PHOTOGRAPHIC ALBUM; ALTEMUS & CO

Photographic Album, the

Philadelphia: Manufactured by Altemus & Co. 1864. A Fine Altemus Photographic Album [PHOTOGRAPHIC ALBUM] The Photographic Album. Hinged-Back Patented July 21st 1863. Philadelphia: Manufactured by Altemus & Co. ca. 1864. Small square quarto (5 3/4 x 5 inches; 146 x 127 mm.). Calligraphic title-page printed in gold and purple, Index to portraits, and twenty five thick card, double sided window frame leaves bordered in gold. The first eighteen with a single nineteenth century family photograph. We have been unable to identify the family name. Publisher's full brown embossed morocco over boards. Covers and spine elaborately decorated in blind, both covers with four circular ivory stones set in gilt. Spine embossed and decoratively lettered in gilt "Album" "Patd. July 21st. 1863". Two brass clasps, decorated in relief and fitted with two circular ivory stones with gilt centers, gilt board edges and turn-ins, all edges gilt. A fine example of an early Altemus album. Altemus and Company first published photographic albums in 1862. During the next thirty years it published numerous elegant albums in many different styles. Although many albums from this time period can be easily identified as Altemus productions since they have the Altemus and Company imprint, a number of albums had no imprint. Some of the pre-1863 albums had a very similar look as the "post 1863 new patent hinged back design". All the albums post-1863 did note the patent somewhere in or on the album. In 1863 Henry and Samuel Altemus became the assignees of a patent of John Mets. This patent gave Altemus the right to use the special hinged back design for their photographic albums. The albums using this special design have the Altemus & Company imprint on the title page along with a line that says patented July 21, 1863. By 1864 Altemus was touting its special photographic album design. "It having the advantage of laying open perfectly flat.." Altemus had the patent for the "hinged back" design. As described by Altemus-- "each leaf is attached to a small rod covered with morocco forming a separate hinge of its own, admitting the book to be opened to its full extent without danger of the slightest injury". (henryaltemus.com). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05515

Catalogue: Fine Bindings

Keywords: ALTEMUS & CO. Photography

VENETIAN BINDING; BOOK OF HOURS

Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi

Venice: Ex Typographia Balleoniana, 1754. A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding With Hand-Painted Gauffered Edges [VENETIAN BINDING]. [BOOK OF HOURS]. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis [Venice]: Ex Typographia Balleoniana, 1754. Octavo (7 3/4 x 4 5/8 inches; 197 x 117 mm.). [i]-xxxxiv, [1]-453, [3, indices] pp. Vignette engraved title-page and seven full page copperplate engravings in the text. Full contemporary red morocco, covers elaborately decorated in gilt, spine with five raised bands decoratively gilt in compartments, decorative gilt board edges, marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the extremities. A remarkable survival from nearly two hundred and seventy years ago.. Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books, containing a daily routine of prayers for the reader to follow, reached a huge audience, more than any previously written text. Children were taught to read with Books of Hours. Repeated daily, the passages found in these books, usually in Latin, were committed to heart. Prayers on death, plague, warfare, travel, and bad weather were all found in Books of Hours. The plates: 1. Office of the Blessed Virgin Mary (p. xxiv) 2. Office of the Blessed Virgin Mary (p. 80) 3. Office of the Blessed Virgin Mary (p. 150) 4. Office of the dead (p. 226) 5. Seven penitential psalms (p. 294) 6. Office of the holy cross (p. 334) 7. Office of the holy spirit (p. 342). .

