[FAN PAINTINGS].Biblio.com
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1900164294No date. circa1900. 11 original hand painted fan designs approximately 40 x 15cm laid down on archival sheets 51 x 38cm. Each design is unique some are brightly coloured whilst others are more sombre and some have a lacquer or metallic overprinting and silver flecking. Each of the designs has been backed with Japanese paper. Undated and in very good condition apart from some very minor spotting to the backing sheets not affecting the image they appear to be early 1900s. The collection is housed in a custom-made clamshell case. The earliest recorded sighting of the Japanese fan was in the 6th century CE where burial tombs were adorned with pictures of fans. Drawing on the fan began around the Heian period 794-4485 and became such a hit that laws were created to restrict their use to particular social classes. Historically Japanese hand fans were tools of aristocrats and the samurai class. They were a way to signify social standing and even communicate messages. Japanese fan designs enchanted westerners when they first became exposed to them. Those influenced include the Australian artist Charles Conder who in the 1890s inspired by Japanese fan designs made a speciality of painting them on silk. <br> <br>Various images painted on these fans have symbolic or seasonal meanings. One shows an array of golden origami cranes on a red background symbolizing long life. Another is decorated with peonies symbols of fertility and nobility whose flowering marks the end of spring and beginning of summer. A third is decorated with images of pine bamboo and plum blossom - a combination representing health and longevity because all three plants can withstand cold weather. Others have more abstract images based on the flow of rivers the sheen of silk and other themes. . unknown
18782111902160200914Nishizawa Kitaro 1878. Soft Cover. Fine. Number of books: 3 books Nishizawa Kitaro paperback
18067425Paris, Bossange, Masson et Besson, 1806. In-8 de [6]-XIX-[1]-302-[2]p., demi-basane brune à coins, dos lisse orné de filets dorés, pièces de titre rouge, reliure du temps avec quelques frottements. Ex-libris de Charles de Constant-Rebecque.
1875015992Paris Drouot. Boussaton & Baubigny 1875 in-8° Broché
18572111902160603014Published by Eikyudo 1857. Soft Cover. Fine. Size: 12x17.7 cm Published by Eikyudo paperback
18279558Paris, Anselin et Pochard, successeurs de Magimel, 1827. In-8 de VIII-285-[3] pages, demi-veau vert, dos lisse orné de filets, roulettes, titre et fleurons dorés. Coins frottés, petit accroc à la coiffe supérieure, rousseurs aux premiers ff. Signature sur la p. de titre d'A. Naville, S. Lieutnant de Génie.
182312854A Paris, chez Rey et Gravier, 1823. In-8 de [4]-308-[2] pages, cartonnage gris taupe, étiquette de titre au haut du dos, manuscrite avec numéro au bas. Non rogné.
182316710A Paris, chez Rey et Gravier, 1823. In-8 de [4]-308-[2] pages, plein veau glacé caramel, dos lisse orné de filets et fleurons dorés, large roulette florale dorée encadrant les plat, filet sur les coupes, grecque dorées intérieure.
18328801A Paris, Chez G.-A. Dentu, 1832. In-8 de XIV-366 pages, demi-percaline bleue, dos orné du titre et de filets dorés. Coins supérieurs frottés.
