Tableaux

Tableaux — marelibri

Album of 12 Water-Colour Paintings of Courtiers

réf. 65895China c.1870. 8vo. 20 x 15 cm. Album of contemporary patterned cloth covered boards with 12 leaves of finely coloured illustrations on pith paper each secured with blue silk border. 4 of the images with just minimal cracking. Pith came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first half of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. These albums are difficult to date specifically as they are seldom signed and never actually dated. They are known to have been produced from the 1830s through to the 1870s [China, c.1870] hardcover

Robert Frew Ltd · Royaume-Uni1 500,00 £GB≈ 1 791,52 €

(PITH PAINTINGS).Biblio.com

Album of 12 Water-Colour Paintings of Tea Production.

réf. 65894China c.1870. 8vo. 20 x 15 cm. Album of contemporary patterned cloth covered boards with 12 leaves of finely coloured illustrations on pith paper each secured with blue silk border. Just 2 short cracks generally very good condition. Pith came into use for painting to satisfy the increasing demand for small inexpensive and easily transported souvenirs following the massive growth in the China Trade in the first half of the nineteenth century. Paintings in oils on board and canvas were costly and difficult to carry home. Earlier and more prestigious export water-colours had often been on a larger scale and painted on fine Chinese paper or on paper imported from Europe. The albums of pith paintings and later the little glass-fronted boxes were inexpensive light easy to pack and gave the pictures some protection on the long voyage home. Because many were sold in albums and hence protected from the light they retain their bright colours to this day. Pith comes from the central column of spongy cellular tissue in the stem of a small tree called Tetrapanax Papyrifera native to south-west China. It has had a variety of some going back many centuries. At the imperial court both men and women wore coloured flowers made from pith in their hair. For use in painting it is cut by hand with a knife into thin sheets from short lengths of the spongy tissue. Cutting is highly skilled and the constraints of the process mean that the finished sheets for painting seldom if ever measure more than about 30cms by 20cms. The sheets are dried trimmed and used for painting without any further processing. Because of the nature of pith and its cellular structure the gouache used by the Chinese sat on the surface and produced a bright and even sparkling effect. Very fine detail could be achieved but pith did not lend itself to the flat wash of colour favoured for European watercolours. These albums are difficult to date specifically as they are seldom signed and never actually dated. They are known to have been produced from the 1830s through to the 1870s [China, c.1870] hardcover

Robert Frew Ltd · Royaume-Uni1 500,00 £GB≈ 1 791,52 €

(FORE-EDGE PAINTINGS). STEELE, RICHARD, et alABAA

THE GUARDIAN

1797réf. ST19344London: Printed by T. Gillet for Longman et al. 1797. 265 x 163 mm. 10 3/8 x 6 3/8". Two volumes. Contemporary green straight-grain morocco covers with double gilt fillet border raised bands gilt titling turn-ins with decorative gilt roll marbled endpapers all edge gilt inexpert older repairs to joints. EACH VOLUME WITH RICHLY DETAILED FORE-EDGE PAINTING that on volume I depicting the old Tabard Inn Southwark and that on volume II showing Furnival's Inn Holborn. Housed in a fleece-lined double-compartment slipcase. Title pages with engraved vignette. Front flyleaf of each volume with ink ownership inscription of Mary Erskine dated 1803 noting it was a wedding gift from her cousin Lord Wodehouse and with later ink presentation inscription to "Walter and Katherine" on their 13th wedding anniversary 17 February 1931 from "their mother Kate Goodrich." Spines faded to brown as usual with green morocco and with half a dozen minor abrasions joints somewhat worn front joint of vol. II with four-inch crack at head but the bindings entirely solid the contents clean and fresh with only insignificant imperfections and the fore-edge paintings very well-preserved. This is a charming pair of large fore-edge paintings depicting two historic London inns each full of detail and painted on text blocks that fan out beautifully with very little effort. The text here is a late 18th century edition of a controversial and short-lived periodical known as "The Guardian" spearheaded by writer and politician Richard Steele who also founded "The Tatler" and "The Spectator". "The Guardian" as DNB relates ran from 12 March to 1 October 1713 and "is chiefly remembered for the quality of the contributors on whom Steele drew including Edward Young George Berkeley Alexander Pope and of course Joseph Addison." The two inns depicted in the fore-edge paintings here also have literary credentials: the Tabard Inn in Southwark was chosen by Chaucer as the starting point for the "Canterbury Tales" and Furnival's Inn in Holborn will be known to Dickens enthusiasts as the place where he began writing "The Pickwick Papers." The original Tabard Inn burned down in the Great Fire but was immediately rebuilt and became a popular stopping point for stagecoaches as depicted in the present painting. The dirt road in front of the inn is dominated by a large covered wagon and team of horses with a pair of men gesturing in the foreground and others idling nearby; Furnival's Inn by contrast was an Inn of the Chancery and enjoyed much tidier surroundings: the streets in the fore-edge painting here are cobbled the ladies and gentlemen are well dressed and even the rubbish has been neatly piled to one side. Both paintings date from the late 19th century and are based on engravings found in "Old and New London" by George Walter Thornbury ca. 1880. Though unsigned they are extremely well done and offer wonderful views of London haunts from both sides of the Thames. Printed by T. Gillet for Longman et al. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis2 028,00 $US≈ 1 811,85 €