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Book number: 05459

Catalogue: Fine Bindings

Keywords: BOOK OF HOURS Books in Latin

FORE-EDGE PAINTING; CLARKE, Joseph Clayton; GOLDSMITH, Oliver; COLLINS, William

Poetical Works of Oliver Goldsmith, M.B. , the

London: Printed at the Stanhope Press, by Charles Whittingham, 1809. With an Exquisite Fore Edge Painting of Temple Bar, London By Joseph Clayton Clarke aka "KYD" FORE-EDGE PAINTING. KYD (pseudonym of Joseph Clayton Clarke), artist]. GOLDSMITH, Oliver. The Poetical Works of Oliver Goldsmith, M.B. Collated with the best editions by Thomas Park, F.S.A. London: Printed at the Stanhope Press, by Charles Whittingham, 1809. [bound with] The Poetical Works of William Collins. London: Printed at the Stanhope Press, by Charles Whittingham, 1709 [sic] 1808. [bound with] Poems by [Thomas] Gray. With an exquisite fore edge painting beneath the gilt, of Temple Bar - the principal ceremonial entrance to the City of London, by Joseph Clayton Clarke aka "Kyd." The painting is full of Dickensian style characters. Twelvemo (4 7/8 x 3 inches; 124 x 76 mm.). [i]-iv, [1]-86, [v]-vi, [1]-81, [1, blank]; [iv], [1]-64, [9]-99, [1, blank] pp. Two engraved frontispieces, one for Goldsmith's Poetical Works and the second for William Collins's Poetical Works. Contemporary full red straight-grain morocco, covers decoratively bordered in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board edge and turn-ins, gray endpapers, all edges gilt. Housed in an early twentieth century fleece-lined, red cloth slipcase. The fore-edge painting, which we believe was executed sometime around 1910, depicts Temple Bar - the principal ceremonial entrance to the City of London, and exhibits an unusual degree of detail, art and craft; the coloring is quite extraordinary. Temple Bar was the principal ceremonial entrance to the City of London from the City of Westminster. In the middle ages, London expanded city jurisdiction beyond its walls to gates, called ‘bars', which were erected across thoroughfares. To the west of the City of London, the bar was located in the area known as the Temple. Temple Bar is situated on the historic royal ceremonial route from the Tower of London to the Palace of Westminster, the two chief residences of the medieval English monarchs, and from the Palace of Westminster to St Paul's Cathedral. The road east of Temple Bar and within the City is Fleet Street, while the road to the west, in Westminster, is The Strand. Fore-edge paintings by "Kyd" are excessively rare - I have seen only a handful in over fifty years of specializing in this field. "Kyd" was a personal friend of my Great Uncle, Sam Joseph and used to frequently visit 48a Charing Cross Road in the 1930's.. (DJB). "CLARKE, Joseph Clayton [sometimes seen as "Clark"] - English artist (1856-1937). Clarke worked as a freelance artist and cartoonist until 1900. He is described as having had many occupations during his career as an artist. His book, The Characters of Charles Dickens portrayed in a series of original water colour sketches by "Kyd", London, Paris, & New York: Raphael Tuck & Sons, was issued ca. 1889. From 1900-1920 he drew illustrations for cigarette cards and postcards based on Dickens' characters. He is best known for his marvelous character drawings and watercolors from Dickens' stories. Clarke signed his name "Kyd" on the popular color drawings he made. His fore-edge paintings are not signed. However, an un-illustrated pamphlet issued by Sawyer's (bookseller) states that he is known to have painted certain types of English scenes which suggests that his work can be identified. "Kyd" was described as a "flamboyant character", known to wear a "grey suit, spats, a homburg hat, and gloves, and always with a flower in his buttonhole". He frequented the racing tracks, bars, and women, thus his income suffered. Late in life he made money by producing watercolor sketches, mostly of Dickens' characters, for London booksellers, or perhaps a fore-edge or two. He worked for "Punch" for one single day. Clarke died in Hampstead in 1937." "..Clayton Clarke, the most outstanding authority on anything appertaining to the cult of fore-edge painting. Better known perhaps to an earlier generation as a black and white humorous artist and illustrator of Dickens under the pseudonym 'Kyd', he has for over a quarter of a century studied and practiced the delightful vagaries of this fascinating form of decoration; and it is no exaggeration to say that by the fine quality and beauty of his work he has raised what was originally a curiosity to the dignity of an art" (J.E.S. Sawyer, "Kyd" [Joseph Clayton Clarke] a Preliminary Study of his Life and Work Together with His Essay on Fore-edge Paintings, p.12). Reference: Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 80-83. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05173

Catalogue: Fine Bindings

Keywords: CLARKE, Joseph Clayton GOLDSMITH, Oliver COLLINS, William Eighteenth-Century Literature Fore-Edge Paintings Poetry

CLOUGH, Arthur Hugh

Poems

London: Macmillan and Co. 1877. Poems by Arthur Clough Florence Nightingale's Devoted Assistant CLOUGH, Arthur Hugh. Poems. With a Memoir. Fifth edition. London: Macmillan and Co. 1877. Octavo (6 1/2 x 4 7/16 inches; 166 x 113 mm.). xxiv, 350 pp. Contemporary full olive green morocco, covers with tripe-gilt rules, spine with five raised bands, decoratively ruled and lettered in gilt in compartments, pale yellow coated endpapers, all edges gilt. Various ink inscriptions on front flyleaf. Near fine. Arthur Hugh Clough (1819-1861) was an English poet, an educationalist, and the devoted assistant to ground-breaking nurse Florence Nightingale. He was the brother of suffragist Anne Clough, who became principal of Newnham College, Cambridge. Clough's output was small and much of it appeared posthumously. Anthony Kenny notes that the editions prepared by Clough's wife, Blanche, have "been criticized .. for omitting, in the interests of propriety, significant passages in Dipsychus and other poems." But editing Clough's literary remains has proven a challenging task even for later editors. Kenny goes on to state that "it was no mean feat to have placed almost all of Clough's poetry in the public domain within a decade, and to have secured for it general critical and popular acclaim." His long poems have a certain narrative and psychological penetration, and some of his lyrics have a strength of melody to match their depth of thought. He has been regarded as one of the most forward-looking English poets of the 19th century, in part due to a sexual frankness that shocked his contemporaries. He often went against the popular religious and social ideals of his day, and his verse is said to have the melancholy and the perplexity of an age of transition, although Through a Glass Darkly (pp. 54/55), suggests that he did not lack certain religious beliefs of his own, and in particular a belief in the afterlife where the struggle for virtue will be rewarded. His work is interesting to students of meter, owing to the experiments which he made, in The Bothie and elsewhere, with English hexameters and other types of verse formed upon classical models. Clough is perhaps best known now for his short poems Say Not the Struggle Naught Availeth (p. 345), a rousing call to tired soldiers to keep up the good fight, Through a Glass Darkly (pp. 54/55), an exploration of religious doubt, and The Latest Decalogue, a satirical take on the Ten Commandments. The Latest Decalogue's (pp. 142/143) couplet on murder, "Thou shalt not kill; but need'st not strive/Officiously to keep alive:" is often quoted - usually out of context - in debates on medical ethics in the sense that it is not right to struggle to keep terminally ill people alive, especially if they are suffering. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03474

