Traditions of Edinburgh. [Fore-Edge Painting].

London and Edinburgh: W & R Chambers, 1869. Finely bound example of Chambers' work on the history and legends of Scotland. Octavo, bound in full pebbled red morocco with gilt titles and elaborate gilt tooling to the spine in six compartments within raised gilt bands, elaborate floral ruling and gilt central vignette of Edinburgh Castle to the front and rear panels, gilt turn-ins and inner dentelles. With a triple wrap-around concealed fore-edge painting revealing three golfing scenes. In very good condition. Triple wrap-around concealed fore-edge paintings are uncommon. The first known example of a disappearing fore-edge painting (where the painting is not visible when the book is closed) dates back to 1649. Around 1750, the subject matter of fore-edge paintings changed from simply decorative or heraldic designs to landscapes, portraits and religious scenes, usually painted in full color. The technique was popularized in the 18th century by John Brindley (1732-1756), publisher and bookbinder to the Prince of Wales and Edwards of Halifax, a distinguished family of bookbinders and booksellers. The majority of extant examples of fore-edge paintings date to the late 19th and early 20th century on reproductions of books originally published in the early 19th century, including the present volume.