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Temple Rare Books

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book (2)

Illustrations of Masonry

Preston, William [5], vi-xxiv, [1], 2-444pp. Full contemporary straight grain morocco, a masonic binding, almost certainly by John Lovejoy, though without his ticket, smooth back, divided into six panels by gilt rules and Greek key bands, each panel with a separate masonic device, upper cover replicates the plate found in the book, a Greek key frame, with compass point letters, surrounding a variety of masonic symbols and devices, lower cover with a Greek key border surrounding a thin rolled rope line with masonic symbols as corner pieces, gilt roll to inner edges, a.e.g., shell pattern marbled endpapers. Slightly rubbed to extremities, corners gently bumped. Internally some light browning, title browned, light stain to top corner starting around signature O and running to the end, previous owners name to ffep. The twelfth edition, with an engraved portrait frontispiece of the author, engraved portraits of the Earl of Moira and the Duke of Sussex, and a double page engraving of the Freemason's Tavern, as well as a full page engraving of various masonic symbols replicated on the upper cover. With the bookseller's label of Asperne to lower pastedown. John Lovejoy (1749-1818), bookbinder and freemason, whose uncompromising approach to his workers and trade unions led him to receiving the nickname of 'the Tyrant', see Howe, 'The London Bookbinders 1780-1806'. For Lovejoy's masonic bindings, see Maggs 1075 Part II, items 260 and 261; Hobson, 'English Bindings in the Library of J.R. Abbey', page 246; and Foot, 'Henry Davis Gift, Volume II', item 207 (page 250), for a binding that exactly matches this one Size: 12mo
  • $4,558
  • $4,558
book (2)

The Natural History of Barbados – In Ten Books

Hughes, Rev. Griffith [17], ii-vii, [2], 2-250, *251-*254, 251-314pp, [20]. Slightly later half calf and marbled paper over boards, smooth back, divided into seven panels by gilt rules, title label to second panel. Outer joints slightly split and repaired with coloured Japanese tissue, inner joints also strengthened with Japanese tissue, slightly rubbed to extremities. Internally some light browning and occasional foxing throughout, map and several plates with off-setting, couple of small nicks to page edges, small tear to map. Complete with double-page map and thirty, (actually thirty-one, with two copies of plate 23), full-page uncoloured engravings, twenty-two of which are botanical, by G. D. Ehret (For Ehret, see Alexander, page 321) and G. Bickham (for Bickham, see Alexander, pages 115-116). Alexander, in his piece on Ehret, notes that only thirteen of the plates were designed by him, and only ten were actually engraved by him, with five being engraved by James Mynde, (see Alexandere, pages 640-641), four by Bickham, and one by William Austin (see Alexander, pages 62-64). The map is by Thomas Jeffreys, (see Worms and Baynton-Williams, pages 347-351). Hunt notes that this book "is one to place beside Catesby's 'Natural History', which also gave some account of West Indian names, with similar local names. Hughes had an advantage over Catesby in that a majority of the Barbados plates were drawn by Ehret . It is the model work by the colonial parson who knows his poets and would know all he can of the flora and fauna among which he has come to dwell". Nissen BBI:950; Sitwell / Blunt, page 104 Size: Folio
  • $3,907
  • $3,907
The Seasons

The Seasons

Thomson, James; Murdoch, Patrick (Life of the Author) ; Corney, Bolton (Ed) [7], viii-xlviii, [5], 6-320pp. Later full morocco by Thomas or John Fazakerley of Liverpool, with their name stamped to foot of front turn in, raised bands, spine in six panels, title lettered directly to second panel, and author to third, remaining panels with double fillet border in gilt, red morocco frame, single fillet inner border, with central heart tool and four dots, upper cover with double fillet border in gilt, red morocco frame with single fillet inner border, hearts and dots surrounding another red morocco inner frame, with central oval red morocco frame encompassing the title and author, surrounded by fauna and flora in gilt, lower cover with similar frames and heart and dot border, single line to edges, inner edges again with red morocco border and watered silk doublures and endpapers, top and bottom edges gilt with gauffering, fore edge gilt and gauffered, with a triptych of small fore edge paintings (visible) of country scenes. Small repair to head of upper joint, very slightly rubbed to extremities. Internally the text is lightly browned, but clean. Illustrated throughout by several artists including John Bell, C. W. Cope, J. P. Knight, Frank Stone, C. Stonhouse and Thomas Webster. Book plate of Randall Moskovitz loosely laid in (Weber notes that Randall Moskovitz owned other Fazakerley bindings). Thomas Fazakerley and his son John, bookbinders in Liverpool were well known for their 'reliure de luxe' bindings. Weber notes that "a lot of fore-edge paintings came out of Fazakerley's bindery . Many of the Fazakerley bindings with fore-edge paintings are done on the flat or closed surface [as here], especially those bindings that feature a triptych . It might be added that the style of paintings does not clearly appear to differ. Carl J. Weber surmised there may have been several artists working for Fazakerley and this may be true, though unproven" (Weber, 'Annotated Dictionary of Fore-Edge Painting Artists and Binders', page 141) Size: 8vo
  • $9,768
  • $9,768
book (2)

