![]() Edition Print-run from a single setting of type without substantial change. ![]() Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall smaller formats, such as 24mo and 32mo, are uncommon.Doublure Pastedowns made not of paper but of leather, for decorative purposes.Colophon Printed note at the end of a text containing information about the printing of the book.A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works.Chromolithograph Lithograph printed in colors, typically three or more.Reverse calf, with a distinctive suede-like texture, is occasionally used. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Calf Binding material made from cowhide-versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain.Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.Of particular value to collectors as evidence of a very early form of the book. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper.Association Copy copy that belonged to someone connected with the author or the contents of a book.Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.Although the name contains the word “tint”, this is a black-and-white printing process aquatint plates can often be hand colored, however. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Aquatint Copperplate process by which the plate is “bitten” by exposure to acid.Interior fine expert repairs to front joint and corners. Without Plate IX: “With heads, hands, wings, or feet, pursues his way, And swims, or sinks, or wades, or creeps, or flies” (Book II, lines 949-50), and with many plates bound out of sequence. This was also the first appearance of the notes and Life by editor Robert Vaughan, a historian and doctor of divinity who “valued nonconformity as a bulwark of evangelical religion, and did real service to his denomination by extending its literary culture” (DNB). In Doré’s depiction of the hellish steeps, of the armies of the night and their beaten but triumphant and queerly illuminated leader, and of the ineluctably lovely Adam and Eve, it is hard to discover, among the ingenious but fallen, a face or form not worthy of intense admiration. In his designs for this volume, we see full-blown the Romantic reading of Milton-as a celebrator of radical genius, and of all charged experience, however gotten-that drew the poets of the Romantic movement to Milton, and a half-century of book illustrators to Doré. Only Doré’s illustrations for Dante’s Inferno match his work on Paradise Lost in epic scope and acute lyric sensitivity. “When Cassell saw the Doré Bible illustrations in the fall of 1865, they were so impressed they not only made arrangements with the French Catholic publisher Mame for Cassell to be the English publisher, but they personally approached Doré to do Milton” (Malan, 79). Large folio (12 by 17 inches), publisher’s full brown morocco gilt, raised bands, marbled endpapers, all edges gilt.įirst edition of Doré’s interpretation of Paradise Lost, with 49 of 50 folio full-page engravings with captioned tissue guards, in publisher’s deluxe binding. London and New York: Cassell, Petter, and Galpin, 1866. Edited, With Notes and a Life of Milton, by Robert Vaughan. “BETTER TO REIGN IN HELL THAN SERVE IN HEAVEN”: SPLENDID LARGE FOLIO FIRST EDITION OF DORÉ’S PARADISE LOST
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |