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1818FF2401London:: 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. JWRB John Murray, 1818. hardcover books
05051London: George Allen 1900. A Wonderful Inlaid Binding by Ramage<br/>Adorned with a Double-Fore-Edge Painting of St. Paul's Cathedral and The Tower of London<br/><br/>FORE-EDGE PAINTING. RAMAGE binder. RUSKIN John. Sesame and Lillies: Three Lectures. Complete Edition. London: George Allen 1900. <br/><br/>With a superb contemporary 'double' detailed fore-edge painting depicting two fine and colorful views of London Bridge with St. Paul's Cathedral and The Tower of London as viewed from the south side of the River Thames. <br/><br/>Small octavo 7 1/8 x 4 3/4 inches; 181 x121 mm. xxxvi ii blank 1-228 pp. Pages 60-64 partially or wholly printed in red.<br/><br/>Bound ca 1900 by Ramage stamp-signed in gilt on lower front turn-in. Full dark green crushed levant morocco covers elaborately tooled with gilt lilies and inlaid red morocco hearts. Spine with five raised bands similarly decorated with gilt lilies and inlaid red morocco hearts lettered in gilt in compartments. Gilt-ruled board edges elaborate gilt turn-ins cream watered silk liners and end-leaves all edges gilt. Housed in a custom made felt-lined red morocco edged red cloth slipcase. The joints have been expertly and almost invisibly strengthened - still a wonderful example of an inlaid Ramage binding with a double-fore-edge painting.<br/><br/>The fore-edge paintings were most probably executed sometime between 1940 and 1960.<br/><br/>Born in London in 1836 John Ramage served an apprenticeship with John Wright then went to Paris where he was able to work with the distinguished Marcellin Lortic 1822-1892 who opened his shop on the Rue St. Honoré in 1840. In 1860 Ramage purchased the binding business of Alexander Banks Jr. in Edinburgh then returned three years later to London where he was in business at various locations into the 20th century. Though the range designs is broad Ramage bindings are celebrated for their remarkably delicate careful and elaborate gilt work.<br/><br/>John Ruskin 1819-1900 was known for his in-depth analysis of art his championing of J.M.W. Turner and multi-volume works on the subject. More than simply critiquing art Ruskin was keen to take on social issues as well particularly around the topic of domestic life and traditional gender roles. Sesame and Lilies first published in 1865 contains three such lectures: Of King's Treasures Of Queen's Gardens and The Mystery of Life and its Arts. It would become notorious in the late 20th century as a stock example of Victorian male chauvinism. In fact Ruskin was using the conventional construction of the feminine as pacific altruistic and uncompetitive to articulate yet another symbolic assertion of his anticapitalist social model. London: George Allen, 1900 unknown books
1825FF128London:: Longman Hurst Rees Orme Brown and Green 1825. 1825. 2 vols. in 1. 12mo. 144; 160 pp. Engraved half-title engraved plates by C. Heath after drawings by R. Westall. Original full dark green straight-grain gilt-ruled morocco gilt spine a.e.g.; neatly rebacked to match. Early bookplate of J. B. Winterbotham; inscribed "Thate B. Winterbotham a relic of other days Xmas 1862 - J. B. W. to Ms. P. Batten Nov. 1826." John Brend Winterbotham 1805-1881. Doheny copy. Near fine. With a beautiful fore-edge painting of Eton unlabeled. There is no bookplate but this book was part of the Doheny collection. From the Estelle Doheny Fore-edge Painting collection with her inventory number in the rear. Provenance: John Brend Winterbotham thru 1862 - Maggs sold to Doheny in 1951. See: Catalogue of Book and Manuscripts in the Estelle Doheny Collection Part III Los Angeles 1955 p. 87 - Jeff Weber Rare Books Catalogue 1 item 6 - Mrs. Gladys McKenney Molony - gifted to the Saint Mary's-of-the-Woods College Library sold 2007. See: Norman's History of Cheltenham by John Goding - Cheltenham England 1863 p. 653 citing J. B. Winterbotham. John Brend Winterbotham whose wife was Mary Brend-Winterbotham m. 1828. The Law Times March 12 1881 p. 340. Longman, Hurst, Rees, Orme, Brown, and Green, 1825. unknown books
1916FF2441London:: Constable & Company Ltd. 1916. 1916. Series: Makers of the nineteenth century edited by Basil Williams. Crown 8vo. viii 479 1 pp. Frontispiece portrait of Abraham Lincoln at Springfield index large folding map. Specially bound for Sotheran by Riviere & Son in full black gilt-stamped morocco all edges gilt; neatly rebacked preserving the original spine. Preserved with the original chemise and cloth slipcase with gilt-stamped calf spine label: "ABRAHAM LINCOLN - LORD CHARNWOOD - 1916 - FORE-EDGE PAINTING". This is also a very rare specimen with the original chemise and box extant. Provenance: ownership names of R. Joseph Rich Margaret Rich Carr; Joseph Sampsell Carr. Fine. WITH A FORE-EDGE PAINTING BY MS. C. B. CURRIE showing "a view of Harper's Ferry W. Virginia." "This is No. 145 of the Books with Fore-edge Paintings by Miss Currie. . . " Painted ca. 1928/9. See: Weber p. 341 #145 was previously unknown. Currie painted a scene of Harper's Ferry on the Life of John Brown See Weber A8 p. 348. SIGNED IN INK AT FOOT OF LIMITATION PAGE BY C. B. CURRIE. / In all about 172 Currie fore-edge painting were painted. Each is numbered in consecutive order with her known active period of painting fore-edges from c.1909/10-1929/33. All Currie fore-edge paintings are rare. / Miss Caroline Billin Curry aka "Miss. C.B. Currie" 1849-1940 was famous for painting both ivory miniatures and on fore-edge paintings exclusively for Sotheran's and strictly on Riviere bindings. Currie is important as being the only known artist to have signed all her work and numbered the pieces. She was highly touted in her lifetime as an artist who was singled-out for her skill and exquisite artistry that she thereby became the first artist so-named by Sotheran prominently in their catalogue series. Indeed she was a close associate and friend of the shop manager Mr. John Harrison Stonehouse and his wife Currie was named in their will. Even despite her prominence Currie's correct full name was a mystery until very recently. See Weber. This particular specimen was 1 previously unknown to myself 2 preserved the most-frequently missing chemise and 3 a clear provenance to this copy is noted the only one so located by myself. / PROVENANCE: Oddly this is the first known Currie fore-edge painting with provenance that is understood to be after the painting of the Harper's Ferry scene. The importance of that is the relationship of the ownership of a book to the date of the painting or otherwise owning a book before a fore-edge painting is applied to the book. In this case the ownership is surely after the work of Currie. Three persons' names are found in the volume: Joseph Sampsell Carr may have lived in Chicago Illinois. Margaret Rich Carr may have been Margaret Lee Smith Rich Carr 1917-1981 buried in Lubbock Lubbock County Texas. R. Joseph Rich may have been associated with Jefferson Medical College Hospital Philadelphia. REFERENCE: Jeff Weber Annotated Dictionary of Fore-edge Painting & Binders 2010. JWRB Constable & Company, Ltd., 1916. hardcover books
653830 fine color paintings & 24 black ink drawings of various parts of the bamboo. 50 leaves. 4to 275 x 206 mm. modern bright silk brocade wrappers stitched as issued. Probably Japan: late Edo. A beautiful album of finely rendered drawings of bamboo accompanied by explanatory text. There has been a long tradition in both China since the eighth century and Japan of illustrating bamboo with much thought given to composition and the painting of the stems knots branches and leaves. A number of treatises were written on the subject. This handsomely painted manuscript contains many illustrations all finely painted or brush-drawn of bamboo. Following the title there are two leaves which are somewhat soiled illustrating the yin and yang of the three variations of bamboo painting. They include how to place the brush on the drawing surface and how to maneuver the brush and lift it at just the right moment the calligraphy techniques are named. These are followed two fine calligraphic illustrations using black ink of bamboo branches again the calligraphy methods are named followed by a leaf of instructions. Next there are 18 pages of illustrations of leaves with each illustration becoming increasingly more complex. Then the manuscript text turns to the botanical aspects of bamboo: where it grows the genera and uses appearance how to propagate etc. Both Chinese and Japanese names are given with references to the classic botanical guide Ben cao gang mu Compendium of Materia Medica. Next we have 28 fine full-page illustrations of many genera of bamboo some pages contain multiple images each preceded by text describing the examples depicted. They are very vividly colored and finely painted using many techniques including the application of mica. Among the elaborate and richly colored illustrations are cross-sections roots sprouts leaves and fruits. Some of the examples are very exotic. Now we come upon two full-page color illustrations of tools for cutting and trimming bamboo and for the extraction and preparation of medicines with two pages of explanatory text. Finally we have a section with six artistic renderings of bamboo in art and literature. They include various iconic Chinese scenes including variations of literati in bamboo groves and the Seven Sages of the Bamboo Grove. Each painting is preceded by a leaf of text with a description and historical background of the scene. In fine condition. A contemporary reader has made some neat annotations in red ink. Final leaf has the artist's pen name written "Seigetsu an." Several minor and marginal wormholes. Preserved in a chitsu. unknown books
14301Iran Persian Qajar Lovers gouache painting on paper with gold illuminated border design. The image portrays a young Qajar prince in an elaborate blue and gold coat with an orange and gold karakul cap embracing his lover. The prince holds a glass in one hand while embracing his lover with the other. She with a tiara on her head pearls on her neck and a see-through blouse is wearing a Qajar coat with typical Persian paisley design. The lovers are seated in an embrace at a small table with crystal decanters next to them. This work composition is somewhat similar to the depiction of lovers embrace attributed to Mohammad Sadiq 1770-80 Layla Diba Royal Persian Paintings NY 1998 number 27 pg 156-7. The headgear of the prince confirms this to be from the Qajar epoch rather than the Zand period. Wide margins with floral and animal illumination including deer and monkeys. The illumination work is of a very high and intricate quality. Image size 18.5" x 11." Some browning to the margins minor expert repair not affecting image on verso in margin to fortify them. Overall in very good condition. An exquisite image with more sensibility than most other Qajar paintings. unknown books
