheets. Very good. With a modern double fore-edge painting of two anglers on their rowboat. Commissioned or painted by a house artist for Harrington's ca. 1990s-2010. c340/102 Kegan Paul, Trench, 1884. hardcover
18206281London: Taylor and Hessey 1820. Fourth edition. A superb example. Twelvemo 6 3/8 x 3 7/8 inches; 162 x 98 mm. 2 blank iv 1-174 2 blank pp. Inscribed by the author on the first blank: "Wiggiston from J. Taylor." Bound ca. 1820 by Taylor and Hessey Booksellers London in full maroon straight-grain morocco. Covers decoratively paneled in gilt and blind spine with five raised bands decoratively tooled in gilt and blind and lettered in gilt in compartments decorative gilt board edges and turn-ins lilac endpapers all edges gilt. With a fine contemporary fore-edge painting by Taylor & Hessey depicting a view of Welbeck Abbey in Nottinghamshire. <br /> <br /> English novelist and poet Jane Taylor 1783-1824 perhaps better known for her collaborative authorship with her sister Ann was the voice behind "Twinkle Twinkle Little Star." Taylor's verses have been here delightfully bound by Taylor and Hessey. The Firm was at its height between 1808-1823 working in both publishing and fine bindings. Their work is usually identifiable from their use of colored Morocco and gilt-stamp name on the foredge of their book boards. Taylor & Hessey also employed a foredge painter whose identity remains lost but whose work predominantly features buildings and landscapes. Of the twenty-four books in American libraries studied by Weber only one exception can be found in the "copy of Mrs. Tighe's Psyche London 1811 on the fore-edge of which 'the Marlborough Gem' is painted" Weber. Here the fore-edge painting depicts the old Premonstratensian Welbeck Abbey in the Dukeries in North Nottinghamshire. The ancient monastery founded by Thomas de Cuckney in 1140 appears in the famous Domesday Book. Taylor and Hessey unknown
18486282London: Henry G. Bohn 1848. First edition. Octavo 8 5/8 x 5 5/8 inches; 219 x 143 mm. viii 1-453 1 blank pp. Engraved frontispiece engraved vignette title-page and twenty-four fine engraved plated by George Cattermole. Bound ca. 1910 by Rivière & Son in full maroon straight-grain morocco covers elaborately bordered in gilt and blind spine with five raised bands elaborately tooled in gilt and blind and lettered in gilt in compartments. Gilt-ruled board edges gilt decorated turn-ins pink endpapers all edges gilt. A very fine example with the remains of the bookplate of Frederick S. Peck and an old bookseller's descriptions on front paste-down. Housed in a felt-lined burgundy cloth clamshell case spine with leather label lettered in gilt. Fore-edge painting by Miss C.B. Currie depicting Haddon Hall. Together with a letter of authenticity from Jeff Weber and the original receipted invoice to Randall Moscovitz dated September 5 2012.<br /> <br /> Featuring a delicate fore-edge painting by Miss C.B. Currie "showing the dignity and grandeur of Haddon Hall. flanked by towering trees and beautiful greensward. Horses are being led to their stable by a groom and a mounted horseman can be seen in the middle distance talking to two young ladies" Weber. The artist Miss C.B. Currie Caroline Billin Curry 1849-1940 was one of the most beloved book painters of the 20th century who spent the majority of her career working for Henry Sotheran Booksellers in London. "She became famous for her miniature paintings applied to two art forms. First on ivory mounted on Rivière bindings and named by her employer as "Cosway" bindings. Later she expanded her work into the art of painting on the fanned edge of a book -- called a fore-edge painting. Most of these paintings were signed and numbered by the artist. Whereas fore-edge painting history is replete with unknown artists Currie is a notable exception. In the book world the name Miss C.B. Currie is widely recognized yet her personal life and real name remained guarded and unknown until now. It turns out her name was in fact partly a pseudonym. Though her work is highly prized there is no known published biography. Her correct full name was recently discovered to be Caroline Billin Curry. During her entire artistic career Curry used the slightly altered version of her name "Currie". Her true full name is not to be found in any published record of her work from Sotheran's" Weber.