Catalogue: Fine Bindings

Keywords: Nineteenth-Century Literature Poetry

DUHAYON, Henri; ROMAINS, Jules; BOFA, Gus [RAYON d'OR/LIBRAIRIE GALLIMARD]

Les Coupains

Paris: Le Rayon d'Or/Librairie Gallimard, 1952. A Spectacular Copy in a Stunning Binding Signed by the Author with an ALs by the Artist [DUHAYON, Henri, binder]. [BOFA, Gus, illustrator]. ROMAINS, Jules. Les Coupains. Avec douze aquarelles par Gus Bofa. N.p. [Paris]: Le Rayon d'Or, (1952). First edition illustrated by Bofa, limited to 3500 numbered copies sur vélin blanc des Papeteries de Lana, this being copy 3152. Octavo (8 1/4 x 6 1/8 in; 208 x 153 mm). 200, [1], [1, blank], [3, table], [1, blank], [1, colophon], [1, blank] pp. Twelve aquarelle plates, one of which has been inscribed by the artist to the owner. In a stunning contemporary binding by Henri Duhayon of Nice (stamp signed in gilt to inside front turn in) in full crushed cordovan morocco with large hand painted panel to upper and lower sides. Gilt lettered spine. Top edge gilt. Custom endpapers. A flawless copy in binder's leather edged slipcase. Signed and dated Nov. 1958 by the author, with a tipped in ALs by the artist, an inscription by French novelist and playwright Georges Duhamel dated Septembre 1958, and a TLs by the owner, Jean Francesche (with his blindstamped signed ex libris on inside front cover turn in). The eighth volume in Librairie Galimard's illustrated collection, Le Rayon d'or, a reissue of Romain's celebrated novel of 1913. Renowned artist Gus Bofa (b. Gustave Blanchot 1883-1968) was an illustrator for Rire and Sourire, a costume and set designer, a celebrated poster artist, and illustrator for the literary journal, Crapouillot. He soon became one of the most in demand illustrators of editions of Swift, La Fontaine, Cervantes, etc. ultimately with one hundred and seventeen volumes to his credit. (Ref. gusbofa.com). French novelist, poet, dramatist, and essayist Jules Romains (pseud. of Louis Farigoule 1885-1972) was, "early in his career..associated with a short-lived artistic community, the Groupe de 'Abbaye, which published his poems, La Vie unanime, in 1908. These poems wnad much of his later verse and prose, were influence by Unanimist theories of social groups and collective psychology. Before the war in 1914 he published more collections of poetry, a verse play..and two novels, Mort de quelqu'un (1911) and the farcial Les Copains [The Pals]" (New Oxford Companion to Literature in French, p. 707). Georges Duhamel's (1884-1966) experience as a surgeon during World War I produced Vie des martyrs (1917, tr. The New Book of Martyrs, 1918) and Civilisation (1918, tr. 1919). These collections of sketches are noted for their compassionate accounts of human suffering. He was successful as a dramatist; his Dans l'ombre des statues was performed in 1912 (tr. In the Shadow of Statues, 1914) and L'oeuvre des athlètes in 1920. His fiction includes two cycles of novels—Cycle de Salavin (1920-32, tr. 1936), about a sensitive eccentric, and Chronique des Pasquiers (1933-45, tr. 1937-46), about a bourgeois Parisian family. Essays in Scènes de la vie future (1930, tr. America: the Menace, 1931) and other collections reflect Duhamel's aversion to overindustrialization" (Columbia Enclyclopedia). He wrote passionately against war and its atrocities , and against the rise of Naziism. He was elected to the Académie Français in 1935. Though now largely forgotten, he is perhaps best remembered for his timeless epigram: "It is always brave to say what everyone thinks" The TLs by owner Jean Francesche reads: "The owner of this copy had read a book by Jules Romains, edited in 1958 by the Fayard Publishing House. It was the fourth book from the collection 'The Forty: MEMORIES AND SECRETS OF A WRITER.' "Page 128: 'In THE PALS, what part of the book is autobiographical and contains actual events?' "Page 129: 'It is not impossible to find a resemblance between the cheeks and glasses of Huchon with those of Duhamel, just as it is not impossible to find a certain pretentiousness in the future author of DESERT OF BIEVRES when Huchon prepares the veal stew as no one else can (to be more precise it was more like something between a stew and a roast)' "This revelation has led me to question the author's childhood friend on this detail, and Georges Duhamel, who like the author, has been made a member of the French Academy, was kind enough to write his answer on the half-title of this edition, which is illustrated by Gus Bofa. "I was also intrigued by the drawing where the artist had brought together 'THE PALS' and in which , I told him, it appeared that one of the characters had lost his head, or at least his cranium. "I asked him to please complete the drawing with a skillful stroke of his pencil. "He returned the drawing to me with an inscription as well as a curious letter which follows:. "I think that all of this adds to the interest of this charming volume [signed] Jean Franceche" Bofa's ALs response reads: Mr. N.D. des Champs Lundi 24 Novembre 88 Cher Monsieur, Votre lettre soulève un cas de conscience ! Votre «copain sans visage » n'a pas perdu la tête - il n'en a jamais eu - Jules Romain l'a voulu ainsi - lui, dans le même temps, mettait hors des soins, a une grande tendresse a portraiturer les autres copains. Bien loin de vouloir ajouter a ce bonhomme le coup de crayon que vous me demandez, je devrais plutôt regretter de lui ???? déjà, supposé un peu de menton, de bouche et de crâne, sans y être autorisé par le contexte. Avec mes deux mains bien sympatiques, [signature] Gus Bofa [Mr. N.D. des Champs Monday November, 24, ‘88 Dear Sir, Your letter stirs up a question of conscience! Your "pal without a face" has not lost his head - he never had one - Jules Romain wanted it like this, and at the same time he got a lot of tenderness into the process of drawing the other friends. Far from wanting to add the stroke of pencil to this man that you have asked me to, I regret that I cannot give him the supposed bit of chin, mouth and head, not being authorized to do so in this context. "With my two sympathetic hands, [signature] Gus Bofa] Duhamel's inscription reads: LES COPAINS Je n'ai aucune qualité pour poser ma signature sur le livre d'un ami de ma jeunesse; mais je dois dire que ma spécialité culinaire était alors le ragoût de moutons, & non le ragoût de veau. -[signature] G Duhamel Septembre 1958 [THE PALS I have no authority to put my signature on the book of my childhood friend; but I must say that my culinary specialty was lamb stew, not veal stew. -[signature] G. Duhamel September 1958] Monod 9851. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 01079