1830ST20481-05London: John Murray 1830. FIRST EDITION. 220 x 130 mm. 8 5/8 x 5 1/8". 2 p.l. ii v-xix 1 411 1 pp. <br/> 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.<br/> <br/> 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. John Murray unknown
1821229079Edinburgh: Arch. Constable 1821. Vignette title -page drawn by A. Nasmyth Engraved by W. H. Lizars. 10 vols. 16mo. 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. Fore-Edge Views of Scotland. Each volume with a fine early fore-edge painting of a Scottish scene identified in an old hand in block letters on the ffep.<br/>Volume I : Berwick-on-Tweed<br/>Volume II : Falkland Palace<br/>Volume III : Edinburgh Castle<br/>Volume IV : Barnborough Castle<br/>Volume V : Hollyrood Palace Edinburgh<br/>Volume VI : Norham The Castle and The Cross<br/>Volume VII: Stirling Castle<br/>Volume VIII: Barnard Castle<br/>Volume IX : Stirling Bridge and Castle<br/>Volume X : Abbotsford. Arch. Constable unknown books
1843ST20616London: Tilt and Bogue 1843. 207 x 135 mm. 8 1/8 x 5 5/8". Two volumes. With a memoir and critical remarks by James Montgomery. <br/> 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.<br/> <br/> 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. Tilt and Bogue unknown
1821229079Edinburgh: Arch. Constable 1821. Vignette title -page drawn by A. Nasmyth Engraved by W. H. Lizars. 10 vols. 16mo. 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. Each volume with a fine early fore-edge painting of a Scottish scene identified in an old hand in block letters on the ffep.<br /> Volume I : Berwick-on-Tweed<br /> Volume II : Falkland Palace<br /> Volume III : Edinburgh Castle<br /> Volume IV : Barnborough Castle<br /> Volume V : Hollyrood Palace Edinburgh<br /> Volume VI : Norham The Castle and The Cross<br /> Volume VII: Stirling Castle<br /> Volume VIII: Barnard Castle<br /> Volume IX : Stirling Bridge and Castle<br /> Volume X : Abbotsford. Arch. Constable unknown
1805ST19580London: Printed for F. C. and J. Rivington et al. 1805. 238 x 145 mm. 9 3/8 x 5 3/4". 10 volumes. Edited by George Steevens and Alexander Chalmers. <br/> 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.<br/> <br/> 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. Printed for F. C. and J. Rivington et al. unknown
1802FF2474London:: John Reeves 1802. 1802. 5 volumes. Small 8vo. Original full crimson straight-grained morocco spines flat and tooled in gilt all edges gilt; some darkening to covers but a solid binding even now after all these years. Bookseller's ticket of Kerby & Bowdery 190 Oxford Street England. Early ownership signature of Charlotte Handbury. Very good. WITH FIVE FORE-EDGE PAINTINGS painted by the "Dover Painter" of Marks & Company London ca 1920s one of the finest fore-edge artists of their day. On volume 1 Worcester Cathedral; 2 St. Paul's Cathedral; 3 York Minster; 4 Canterbury Cathedral St. Ethelbert's Tower & St. Augustine's Monastery; 5 Gloucester Cathedral. Each piece is labeled in ink in the artist's handwriting. PROVENANCE: pre-fore-edge James Kerby & Bowdery booksellers U.K. – Charlotte Hanbury signature; Marks & Co. London booksellers – where this became a fore-edge painting Edward C. Lowe Birmingham bookseller U.K. sold to: Mrs. Henry B. Brooke Gilpin Winchester 1853- Virginia purchased May 1941 – probably inherited by one of the three Gilpin children: Donald Kenneth Dorothy – an unknown source bought or traded to RL: – Russell Light bookseller Texas personal collection – JWRB. Import license shows seller's and buyer's names dated May 1941. The document was laid into volume II facing signature X3 with offsetting. NOTE ON HANBURY: Charlotte Hanbury could be one in the DNB with dates 1830-1900 born in Stoke Newington her autobiography published in 1901. Henry B. Brooke Gilpin 1853-1929 was vice president of the National Wholesale Drug Association and commodore of the Baltimore Yacht Club Maryland. He married Hattie Newcomer 1861-1942 daughter of Benjamin F. Newcomer president of the Baltimore Safe Deposit and Trust Company on 27 October 1886. SEE: Weber Jeff Annotated Dictionary of Fore-edge Painting Artists & Binders pp. 98-103 "Dover Painter". John Reeves, 1802. unknown books
1842AUB-310La Chaux-de-Fonds 1842. Exemplaire relié, 27x20, 102 pages avec introduction, errata,table. Traces d'usage et rousseurs.
18031655A Paris, Chez L. Duprat, Letellier et Cie, 1803. In-4 de 24 pages, demi-basane marron, dos lisse orné, étiquette de titre et tomaison maroquin rouge et verte. Plusieurs manques au dos, reliure défraîchie, à restaurer.
