Fore-edge Painting

Edinburgh: Mundell, Doig and Stevenson, 1808. hardcover. fine. 4 volumes. Handsomely bound in contemporary straight grained green morocco with gilt designs on covers & spines, a.e.g. Housed in a red cloth folding box. Edinburgh: Printed for Mundell, Doig and Stevenson, 1808. A fine set.<br/> <br/> Each volume has a detailed fore-edge painting of various London city scenes.<br/> <br/>

London: Moxon, 1838. hardcover. near fine. Illustrated with numerous in-text engravings. 313 pages. 12mo, beautifully bound in contemporary gilt-decorated burgundy morocco, a.e.g. London: Edward Moxon, 1838. Near fine (both hinges repaired).<br/> <br/> With a magnificent double fore-edge painting depecting Boston & a view of the State House, and New York & a view of City Hall (4 paintings).<br/> <br/>

London: Richard Bentley, Publisher in Ordinary to Her Majesty, 1849. First edition. Illustrated. xvi, 445 pp. 1 vols. 8vo. In publisher's presentation pebbled green gilt morocco, with emblematic gilt tooling, a.e.g., a few scuffs to covers. With inscription to Francis Gilbert Dyke Acland on leaving Eton 1861. First edition. Illustrated. xvi, 445 pp. 1 vols. 8vo. Publisher's Binding with American Trout Fishing Fore-edge. With a later fore-edge painting of trout fishing on the Chateaugay Lake, Franklin County, New York. Van Winkle, p. 32

With commentary by Christian Gottlob Heyne. HANDSOME CONTEMPORARY NAVY BLUE STRAIGHT-GRAIN MOROCCO, DENSELY GILT, covers with thick and thin gilt rule border and large central laurel wreath, that on the front with the Latin motto "Honoris Causa" ("For the sake of honor"), that on the rear with the name Thomas T. Churton and the date 1817, raised bands, spine lavishly gilt in compartments filled with foliage and small tools emanating from a central fleuron, gilt titling and turn-ins, all edges gilt.
WITH A SPLENDID LATER PAINTING OF MOUNT ETNA ON THE FORE EDGE. In a recent plush-lined blue folding cloth box with gilt spine titling. With ink stamp of Bolton Public Library on verso of title and first page of text. Lowndes IV, 2777. ◆Corners slightly bumped, boards a little faded, first two gatherings mildly foxed, isolated rust spots or faint freckled foxing, but still AN ESPECIALLY DESIRABLE COPY, the handsome binding virtually unworn, the text clean and smooth, and the unusual fore-edge painting very… Read More

London: W. Pickering, 1850. 5th or later Edition . Red Morocco. Near Fine. Fore-Edge Painting. 262 Pp. Full Pebbled Red Morocco, All Compartments Gilt, Five Bands, Covers Elaborately Gilt With Nine Borders In Gilt, Inner Blind-Stamped Rule With Corner Embellishment, Elaborately Gilt Edges And Elaborately Gilt Turns, All Edges Of Page Block Gilt, Yellow Endpapers, With Bound In Black Silk Marker. Title Page In Red And Black. 6 5/8" Tall. Remarkably Well Preserved, Slight Rubbing, No Names Or Marks. This Example With A Well-Preserved Fore Edge Painting Of Washington D. C. From Arlington Heights With Potomac River And Several Ships In Foreground, Painting Apparently Done Apparently Circa 1850-1853 As The Washington Monument Is Depicted As About 1/3 Completed.

Parigi: Presso Lefevre, 1822. 42mo. Fore-edge painting depicting the leaning tower of Pisa along side the Cathedral. 310pp. vol. 30 only. Text in Italian. Bound in full maroon straight grained morocco, slightly raised bands with title gilt, all edges gilt, magnificently rebacked with original spine laid down. A charming little book with early bookplate depicting a royal cape with crown on top and with central initials (?).

Paris: Chez Damonneville, 1741. 1st Edition . Hardcover. Very Good +. Title Page Device; Headpieces; Fore-Edge Painting. Xxiv, 388 Pp. Chocolate Brown Morocco, Five Bands, Gilt Title, Ancient Marbled Endpapers, All Edges Of Boards Gilt, Gilt Turns, Edges Of Page Block All Gilt. Fore Edge Painting Of St. Denis, River In Foreground, Town In Background, Near Paris. Light Rubbing At Corners With Tiny Frays To Two Upper Tips.

London: Henry Frowde, Oxford University Press, 1908. Original decorative vellum spine, cloth boards. With a superb vertical fore-edge painting by Martin Frost after Edward Burne-Jones famous painting, "The Golden Stair." Monogrammed by Frost, premier fore-edge painter, with his authenticity ticket tipped in.