Catalogue: Fine Bindings

Keywords: ROMAINS, Jules BOFA, Gus [RAYON d'OR/LIBRAIRIE GALLIMARD] Books in French Fine Printing French Literature Literature

FORE-EDGE PAINTING; Horatius Flaccus, Quintus; DOUBLE-LINE PAINTER; HORACE

Carmina

Paris: E Prelis Fratrum Mame, 1808. With a Fine Fore-Edge Painting of Verona, Italy by the "Double-Line Painter" FORE-EDGE PAINTING. DOUBLE-LINE PAINTER. HORACE (Quintus Horatius Flaccus. Carmina. Editio Stereotypa Herhan. Paris: E Prelis Fratrum Mame, 1808. With a fine early twentieth century fore-edge painting by the "Double-Line Painter" showing a colorful view of Verona, Italy. Twelvemo (6 5/16 x 3 15/16 inches; 161 x 97 mm.). [i]-xi, [xii, blank], [1]-354 pp. Full contemporary maroon straight-grain morocco, covers elaborately tooled in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, gilt board-edges and double-ruled turn-ins, marbled endpapers, all edges gilt. With the Armorial bookplate of Sir Thomas Rumbold, 1st Baronet (1736-1791) with an note in ink by his son Charles Rumbold (1788-1857) who was educated at Oriel College, Oxford, and then went to Trinity College, Cambridge. The motto "Virtutis Laus Actio" means "The Praise of Virtue is Action". The "Double-Line Painter" was an English artist, name unknown, possibly active in the 1920s. The most identifiable feature of this artist's work is the label for the painting. The artist labels his own paintings on the the front fly-leaf. If you look carefully you will see a neat light penciled double-line above and below the written title (like an architect would do). The painting title itself is also neatly written in tiny letters. This artist is highly skilled painter with high productivity." (Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 95-96). Jeff Weber cites eight example of the "Double-Line" artist in his book on pp. 96-97. Provenance: Charles Rumbold (1788-1857). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05170

Catalogue: Fine Bindings

Keywords: Horatius Flaccus, Quintus DOUBLE-LINE PAINTER HORACE Fore-Edge Paintings

FORE-EDGE PAINTING; GAY, John; COLLINS, William

Fables

London: Printed for J. Sharpe, 1824. 'The Entrance to Hyde Park' An Early-to-Mid Twentieth Century Fore-Edge Painting FORE-EDGE PAINTING. GAY, John. Fables. London: Printed for J. Sharpe, 1812 [i.e. 1824]. With an early to mid twentieth century fore-edge painting of the "Entrance to Hyde Park" by an unidentified artist. Volumes I & II (of three) bound in one. Sixteenmo (4 3/4 x 3 inches; 121 x 76 mm.). Engraved frontispiece , engraved general title-page, [iv], [1]-155, [1, blank], engraved frontispiece, [1]-142 pp. Bound ca. 1824 in full red straight grain morocco, covers decoratively bordered in gilt and blind, smooth spine decoratively tooled and lettered in gilt in compartments, gilt board edges, blind tooled turn-ins, gray endpapers, all edges gilt. Contents: Volume I The Fables of John Gay; Volume II The Poetical Works of John Gay (volume I only). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05177