188759925Cranbrook Kent & London: Lt. Col. Charles William Fothergill R.A. 1887-1897. Oblong 4to. 10 x 8 x 1.75 in. 2 52 1 leaves numbered in pencil manuscript including manuscript index leaf listing all the paintings within excluding the frontisp. & rear pastedown watercolour paintings. With 55 paintings with most sized from 5.5 x 4.5 in. up to 7.5 x 5.5 in. all w/ neatly penciled manuscript borders most w/ annotations below and nearly all paintings signed many dated 2 smaller are mounted on leaf 25 of the Scottish Highlands most are watercolours with graphite underdrawing a few are graphite sketches w/ watercolour highlights and elements added. Contemporary black half-diced-calf over gray-brown pebbled cloth white silk moire endpapers gilt ruling & lettering on spines minor scuffing edgewear minor wear to corners still an exceptionally bright exemplar. This marvelous album of original Victorian watercolours by retired Royal Marine Artillery officer and longtime art instructor at Sandhurst elicit a nearly pastoral sense including nautical themes historic homes inns castles and landscapes. The album opens with a vivid watercolour painting of a decidedly bucolic Virginia Water possibly on the present-day Wentworth Estate with small boat amidst the water and trees and closes with a fine painting of steamship sailing past yachts tacking in the background and storm clouds above. The album begins with Milton’s Cottage at Chalfont St. Giles where he completed Paradise Lost and conceived Paradise Regained during the Plague years and was a popular subject of other British painters including Donald Macleod Joseph Webb and Charles Leaver. Other paintings include those of the Martello Tower at Seaford one of the 103 towers built from Aldeburgh to Suffolk on the coast of Eastbourne in 1803 when Napoleon threatened to cross the channel; Brook Place at Chobham a Dutch-gabled home built by William Beauchamp in 1656 after the original Elizabethan home had burned down in 1648; the HMS Hannibal at Portsmouth warship laid down in 1840 utilized screw propulsion and a 91 gunner commanded in the Crimean War by John Charles Dalrymple Hay -- at the time of this painting it was serving to alleviate overcrowding in the training ship Boscawan. Other nautical themes include No. 8 a view of ships in Portsmouth Harbour with the dockside in the background; No. 9 a sidewheeler steamship with lighters and rock nearby in the Medway off Gravesend; No. 11 a view of tall ships under sail at Fowey off Cornwall and even No. 47 a nicely rendered painting of boats sailing on the Medway with sails in colour and faint outlines of Rochester Castle and nearby Cathedral in the background.Fothergill also painted landscapes such as No. 14 Hindhead HIll Surrey on the main Portsmouth to London road 13 miles southwest of Guildford with Gibbet Hill rising in the background above the surrounding Heath; three beautiful landscapes of the Scottish Highlands No. 48 Duart Castle on the Isle of Mull Scotland in 1897 which would later be purchased in 1911 by Sir Fitzroy Donald Maclean and restored; Beeston Castle above the Cheshire Plain; No. 24 Franks Hall in Horton Kirby Kent Framingham after the property had passed to Vavasour Earle and in its original state; No. 26 the Mitcham Common Windmill one of the few houses ever built on the common and operated as windmill until 1863 when two sails were destroyed as depicted here -- it was later dismantled down to the base in 1905. Other historic places such as the Old White Horse Inn in Edinburgh where during the 1639 rebellion against King Charles I the Presbyterian ministers urged a mob to lay siege preventing the noblemen from escaping except for the Marquis of Montrose. This painting reflects its dilapidated Victorian state rather than the restored 1960’s version visible today. Fothergill 1839-1903 remains an enigma to many of the typical art references for British painters and exhibited three watercolours at the Society of British Artists between 1880 and 1884 including “The Mouth of the Dart†and “Hulks in Portsmouth Harbour†possibly an alternate version of Nos. 17 & 18 in the present album and later exhibited a painting at the Royal Academy in 1900. He received his first commission in the Royal Marine Artillery in 1855 was appointed to serve as instructor in Military Drawing & Surveying at the Royal Military College “Cadets’ College†at Sandhurst in 1868 under command of Adjutant Major W. Patterson and continued to teach there until his retirement. His distinctive signature closely mirrors that of his 1872 marriage certificate to Edith Kathleen Maclean in 1872 daughter of Royal Military College Surgeon Dr. Andrew Maclean 1812-1902 and by the 1891 census the couple parented 7 children and a niece in their busy household in Hammersmith London. See: New Annual Army List Militia List and Indian Civil Service List 1875 p. 92; Hart New Annual Army List Hart’s Anual for 1875 Vol. 36 pp. 115 126; Maritime and Scientific Models Instruments & Art 10th May 2016 Charles Miller Ltd. No. 48. Lt. Col. Charles William Fothergill, R.A., hardcover
189016349Genève, vers 1890. Album oblong, demi-percaline rouge, titre doré au centre du premier plat.