(FORE-EDGE PAINTINGS). SHAKESPEARE, WILLIAMABAA

THE PLAYS

1805réf. ST19580London: 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. 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. 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 books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis18 720,00 $US≈ 16 724,75 €

(FORE-EDGE PAINTINGS). MILTON, JOHNABAA

THE POETICAL WORKS

1843réf. ST20616London: 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. 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. 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 books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis2 912,00 $US≈ 2 601,63 €

(FORE-EDGE PAINTINGS). FENELON, FRANCOIS DE SALIGNAC DE LA MOTHEABAA

EXTRACTS FROM THE RELIGIOUS WORKS

1809réf. ST14310fLondon: J. Hatchard 1809. 210 x 133 mm. 8 1/4 x 5 1/4". xvi 291 pp.Translated by Louisa A. Marshall. 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. 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 books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 248,00 $US≈ 1 114,98 €

(FORE-EDGE PAINTINGS). (BASKERVILLE IMPRINTS). VERGILIUS MARO, PUBLIUSABAA

BUCOLICA GEORGICA ET AENEIS

1766réf. ST21237Birmingham: Johannis Baskerville 1766. 195 x 125 mm. 7 3/4 x 5". 1 p.l. 388 pp. Attractive contemporary red straight-grain morocco covers with gilt beaded roll border enclosing blind-stamped frame smooth spine gilt in compartments with oval centerpiece formed by multiple small tools gilt lettering gilt-rolled turn-ins marbled endpapers all edges gilt. WITH AN EARLY 19TH CENTURY FORE-EDGE PAINTING of a stately home on a knoll with wooded grounds. Engraved allegorical frontispiece by C. Grignion after S. Wale. Title page with engraved ornament with symbols of the three Virgilian works. Front pastedown with engraved bookplate of R. Nash Bricknell and with old dealer description pasted at head. Front flyleaf with ink inscription: William Semicot Bricknell. / Presented by Mr. Paine of / Trinity College Oxon. / February 1818"; small later ink inscription: "P. and H. / from / T. J. B. / Xmas. / 1935." Gaskell 34. Spine slightly darkened the binding with small minor signs of use negligible foxing in the text due to paper quality a bit more noticeable in the second half other trivial imperfections but still a pleasing copy the binding solid and lustrous the text fresh and the tranquil pastel fore-edge painting attractive. Printed by the best English press of the period this collection of Virgil's works is of interest as a piece of printing in an appealing contemporary binding but is offered with the hidden fillip of an attractively executed fore-edge painting. Our printer John Baskerville 1707-75 started his career as a writing master then began cutting letters for gravestones before becoming a printer and typefounder. He left a typeface as his most enduring legacy to the art of the book and the beauty of Baskerville typefaces is attested to by the popularity they have enjoyed ever since their creator's time. This typographically attractive book set in Baskerville's small "Bourgeois" roman is equally as appealing externally. The fore-edge painting depicts a grand home its solid square facade glowing in the late afternoon sun while the surrounding lawn is covered in the delicate blue shadow of the copse of trees that stands behind. The sky a lighter blue is studded with large wooly clouds whose shape charmingly resembles the trees the artist has depicted below. The age of a fore-edge painting is very often difficult to determine but this painting could possibly have been executed around 1818 when the book was given to a youthful William Simcox Bricknell 1806-88. The son of Thomas Fox Bricknell who served three times as the mayor of Oxford from 1803-04 1818-19 and 1828-29 the younger Bricknell attended Oxford University matriculating at Worcester College in 1822. He remained in Oxfordshire for much of his career serving as vicar in various parishes most notably Eynsham. The bookplate on the pastedown indicates he passed this book on to his own son Richard Nash Bricknell 1839-1905 who followed in his footsteps studying theology at Oxford and then embarking on a career in the Church. Johannis Baskerville unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 456,00 $US≈ 1 300,81 €