Catalogue: Fine Bindings

Keywords: GAY, John COLLINS, William Fore-Edge Paintings Bindings English Literature Eighteenth-Century Literature Eighteenth-Century Literature Fore-Edge Paintings Poetry

HARRISON, George

Songs by George Harrison

Guildford, Surrey: Genesis Publications Limited, 1987. Signed by George Harrison HARRISON, George. [WEST, Keith, illustrator]. Songs by George Harrison. Guildford, Surrey: Genesis Publications Limited, 1987. First edition, first printing, #1,946 of 2,500 copies signed in gold ink by the former Beatle on the limitation leaf. Small quarto (9 11/16 x 6 7/8 inches; 250 x 175 mm.). [1-12], 13-175, [5] pp. With numerous color plates and watercolor illustrations by artist Keith West. With a foreword by Jeff Lynne (ELO, Travelling Wilburys), a middleword by Elton John, and a backword by George Harrison. The lyrics are illustrated in color (including two folding and four 'mounted and tipped-in') by the New Zealand botanical artist Keith West, who impressed Harrison with his wealth of fantastical imagery. Publishers half black morocco over black cloth. Front cover with blind-stamped guitar, rear cover with blind-stamped keyboard. Spine with two raised bands decoratively lettered in gilt, black endpapers with small Keith West bookplate, all edges gilt. Housed in the original black cloth over board clamshell case lettered in gilt on front panel and spine, complete with CD in tray. as issued. Fine. "This edition is limited to two thousand five hundred signed copies of which this is copy number '1946' [signed] 'George Harrison'" (limitation leaf). The CD includes the following tracks: Sat Singing (Recorded March 1980); Lay His Head (Recorded April 1980); For You Blue (Recorded live in Washington DC, December 1974) and Flying Hour (Recorded March 1978). George Harrison MBE (1943-2001) was an English musician, singer and songwriter who achieved international fame as the lead guitarist of the Beatles. Sometimes called "the quiet Beatle", Harrison embraced Indian culture and helped broaden the scope of popular music through his incorporation of Indian instrumentation and Hindu-aligned spirituality in the Beatles' work. Although the majority of the band's songs were written by John Lennon and Paul McCartney, most Beatles albums from 1965 onwards contained at least two Harrison compositions. His songs for the group include "Taxman", "Within You Without You", "While My Guitar Gently Weeps", "Here Comes the Sun" and "Something". Harrison's earliest musical influences included George Formby and Django Reinhardt; subsequent influences were Carl Perkins, Chet Atkins and Chuck Berry. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05857

Catalogue: Fine Bindings

Keywords: Music Signed Limited Edition

FORE-EDGE PAINTING; HAYWOOD, Helen, artist; JOHNSON, Samuel

Lives of the Most Eminent English Poets: , the

London: Printed for F.C. and J. Rivington; W. Nicol and Son.. 1821. With Two Very Fine Fore-Edge Paintings by Helen R. Haywood Depicting the Homes of Abraham Cowley and Alexander Pope - Both with a Fine Portrait FORE-EDGE PAINTING. HAYWOOD, Helen R. artist. JOHNSON, Samuel. The Lives of the most eminent English Poets: with Critical Observations on their Works.. A New Edition, Corrected. In two volumes. London: Printed for F.C. and J. Rivington; W. Nicol and Son.. 1821. With two very fine early twentieth century fore-edge paintings by Helen R. Haywood. The first volume with a fine view of Chertsey Bridge and with a portrait of Abraham Cowley on the left side; The second volume with a fine view of Alexander Pope's Villa, Twickenham and with a portrait of Pope on the left-side. Two octavo volumes (8 3/8 x 5 1/8 inches; 212 x 130 mm.). [viii], [1]-446; [iv], [1]-454 pp. Full contemporary dark blue calf, covers elaborately decorated in gilt and blind, spines with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board-edges and turn-ins, red and blue marbled endpapers, all edges gilt. Housed in an early blue cloth slipcase. Gilt on spines very slightly dulled, otherwise near fine. These fore-edge paintings were done by Helen Haywood sometime between 1927 and 1940. Front flyleaf of volume one with "Cowley" [and] "Chertsey Bridge"; volume two with "Pope" [and] "Pope's Villa, Twickenham" both in the hand of Helen Haywood. Helen R. Haywood (1908-1995) was an English writer and illustrator of children's books. She was born in England in 1908 but was taken as a child to Chile, where her father, an engineer, worked on the trans-Andean railway. She remained in Chile until she was approximately 15 years old. Her experiences were recounted in an unpublished novel,"Childhood in Chile." Miss Haywood was a keen student of science and an amateur naturalist and anthropologist. Many of the books she illustrated for the publisher Hutchinson & Co. London, were keenly observed and scrupulously accurate depictions of plants, birds and animals. When commissioned to do illustrations for a children's book on dinosaurs, her research into the skin colors she subsequently chose for her dinosaur illustrations was cited by the Royal Academy of Sciences. Haywood was also a practitioner of the art of fore-edge painting. She became acquainted with the art form through an uncle who was associated with the Bayntun-Riviere Bindery of Bath. She did several fore-edge and double fore-edge paintings on commission every year from the 1930s to the 1970s for Inman's Books, an antiquarian book dealer in New York City. She died in Bournemouth, England in 1995. Abraham Cowley (1618-1667) was an English poet born in the City of London late in 1618. He was one of the leading English poets of the 17th century, with 14 printings of his Works published between 1668 and 1721. Around 1663 Cowley obtained permission to retire into the country; and through his friend, Lord St Albans, he obtained a property near Chertsey, where, devoting himself to botany and books, he lived in comparative solitude until his death. Alexander Pope (1688-1744) was a poet and satirist of the Augustan period and one of its greatest artistic exponents. Considered the foremost English poet of the early 18th century and a master of the heroic couplet, he is best known for satirical and discursive poetry, including The Rape of the Lock, The Dunciad, and An Essay on Criticism, and for his translation of Homer. In 1719 he moved to Pope's Villa in Twickenham, then a village west of London in Middlesex where he created gardens and an underground grotto. The house and grotto were topics of 18th- and 19th-century poetry and art. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05160

