[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
18572111902160603014Published by Eikyudo 1857. Soft Cover. Fine. Size: 12x17.7 cm Published by Eikyudo paperback
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
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
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
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
18642092902140400734Not Available 1864. Soft Cover. Fine. The book is in fine condition. Not Available paperback
18642092902140401025Not Available 1864. Soft Cover. Fine. The book is in fine condition. Not Available paperback
18642092902140400971Not Available 1864. Soft Cover. Fine. The book is in fine condition. Not Available paperback
18822092902138300026Junzaburo Morimoto Edition 1882. Soft Cover. Fine. The book is in fine condition. Junzaburo Morimoto Edition paperback
1900221586No date. Circa1900. Twelve very bright colour gouache paintings on pith paper showing a series of Qing dynasty figures arranged by rank blue paper border red silk covered album with contrasting green ties. Images approximately 17.5 x 12cm. Album 22.5 x 15.5cm. All twelve paintings in very good condition. This finely painted gouache album opens with portraits of the Chinese Emperor and Empress followed by the Prime Minister and his wife. The remaining eight leaves depict officials of various ranks with their spouses. A vivid and beautifully executed series the colours standing out with exceptional clarity. . unknown
186454488Montreal: W. Notman 1864. First edition. Hardcover. g to vg-. Elephant folio. 18x13". 14 leaves including 12 plates unpaginated. Period brown cloth with gilt lettering on the front cover. All edges in gilt. Marbled endpapers. Title page with decorative text printed in a number of different period typefaces. All addition text throughout is finely printed in a cursive typefont.<br /> <br /> An album consisting of a series of 12 mounted albumen photographs reproducing original paintings of landscapes in New England and Northeastern Canada by British artist C.J. Charles Jones Way 1835-1919. During his career Way was noted for his depictions of North American and European landscapes and seascapes. From 1858 Way settled in Montreal where he established an art studio and often collaborated with pioneering Montreal-based photographer William Notman 1826-1891 who had set up one of the most noted early photography studios in the city. Here Notman photographs Way's work with a keen eye and attention to detail. Locations depicted in the images include: the White Mountains New Hampshire Mount Desert Island Maine The Gaspe Coast Quebec Levis/Quebec City Montreal and Niagara Falls. The final five images show areas in the vicinity of Saguenay River Quebec. <br /> <br /> Each of the 12 plates is tissue-guarded with the images and text caption below in landscape orientation. Plates measure approx. 17 3/4 x 12 3/4". The photographs themselves vary slightly in size but most measure approx. 10" x 6". Table of plates at the front.<br /> <br /> Binding with light sunning to the spine and edges of the covers. Covers with some light scratches and a few small stains. Head of spine rubbed with some light cracking along the front hinge. Interiors mostly clean with a few sporadic instance of light smudges and/or stains to the endpapers and/or margins of plates. Images throughout clean and vibrant. Binding in good interior in very good- condition overall. W. Notman hardcover
18832092902138300077Tsunashima kame kichi-ban 1883. Soft Cover. Fine. The book is in fine condition. Tsunashima kame kichi-ban paperback
187570621hLondon & Liverpool: Longmans Green & Co. / G. G. Walmsley 1875. Book. Fine. Hardcover. Beautiful hidden fore-edge paintings: on Vol. I of Liverpool in the olden time with the old castle and ancient ships in the river; on Vol. II the same but contemporary with Atlantic steamers in the river and the shores crowded with buildings. Two octavo volumes bound by Fazakerley Liverpool in matching full crimson crushed levant morocco with gilt titles and raised bands to spines gilt edges and fillets to boards and dentelles and moire endpapers. Minor expert restoration. Old booksellers catalogue clipping for this set tipped in at rear. . Longmans, Green, & Co. / G. G. Walmsley Hardcover
18832092902138300078Tsunashima kame kichi-ban 1883. Soft Cover. Fine. The book is in fine condition. Tsunashima kame kichi-ban paperback
188859708Barcelona: Tipo-Litografía de los Sucesores de N. Ramírez y Cía 1888. 42x32 XIp 343p 1h láminas e ilustraciones leve mancha de humedad en esquina de las primeras hojas ver foto. Tela editorial ilustrada. Buen estado. Tipo-Litografía de los Sucesores de N. Ramírez y Cía hardcover
1840ST20481-06Paris: Chez L. Hachette 1840. 224 x 131 mm. 8 1/2 x 5 1/4". 2 p.l. 822 pp. 1 leaf title 1-259 1 pp. <br/> 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.<br/> <br/> 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. Chez L. Hachette unknown
188033455Japan: No publisher ca. 1880. An Album of copies of Literati Paintings. Illustrated with 56 Literati Paintings mounted on 25 double-sided accordion-fold boards some with woodblock colour some finished in colour by hand the illustrations mounted with gilt-speckled borders. Oblong folio the album 28 3/4 x 17 1/2 cm. the paintings 22 x 13 1/2 cm. the upper cover of the album with original padded silk brocade and paper label. The album includes 7 'Poetry Competition paintings and poems from the '100 Famous Poems' an 8th century Heian period compilation. A very pleasing example well preserved with minor rubbing to the extremities the mountings and illustrations all in fine condition. A FINE EXAMPLE. THE JAPANESE ART OF BUNJIN-GA WAS INTRODUCED IN THE 17TH CENTURY FROM CHINA'S SOUTHERN SCHOOL OF PAINTING. This occurred during the Ming dynasty through the 'Painting Manual of the Mustard Seed Garden' although that in itself was based on Song and Yuan dynasty landscape painting; and the poetry of the Japanese literati painting was in the style of Classical Chinese poetry termed Kanbun in Japan.<br> Literati painting in Japan is generally referred to as Bunjinga literati painting; Ch. Wen ren hua or Nanga Southern School painting; Ch. nan zong hua both terms borrowed from China. Wen ren hua refers to the status of artists who belonged to the scholar-gentleman class. Nan zong hua was coined by the Chinese painter and theorist Dong Qichang b. 1555–d. 1636 who used it to describe art by literati ostensibly amateurs whose paintings were indebted to their mastery of calligraphy expressed their inner feelings and sought to capture the spiritual essence of their subjects. Japanese Literati Painting and Calligraphy<br>P. J. Graham F. L. Chance.<br> No publisher hardcover
1809ST14310fLondon: J. Hatchard 1809. 210 x 133 mm. 8 1/4 x 5 1/4". xvi 291 pp.Translated by Louisa A. Marshall. <br/> 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.<br/> <br/> 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.". J. Hatchard unknown
18522111902158903354Bunkado 1852. Soft Cover. Fine. The book is in fine condition. Bunkado paperback
18622110502150908883Kato kiyoshi-ban 1862. Soft Cover. Fine. Number of books: 1 Kato kiyoshi-ban paperback