<br /> <br /> Although unsigned expert Jeff Weber firmly attributes the painting on this book to Miss C.B. Currie based on style and binding. He explains ". though unsigned and as such this is the only known book without a Currie signature but bears all the signs of having been painted by her. It is on the Rivière binding it lacks the usual "colophon" leaf seen with nearly all other Currie paintings. Currie painted both fore-edge paintings and Cosway miniatures on ivory both in bindings commissioned and bound for Sotheran's by Rivière and Son. There are Currie paintings on ivory that are datable to pre-1910 and yet they are not signed. Peck was an active book buyer during this same period his home and library was built in 1905 raising the likelihood that he bought a Currie fore-edge prior to her signing them" Weber. <br /> <br /> Provenance: Frederick S. Peck - Parke-Bernet Galleries November 14-15 1944 lot 114; G.J. Guthrie Nicholson Parke-Bernet Galleries November 8-9 1948 lot 231; Jeff Weber Rare Books - sold to Randall Moscovitz September 5th 2012. Frederick S. Peck 1868-1947 born in Providence Rhode Island became a Legislator and lived in Barrington R.I. His papers are located at the Rhode Island Historical Society. <br /> <br /> Weber Annotated Dictionary of Fore-Edge Painting 306. Henry G. Bohn unknown
1853TK0394Paris :: Furne et ce 1853. 1853. 8vo. xv 1 393 1 pp. Half-title engraved frontispiece portrait engr. plates. Original quarter black morocco raised bands gilt-stamped spine black cloth with blind-stamping all edges gilt marbled endsheets. Bound by Henri Fauconnier with their gilt-stamp at the foot of the spine. Very good. With gravures by T. Johannot./ The book has a fore-edge painting applied showing a portrait of the author La Fontaine and a book-side scene with a man fishing. The scene represents "Le Petit Poisson et le Pêcheur" In this fable a poor fisherman catches a very small carp. The tiny fish begs for its life arguing that it is too small to make a proper meal and asking to be released until it grows bigger at which point it would be worth much more. / Sold by Harrington's without their cost-marks. Probably commissioned by or represented by that firm just after it was painted likely a house artist the period of execution being the mid-1990s. Furne et ce, 1853. hardcover
180971005hLondon: Vernor Hood and Sharpe 1809. Book. Fine. Hardcover. 12mo - over 6¾ - 7¾" tall. Contemporary full gilt green straight-grain morocco with gilt edges and grey endpapers. "Taylor and Hessey" mark to fore-edges of boards. With a hidden fore-edge painting of a marine scene of Richmond Bridge on the Thames. Light scuffing to covers. Old owner's name to front fly-leaf. Otherwise clean tight and unmarked. Very neat -- a sound and handsome copy. With matching cloth-bound slip-case. Vernor, Hood and Sharpe Hardcover
182471004h<p>London: G. and W. B. Whittaker 1824. Book. Very Good. Hardcover. 12mo - over 6¾ - 7¾" tall. Contemporary full gilt green calf with marbled edges and endpapers. Expertly rebacked retaining original gilt spine and titling. With a hidden fore-edge paining of a marine scene of a sailing skiff and village in distance. Light scuffing and soiling to covers; edges toned. Old bookseller's label and previous owners' bookplates inside front cover. Otherwise clean tight and unmarked. Very neat -- a sound and handsome copy. .</p> G. and W. B. Whittaker hardcover