Catalogue: Fine Bindings

Keywords: HAYWOOD, Helen, artist JOHNSON, Samuel Fore-Edge Paintings Poetry

FORE-EDGE PAINTING; HAYWOOD, Helen, artist; BURNS, Robert

Poetical Works of Robert Burns; the

London: Printed for John Bumpus, Walker and Co.. 1822. With Two Very Fine Fore-Edge Paintings by Helen R. Haywood Depicting Burns Cottage with a Portrait of Robert Burns and a Fine View of the Bridges on the River Ayr FORE-EDGE PAINTING. HAYWOOD, Helen, artist. BURNS, Robert. The Poetical Works of Robert Burns; Including the Pieces Published in his Correspondence and Reliques: With his Songs and Fragments. To which are prefixed a history of the poems, by his brother, Gilbert Burns, and a sketch of his life. In two volumes. London: Printed for John Bumpus, Walker and Co.. 1822. Two small octavo volumes (6 1/8 x 4 inches; 157 x 101 mm.).[i]-xxx, [1]-268; [i]-xii, [1]-262 pp. Contemporary full dark blue straight-grain morocco, covers elaborately decorated in gilt and blind, spines with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board-edges and turn-ins, pale blue endpapers, all edges gilt. Housed in an early blue cloth slipcase. A fine pair of Helen Haywood Fore-Edge Paintings. With two very fine early twentieth century fore-edge paintings by Helen R. Haywood. The first volume with a fine view of Burns Cottage with a portrait of Robert Burns on the left side; The second volume with a fine view of Ayr River Bridges. These fore-edge paintings were done by Helen Haywood sometime between 1927 and 1940. Front flyleaf of volume one with "Burns" [and] "The Birthplace"; volume two with "Ayr" all in the hand of Helen Haywood. Helen R. Haywood (1908-1995) was an English writer and illustrator of children's books. She was born in England in 1908 but was taken as a child to Chile, where her father, an engineer, worked on the trans-Andean railway. She remained in Chile until she was approximately 15 years old. Her experiences were recounted in an unpublished novel,"Childhood in Chile." Miss Haywood was a keen student of science and an amateur naturalist and anthropologist. Many of the books she illustrated for the publisher Hutchinson & Co. London, were keenly observed and scrupulously accurate depictions of plants, birds and animals. When commissioned to do illustrations for a children's book on dinosaurs, her research into the skin colors she subsequently chose for her dinosaur illustrations was cited by the Royal Academy of Sciences. Haywood was also a practitioner of the art of fore-edge painting. She became acquainted with the art form through an uncle who was associated with the Bayntun-Riviere Bindery of Bath. She did several fore-edge and double fore-edge paintings on commission every year from the 1930s to the 1970s for Inman's Books, an antiquarian book dealer in New York City. She died in Bournemouth, England in 1995. Provenance: Christie's New York, December 8th, 1989, lot 202 to Randal Moscovitz). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05161

Catalogue: Fine Bindings

Keywords: HAYWOOD, Helen, artist BURNS, Robert Eighteenth-Century Literature Fore-Edge Paintings Poetry