18485423Belle broderie, dans de beaux coloris bien conservée. Quelques rousseurs dans la soie. “Fait par Pélagie Ventre, chez Mme Masset, ce 10 mars 1823, à Brignoles”. Cadre en bois mouluré d’époque. très bon Brignoles 1848 48 x 38 avec cadre
186620181Genève, Société d'histoire et d'archéologie de Genève, 1866. In-4 de [6]-XXVII-[1]-542 pages, cartonnage d'éditeur, dos (moderne) de percaline grise, pièce de titre en veau noir.
186620655Genève, Société d'histoire et d'archéologie de Genève, 1866. In-4 broché de [6]-XXVII-[1]-542 pages, couverture de papier gris muet.
184614853Genève/Paris: Mmes Beroud et Guers/M. L.-R. Delay 1846. Relié. Etat satisfaisant. in-12. 418 pp. Seconde édition revue et corrigée par l'auteur. Long envoi inconnu sur la page de garde. Reliure plein cuir frottée usée. Petits accrocs sur le dos insolé. Ornements dorés sur les plats. Tranches dorées une tache sur la tranche supérieure. Plats intérieurs et pages de garde salis. Jointure intérieure du 1er plat fendue. Mmes Beroud et Guers/M. L.-R. Delay unknown
187454483New York: Stroefer and Kirchner 1874. First English edition. Hardcover. vg- to vg. Folio. 148 1pp. Brown-burgundy illustrated cloth boards over leather spine. The front cover and spine are lavishly tooled and ruled in gilt with landscape imagery and period floral designs. Glossy textured endpapers.<br /> <br /> This is the English version of the original German work Rhododendron: Bilder aus den Schweizer Alpen Pictures from the Swiss Alps first published in 1872. The text of the original work was written by German political activist writer and publisher Hermann Alexander von Berlepsch 1813-1883. Here the English text is written by British geologist and mountaineer Thomas George Bonney 1833-1923 who doesn't so much translate from the original German text but rather uses it solely for reference. As stated in the preface Bonney mainly used his own notes and recollections from his experiences in these locations as the basis to create a mostly original text.<br /> <br /> Like the German edition accompanying and inspiring the text are a total 24 plates of mounted albumen photographs reproducing original paintings of various locations and landscapes of the Swiss Alps by Gustav Paul Closs 1840 – 1870 and Otto Frölicher 1840-1890. Also included are numerous smaller in-text engraved images including historiated initials and tailpieces by artist Gustave Roux 1828-1885. Table of contents at the back.<br /> <br /> Binding with minor rubbing to corners. Spine lightly rubbed with minor cracking to the front hinge. Minor scratches to the back cover. Book block tight overall with starting at p.33. Interior mostly clean with only minor age toning to the very edges of pages as well as a few sporadic instances of minor to light water staining and/or smudges. Images all clean throughout. Period inscription to a previous owner in pen at the top of the front free endpaper. Binding in very good- interior in very good condition overall. Stroefer and Kirchner hardcover
1878PHO-303