London: Edward Maxon, 1851. New Edition. hardcover. Very Good. 8 1/8" × 5 5/8" . Poems: [Fore-edge Painting]; by Rogers, Samuel. London: Edward Maxon. Printed by Bradbury and Evans, Printers Extraordinary to the Queen, Whitefriars. 1851. New Edition. 8vo: 8 1/8" x 5 5/8" (20.6 x 14.3 cm). Bound in fine hardcover full green morocco. Elaborately decorated gilt boards. Five raised spine bands with gilt titles and extra gilt in compartments. Gilt board edge decorations. Gilt inner dentelles.. All edges gilt. [ii], 305, [i]. Fore-edge painting of a bucolic scene. Engraving of Rogers. Illustrated with numerous in-text engravings. Binding rubbed at extremities. Front inner hinge starting. Ink inscription to ffep: "A Birthday memento of affection from R.B.P. to Jamis K. Dawsen, 1856" (paper lifts on front free endpaper where something was pasted down to cover the inscription and then removed. Second inscription 1918. Small Bloomingdale's book seller label and a pencil inscription "Holland House" on… Read More

London: William Heinemann Ltd / Windmill Press, 1951. first Facimilie. full Morocco. THE FORSYTE SAGAJohn GalsworthyFORE-EDGE PAINTINGPublished by William Heinemann Ltd / Windmill Press 1951This is the 1951 reprint from 1922 including folding family tree chart as frontice.1042pp not illustrated as per the original 1922 edition. Bound in full red straight grain Morocco for Henry Sotherans, Ltd. With tipped in signature of John Galsworthy dated March 11 1916.Fore-Edge painting is the view of Richmond Bridge, London. Beautifully painted showing the bridge and its quaint surroundings.The Forsyte Saga was first published in its entirety in 1922; the illustrated single volume edition with Anthony Gross's highly acclaimed drawings was first published in 1950. The Forsyte Saga earned Galsworthy the Nobel Prize for Literature in 1932, and his tales of the vicissitudes of a large upper-middle-class English family have been adapted under various guises for film and television, including the 1949 Hollywood film… Read More

2° (mm 313x211); cc. 104 [recte]. Pergamena coeva con, ai tagli, decorazioni a secco a forma di carte da gioco. Bellissimo esemplare.
A splendid, unsophisticated copy in its original vellum binding. On the three edges of the book, blind-tooled decorations in the shape of playing cards.
Seconda e definitiva edizione (la princeps è del 1540).
Second edition, definitively enlarged and corrected by the Author.
The books provides answers to fifty questions, thirteen of which are to be asked by men, thirteen of which are to be asked by women, and the remainder of which may be asked by both men and women. The allegory of the human quality or defect corresponding to the question must then be sought and a pair of cards drawn. After further steps involving the drawing of further cards (five in total), one reaches an answer taken from one of the great philosophers. The answers of the philosophers were put into terzine by Lodovico Dolce.
The title woodcut, after a design by the Mannerist painter Francesco… Read More

London: Longman, Brown, Green, and Longmans, 1855. Hardcover. Very Good. An extraordinary copy of this popular 19th century title by the Irish poet. Bound in contemporary green Shagreen with exquisite gold tooling, raised bands at the spine. All edges gilt, the fore-edge features a hidden or "disappearing" painting - visible in full when the page-edges are fanned to the right. According to a previous owner pencil note to the verso of the front endpaper, the image is "Stallion with Brood Mare and Foal". 8vo, pp. 284, with illustration at title page. The binding is firm and square. Rubbing with minor loss of the leather at the corners and at the corners of the backstrip. Very small scuffs at the joints. Previous owner bookplate fixed to front pastedown. Appears to be entirely free from foxing or spotting. Excellent condition and a spectacular example of the bookbinder's art.

London: Printed by W. Wilson for J. Bumpus et al, 1821. Hardcover. Good. Bound in full red contemporary morocco with gilt borders and all edges gilt. pp. x, 242, pp. iv, 280, with frontispiece to vol 1. Minor spotting both volumes, occasional finger-marks or similar. A few Pencil notes to prelims, Cracked at fep, volume 2. Good overall condition, both bindings firm and square. The "disappearing" paintings are visible only when the block is fanned to the right and would otherwise escape notice. Each painting depicts an angling scene - "fly-fishing" and "trolling for pike". I can detect no artist name or monograph. The images have retained their colour well and are in Good condition.

London: Edward Moxon & Co., 1865. Decorated with hidden double fore-edge paintings displaying the harbors of Boston and Philadelphia, the paintings are unsigned but done with a lovely touch. Finely bound in red straight-grain morocco with green morocco inlays, with gilt titles and elaborate gilt tooling to the spine and panels, all edges gilt, gilt dentelles, the stamp of S. Hogg, Binder front paste down. Near Fine, slight wear at joints. . Seventeenth Edition . Straight - Grain Morocco. Near Fine/No Jacket, As Issued. 16mo - over 5¾" - 6¾" tall.

1790. Fine. 14 22 3.5. THIS BOOK IS UNIQUE. Hidden scene on the fore page edges (under the gilding) on both volumes. Tan calf bindings. Gilt embossed edges and centre panel on all sides. Black title plates and gilt banding and titles on the spine. Gilt on all page edges. Dimensions are for one volume. Supplied in a newly made protective box. Magnificent Fore Edge Edition Fore-edge painting: With a double concealed fore-edge painting revealing two scenes. In very good condition. The first known example of a disappearing fore-edge painting (where the painting is not visible when the book is closed) dates 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 colour. The technique was popularised 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… Read More