FORE-EDGE PAINTING; TAYLOR & HESSEY, binders; COWPER, William

Poems by William Cowper

London: Printed for J. Johnson and Co. 1811. Bound by Taylor and Hessey With an Early Twentieth Century Fore-Edge Painting [FORE-EDGE PAINTING]. TAYLOR & HESSEY, binder. COWPER, William. Poems by William Cowper, of the Inner Temple, Esq. In two volumes. A New Edition. London: Printed for J. Johnson and Co. 1811. With an early twentieth century fore-edge painting by an unidentified artist, showing a man and two ladies seated by a fireplace. The man is reading his newspaper and a dog is seated at his feet. Two octavo volumes bound in one (8 5/16 x 5 1/4 inches; 211 x 133 mm.). [i]-xvi, [1]-438; [i]-vi, [2], [1]-427, [1, blank] pp. Bound ca. 1811 by Taylor and Hessey, Booksellers, London. Stamp-signed in gilt on the fore-edges of the boards "Bound and Sold by" [&] "Taylor and Hessey". Full dark red straight-grain morocco, covers elaborately paneled in gilt, spine with three 'double' raised bands, elaborately decorated and lettered in gilt in compartments, decorative gilt board-edges and turn-ins, later pink endpapers, all edges gilt. Soundly but rather crudely rebacked with the original spine laid down. "Taylor & Hessey were busy throughout these fifteen years [1808-1823], not only in publishing and in binding, but also in re-binding books published by others. They issued, among other works, Pope's translation of the Iliad and Thomson's Seasons; but they also put fine bindings upon books by Milton, Crabbe, Cowper, Scott, and others, published by Johnson, or by Sharpe, or by Hatchard, or by Reeves, or by Longman.. Taylor & Hessey usually bound their fine books in morocco—red, blue, brown, crimson, green—and "signed" their bindings by stamping their name in gilt in the fore-edge of the binding (not the leaves, note), whenever the boards inside the leather were thick enough to carry the name of the firm.. (C.J. Weber, Fore-Edge Painting, pp. 106-7). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05169

Catalogue: Fine Bindings

Keywords: TAYLOR & HESSEY, binders COWPER, William Fore-Edge Paintings Nineteenth-Century Literature Poetry

LALLIER, Monique

A Superlative Blank Album Binding in Creased and Chased Pewter and Morocco Leather

Summerfield, North Carolina: , ca. 1980. A Unique Art Binding in Creased Pewter by Monique Lallier [BINDINGS]. LALLIER, Monique (binder). A Superlative Blank Album Binding in Creased and Chased Pewter and Goatskin Leather. Summerfield, North Carolina. Square quarto (12 x 12 in; 305 x 305 mm). Forty-eight blank leaves interleaved with tissue guards. Bound by Monique Lallier ca. 1980 (stamp-signed in gilt on rear turn-in) with black goatskin to lower cover and spine, and creased pewter with chased open dots to upper cover. Green endpapers. Signed in ink by Monique Lallier on the last blank leaf. A stunning binding In pristine condition. Monique Lallier is an internationally recognized book binder and book artist. She began her studies in the 1960s in Montreal at Cotnoir Cappone School of Fashion & L'Art de la Reliure book binding school with Simone B. Roy. She continued on to Paris, with Roger Arnoult, Centro Del Bel Libro in Ascona, with Edwin Heim and Solothurn, Switzerland with Hugo Peller. Monique's work may be found in the collections of: McGill University, Montreal, St. Joseph Oratory in Montreal for the Pope Jean- Paul II, Louisiana State University, University of North Carolina, as well as many private collections in USA, Canada, Europe and Japan. She practices her craft full time from her studio in Summerfield, North Carolina. From Ms. Lallier, responding to our inquiry: "I made several of them for clients but I cannot recall for whom I made this one. Each album is unique. It is never the same design." A wonderful gift opportunity - something unique and very special. This fine album has many potential uses, including a wedding album, a guest album or even a very special 'scrap-album' akin to those so frequently used in the glorious days of the nineteenth century. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02865

Catalogue: Fine Bindings

Keywords: Signed Copies Gift Books

MONRO, George; FRY, Joseph

Extracts, Doctrinal, Practical, and Devotional

London: William Darton and Son, 1836. Nineteenth Century Blind Stamped Binding Inscribed by the Editor MONRO, George. FRY, Joseph (editor). Extracts, Doctrinal, Practical, and Devotional. From the Writings of George Monro. London: William Darton and Son, 1836. Octavo (8 5/16 x 5 1/4 inches; 212 x 133 mm.). viii, 412 pp. Full contemporary decoratively blind-stamped plum morocco, spine lettered in gilt, all edges gilt. Near fine Inscribed on the title-page by Joseph Fry: "Raymond& Louisa Polly with / the most affectionate love of / the Editor". Joseph Fry, the editor, has taken these extracts from the original edition of Munro which was published in London in 1711. George Munro was the Vicar of Letterkenny, Ireland. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03012