179471006hLondon: T. Cadell Junior and W. Davies 1794. Book. Fine. Hardcover. 12mo - over 6¾ - 7¾" tall. Contemporary full gilt crimson straight-grain morocco with gilt edges and marbled endpapers. With a hidden fore-edge painting of a marine scene of the Cromer seashore. Mild scuffing and toning to covers. Contemporary and early owners' names to front fly-leaf. Otherwise clean tight and unmarked. Very neat -- a sound and handsome copy. With custom crimson quarter-morocco slip-case and chemise. T. Cadell, Junior, and W. Davies Hardcover
1879TK0289London:: Smith Elder 1879. 1879. Two volumes. 8vo. vi 2 492; xii 445 1 pp. Original full blind- and gilt-stamped very dark green morocco raised bands gilt compartments all edges gilt. This item was given to Edward Digley Hildyard Eton College in recognition of 'good work' as Captain of the House from Sept. 1882 to August 1883. Very good . With two erotic fore-edge paintings after the comic work of Thomas Rowlandson. One of the drawings is called "The Inspection" the other "The Connoisseurs". Perhaps the artist offers a slight nudge of humor suggested by the book title "friends in council" and the council that ensues being of a particular type . . . maybe / Sold by Harrington's with their markings. Apparently a house artist painting was made September 1995 by evidence of Harrington's post-it sticker-note remaining in the book indicating that they had sent pictures of this item as an offer to Randy Moskovitz their principal client for fore-edge paintings. That note is dated; thus the painting was made just prior to this dated bookseller's note. c340/094 Smith, Elder, 1879. hardcover
25586Londres The Countess of Blessington 1843. 1 vol. 155 x 225 mm de 3 f. 280 p. et 1 f. Demi-veau havane à coins percaline à décors sur les plats dos orné pièce de titre tranches peintes couverture conservée reliure anglaise de l'époque. . Édition illustrée de 13 gravures à pleine page. Belle illustration en fore-edge painting sur la gouttière représentant un paysage de la campagne anglaise. . Le Livre de la beauté de Heath publié en 1832 devient vite un best-seller dans la société victorienne : le texte rassemble des portraits écrits et illustrés des dames de la bonne société anglaise avec des poèmes et des nouvelles romantiques. Les gravures sont l'oeuvre de l'auteur des textes Charles Heath 1785-1848 un pionnier de la lithographie britannique. L'ouvrage est publié sous les auspices de Marguerite de Blessington comtesse du nom amie de Byron et de Charles Dickens. Elle tint un salon littéraire dans sa maison de Kensington de 1836 à sa mort en 1849 rendez-vous obligé de nombreux étrangers de distinction - Vigny et Lamartine y vinrent à plusieurs reprises. Elle est inhumée dans une tombe en forme de pyramide au cimetière de Chambourcy dans les Yvelines aux côtés de son amant Alfred d'Orsay artiste peintre dandy et mécène nommé surintendant de l'École des beaux-arts en 1852 par Louis-Napoléon Bonaparte. De la bibliothèque de Lord Cyril Flower premier baron de Battersea ex-libris. Londres, The Countess of Blessington, 1843. 1 vol. (155 x 225 mm) de [3] f., 280 p. et 1 f. Demi-veau havane à coins, percaline unknown
1818FF2535London:: John Murray 1818. 1818. 8vo. viii 576 pp. Original full double gilt-ruled vellum gilt embellished spine olive-brown morocco spine label all edges gilt red endleaves. Fine copy. With a glorious fore-edge painting on the painted edge by the Dover painter of "King's College Chapel Cambridge" and labeled in the artist's ink hand. The artist is known to have worked in the 1920s and 1930s in London thus it is interesting to note that there are two notations with dates: a dated inscription in the back E.H.W. 25/3/31 March 25 1931 $85. - with a cost code showing B/-/- over B/H/E. Surely an indication that this was painted by March 1931 and offered for sale by an American bookseller for $85. The label shown for the painting also has a code: 116/1/24 which looks like a code/date - if a date then the year would be 1924. This is very much within this artist's time period of activity. Weber Jeff Annotated Dictionary of Fore-edge Painting Artists & Binders 2010 pp. 98-103. John Murray, 1818. hardcover