(FORE-EDGE PAINTINGS)ABAA

LA SAINTE BIBLE CONTENANT L'ANCIEN ET LE NOUVEAU TESTAMENT

1840réf. ST20481-06Paris: 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. 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. 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 books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis988,00 $US≈ 882,70 €

(FORE-EDGE PAINTINGS - DOUBLE). ROGERS, SAMUELABAA

POEMS

1822réf. ST21092London: Printed for T. Cadell by T. Bensley 1822. 170 x 105 mm. 6 5/8 x 4 1/8". 4 p.l. 319 1 pp. Quite nice period honey-brown straight-grain morocco covers with frame of decorative blind rolls gilt armorial supralibros of William Carr Viscount Beresford at center raised bands densely blind-tooled panels gilt lettering gilt-framed turn-ins vellum endleaves leather hinges all edges gilt. WITH APPEALING DOUBLE FORE-EDGE PAINTINGS one depicting Richmond Bridge the other Kingston upon Thames. Joints expertly strengthened. Numerous small illustrations in text. Light wear to spine covers just slightly marked title and last leaf a little foxed intermittent trivial foxing elsewhere other insignificant defects but an excellent copy the binding sturdy and lustrous the contents fresh and clean and the fore-edge paintings well preserved. This volume of Romantic poems comes adorned with two atmospheric fore-edge paintings. English poet Samuel Rogers 1763-1855 the scion of a wealthy banking family first achieved fame with the publication in 1792 of "The Pleasures of Memory" and was later greatly inspired by his Italian travels during which he met Shelley and Byron in Pisa. The present collection of his works is decorated with pleasing fore-edge paintings of sights closer to home. Fanned to the right the fore-edge depicts Richmond Bridge in London its graceful stone arches framing the reflections of trees and bobbing boats. Fanned to the left a scene of Kingston upon Thames is revealed a fishing boat with two silhouetted figures in the foreground and the tower of All Saint's Church rising over the red-roofed cottages. Both scenes are executed in cheerful though muted colors with lush greenery and serene waters. It is difficult to tell the age of the paintings but we can at least say that they convey a convincing expression of quietude. As often happens with authors whose works are greatly popular and then suddenly not so much Rogers' poetry fell abruptly out of fashion later in his life at roughly the time our volume was issued. As a consequence his books became a popular target for fore-edge adornment as a way to encourage the sales of volumes that otherwise might languish on the bookstore shelf. Our copy is from the library of William Carr Beresford 1768-1854 the first Viscount Beresford. He distinguished himself as a general in the Peninsular War fighting alongside the Duke of Wellington. He was elevated to the peerage in honor of his military achievements and invested in the Order of Bath whose motto "Tria Juncta in Uno" "Three Joined in One" circles his crest here. Printed for T. Cadell by T. Bensley unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 300,00 $US≈ 1 161,44 €

(FORE-EDGE PAINTINGS). (BASKERVILLE IMPRINTS). VERGILIUS MARO, PUBLIUSBiblio.com

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