Catalogue: Fine Bindings

Keywords: FRY, Joseph Irish Literature Philosophy Religion Gift Books

FORE-EDGE PAINTING; The "DOVER PAINTER", artist; ALLESTREE, Richard

The New Whole Duty of Man

London: Printed for W. Bent, 1833. With an Exquisite Fore Edge Painting of St. Giles's Church, Cripplegate By The "Dover Painter" [FORE-EDGE PAINTING]. [The "DOVER PAINTER"], artist. [ALLESTREE, Richard]. The New Whole Duty of Man, Containing The Faith as well as Practice of A Christian: Made Easy For the Practice of the Present Age.. London: Printed for W. Bent, [1833]. With an exquisite fore edge painting beneath the gilt, of St Giles's Cripplegate, Fore Street, London, by the "Dover Painter". The painting is full of Dickensian style characters. Octavo (8 1/2 x 5 3/8 inches; 218 x 136 mm.). [ii], [i]-x, [1]-542 pp. Engraved frontispiece of Moses with the Ten Commandments. Neat ink name and date on top blank margin of title-page "Hugh William Williamson/--April 13th 1838". Bound ca. 1900 in full maroon straight-grain morocco, covers decoratively bordered in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board edge and turn-ins, blue marbled endpapers, all edges gilt. With the armorial bookplate of Walter Edwin Frew on front endpaper. The fore-edge painting, which we believe was executed sometime around 1925, depicts St. Giles's Cripplegate and exhibits an unusual degree of detail, art and craft; the coloring is quite extraordinary. St Giles-without-Cripplegate is an Anglican church in the City of London, located on Fore Street within the modern Barbican complex. When built it stood without (that is, outside) the city wall, near the Cripplegate. The church is dedicated to St. Giles, patron saint of lepers, beggars and the handicapped. It is one of the few medieval churches left in the City of London, having survived the Great Fire of 1666. John Milton, author of Paradise Lost, was buried in the church in 1674. The "Dover Painter" an unknown English artist - probably worked on commission exclusively ca. 1920-1930 for Marks & Co, the London booksellers. By 1928 Dawson's Book Shop in Los Angeles, headed by Ernest Dawson, began a relationship with Marks & Co. ["a reciprocal agency agreement"] that included sending crates of books to America via the Panama Canal. Several hundred fore-edges came to Dawson's. Sesslers' in Philadelphia bought and sold examples of the "Dover" painter's work, as fore-edges by this and other artists turned up in the B. George Ulizio collection at Kent State University. Other fore-edge paintings were imported via J.W. Robinson Company [department stores], Los Angeles. The Robinson Co. books came with added new Sangorski & Sutcliffe slipcases made especially for them and sometimes included a typed identifying slip mounted on the end-leaves.. Provenance: Walter Edwin Frew (1864-1941). President Corn Exchange Bank, New York City. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05172

Catalogue: Fine Bindings

Keywords: The "DOVER PAINTER", artist ALLESTREE, Richard Fore-Edge Paintings Religion

FORE-EDGE PAINTING; The "DOVER PAINTER", artist; HAYDAY, binder; COLLINS, William

Poetical Works of William Collins, the

London: William Pickering, 1830. A Fine Fore-Edge Painting by "The Dover Painter" FORE-EDGE PAINTING. [The "DOVER PAINTER"], artist. HAYDAY, binder. COLLINS, William. The Poetical Works of William Collins. London: William Pickering, 1830. With a fine fore-edge painting executed ca. 1930 by the "Dover Painter" depicting a view of Chichester Cathedral. The distinctive treatment of the clouds and pointillistic brush strokes for detail are hallmarks of the style of the extremely skillful artist known as the "Dover Painter," the name given by Jeff Weber to the artist who produced very high quality painted fore-edges in the 1920s and 1930s. Twelvemo (6 1/4 x 3 7/8 inches; 160 x 98 mm.). [ii], [i]-lxxii, [2], [1]-150 pp. Engraved frontispiece portrait of William Collins with original tissue-guard. Bound by Hayday (stamped in black on front paste-down. With the label of "W.H. Dalton/Bookeller & Stationer/28 Cockspur St. Charing Cross" also on front past-down. Full contemporary dark green hard-grain morocco, covers bordered in blind, spine with five raised bands ruled in blind and lettered in gilt in compartments. Blind decorated board-edges and turn-ins, cream coated endpapers, all edges gilt. Expertly and invisibly rebacked with the original spine laid down. A near fine example. On the front free-endpaper in pencil "Listed in Weber 1949 p. 170 - copy from Scarsdale Public Lib." The "Dover Painter" an unknown English artist - probably worked on commission exclusively ca. 1920-1930 for Marks & Co, the London booksellers. By 1928 Dawson's Book Shop in Los Angeles, headed by Ernest Dawson, began a relationship with Marks & Co. ["a reciprocal agency agreement"] that included sending crates of books to America via the Panama Canal. Several hundred fore-edges came to Dawson's. Sesslers' in Philadelphia bought and sold examples of the "Dover" painter's work, as fore-edges by this and other artists turned up in the B. George Ulizio collection at Kent State University. Other fore-edge paintings were imported via J.W. Robinson Company [department stores], Los Angeles. The Robinson Co. books came with added new Sangorski & Sutcliffe slipcases made especially for them and sometimes included a typed identifying slip mounted on the end-leaves.. William Collins (1721 -1759) was an English poet. Second in influence only to Thomas Gray, he was an important poet of the middle decades of the 18th century. His lyrical odes mark a progression from the Augustan poetry of Alexander Pope's generation and towards the imaginative ideal of the Romantic era. Provenance: Thomas Thorpe catalogue 150 [issued ca. 1931] item # 303; Weber. 1001 Fore-Edge Paintings, p.170; Purchased by Zeitlin & Ver Brugge from Mrs. Estelle Berman, Yonkers, NY, (December 1984); Sold to Randall Moscovitz. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05176

Catalogue: Fine Bindings

Keywords: The "DOVER PAINTER", artist HAYDAY, binder COLLINS, William Fore-Edge Paintings Bindings English Literature Eighteenth-Century Literature Eighteenth-Century Literature Fore-Edge Paintings Poetry