1818FF2367ALondon:: John Murray 1818. 1818. 8vo. viii 576 pp. "3 plates" Original green straight grain morocco gilt rules gilt-stamped raised bands rouge endleaves. Bookplates of John Bolton and Marjorie & Martin Mitau. Very good. With a fore-edge painting under the gold entitled: "Fore Edge Castle & Bridge of St. Angelo Tomb of Hadrian." The old Castle at St. Angelo is referenced on p.300: "This imitation of Egyptian deformity must not be supposed to apply to the mausoleum of Hadrian but to the monstrous divinities and the fabrics of the Tiburtine villa. The Mole was constructed it is thought on the plan nearly of the Mausoleum of Augustus or Cecilia Metella." Aikin. A classic scene often depicted on fore-edge paintings. <br /><br /> Provenance: Martin Mitau 1900–1973 and Marjorie nee Fleishhacker Mitau 1906–1983 were both San Franciscans and lived in the Bay Area all their lives. He was a member of Roxburghe Club of San Francisco and the Book Club of California and their collection was strong in California fine printing. - Kelmscott Chaucer census. JWRB John Murray, 1818. hardcover
1809FF2426ALondon:: J. Johnson T. Payne R. Faulder G. Wilkie & J. Robinson . . . 1809. 1809. 8vo. xlviii 787 1 pp. Original full crimson red straight-grain morocco covers elaborately gilt raised bands a.e.g.; rubbed top spine chipped a bit joints and corners show wear. Bookplate of Bernardine Murphy; title-page ink signature upper margin of John Parr 1815. Very good. With a fore-edge painting by the "Dover" artist showing the Plain and Bay of "Sorrento" drawn by J. D Harding engraved by E. Goodall ca.1832 or 1844 Italy. With the title hand-written by the artist painted ca.1920-30s. Probably painted by the artist working for Marks & Company London. PROVENANCE 2: 1 John Parr 1815 pre-fore-edge; 2 Bookplate of Bernadine Murphy Donahue 1904-1968 a prominent California Catholic philanthropist who married Daniel Donahue in 1954 and established the Daniel Murphy Foundation in 1957 in memory of her father to promote Roman Catholic causes. "So helpful to the Church was the foundation that Pope John XXIII conferred on Bernardine the title of 'Papal Countess' the only title given to an American during his pontificate. Several years later Pope Paul VI conferred on Daniel the title 'Gentleman of His Holiness' the highest award bestowed on a layman in the Church and the first such Award ever given to an American. The Countess died unexpectedly in 1968" Burks. Burks Lisa. "Bernadine Murphy Donahue." Find A Grave Memorial #16920718 2006. See: Weber Jeff Annotated Dictionary of Fore-edge Paintings Binders & Artists 2010. Dover painter pp. 98-103. J. Johnson, T. Payne, R. Faulder, G. Wilkie & J. Robinson, . . . 1809. hardcover
1872TK0412London:: Strahan 1872 1869. 1872. 2 volumes in 1. Small 8vo. vii 1 212; vi 178 pp. Endsheets foxed. Original full dark red blind- and gilt-stamped morocco raised bands gilt-spine title both covers with large heraldic shield showing 3 stags all edges gilt gilt inner dentelles marbled endsheets; rubbed. Ink signature of Joan M. Tate. Very good. With a not-so-serious tennis scene depicted in a garden setting on grass a low net the 2 players a man serving to a woman looking quite stationary in 19th century clothing and an older man collecting the balls into a basket. / I am quite sure the firm commissioning this painting and the artist both understand the joke of a "tennis scene" painted on a volume of "Tennyson". In other words the scene is deliberately painted on this volume meant as a joke. / Sold by Harrington's probably commissioned by or represented by that firm just after it was painted suggesting a house artist the period of execution being the mid-1990s. Strahan, 1872, 1869. hardcover