L’Effort: La Madone, L’Antechrist, L’Immortalite, La Fin Du Monde

[6], 3-144pp. Near contemporary (1898) full turquoise morocco by Charles Meunier, with his pallet to upper morocco doublure, Spine with two bands, leafy stem and flower onlays to spine, upper cover with floral mosaic onlays in several colours, with drooping fuchsias in crimson, pink, purple, green, brown, with gilt stamens, lower cover with a smaller onlaid design of a purple flower and buds with stamen in gilt, both inside a stylised brown morocco frame, morocco doublures again with onlaid flowers and gilt stamens, with purple silk brocade flyleaves, comb and curl marbled endpapers, and the original wrappers and spine bound in, a.e.g. Spine very slightly dulled, internally quite bright and clean. Morocco entry slipcase lightly worn to extremities. Hand-coloured decorative floral half-title, colophon, and title by Rudnicki, each part with pictorial title and text within pictorial or decorative border, some hand-coloured, and extra-illustrated with three original watercolours by Alexandre Lunois, Carlos Schwabe, and Alexandre Seon, each signed by the artist. L'Immortalite with signed presentation inscription from Schwabe to Madame J. Hanin to first page of text. No 11 of (?), 'pour P.-L. Beraldi' (presumably Pierre-Louis Beraldi, the father of the bibliophile Henri Beraldi). A magnificent work with four stories, each illustrated by different symbolist artists; comprising 'La Madone', with lithographs after Alexandre Lunois; 'L'Antechrist', engravings after Eugene Couboin, hand-coloured by A. Charpentier; 'L'Immortalite', etchings and engravings by Carlos Schwabe, the latter hand-coloured by Charpentier; 'La Fin du Monde', hand-coloured engraved title printed in silver, and engravings after Alexandre Seon, some hand-coloured Size: 4to
book (2)

The Birth Life and Acts of King Arthur of His Noble Knights of the Round Table Their Marvellous Enquests and Adventures the Achieving of the San Greal and in the End Le Morte Darthur with the Delourous Death and Departing Out of This World of Them All

Two volumes complete, 1893-4 - Volume One - [9], x-xc, [1], 2-455pp, [1]; Volume Two - [9], 458-990pp, [2]. Contemporary full vellucent vellum bindings by Cedric Chivers of Bath, with their pallet to lower turn-in of the second volume. Smooth backs, spines with hand painted title and floriated devices, upper covers with designs after Beardsley's originals within each volume, first volume with a version of 'Arthur and the Strange Mantle' (page 132), and the second volume with the first half of 'How Sir Launcelot was Known by Dame Elaine' (page 670), lower covers with two single line gilt frames, t.e.g., marbled endpapers. Very mildly ex-library, with a discreet blind stamp to frontispiece and title of second volume, tiny number in ink to reverse of each title, occasional light browning, some minor staining from a paper clip to prelims of first volume, title and frontispiece of second volume lightly browned, but generally quite bright and clean. First volume with a photogravure frontispiece and eleven full page drawings by Beardsley, the second volume with a photogravure frontispiece and seven (five double page) drawings by Beardsley (as called for). A handsome set of the 'ordinary' issue of fifteen hundred copies, originally issued in parts, and then bound in two volumes, with a 'special' issue on Van Gelder paper and bound in three volumes. See Cole, 'Aspire to the Beautiful', page 83, with a variant design; Life 124; Samuels Lasner 22 Size: 4to
book (2)

A History of the University of Cambridge, Its Colleges, Halls, and Public Buildings WITH A History of the University of Oxford, Its Colleges, Halls, and Public Buildings (Four Volumes)

Four volumes complete, 1814-15 - First Volume - Oxford, Volume One - xiv, [3], ii-xxv, [2], 2-275pp, [7]; Second Volume - Oxford, Volume Two - [3], 2-262pp, [6]; Third Volume - Cambridge, Volume One - [7]-vii, [3], x-xii, [1], 2-296pp, [6]; and the Fourth Volume - Cambridge, Volume Two - [5], 2-324pp, [8]. Uniformly bound by De Coverly in full morocco, raised bands, spines in six panels, gilt title to second panel, and author and volume to third, remaining panels with central lozenge shaped fleuron, small fleuron tool to either side and small star tools above and below, volute corner pieces, surrounded by double fillet border, place and date to foot. Covers with rolled border, a double fillet frame, another rolled frame, and another double fillet frame surrounding an elaborate fleuron frame and fleuron corner pieces, single fillet to board edge, inner edges gilt, a.e.g. with combed and curled marbled endpapers. Minor bumping to corners, some light wear to extremities, with some minor scraping to covers, but externally attractive. Usual off setting from plates to text leaves internally, otherwise fairly clean. One plate (Countess of Pembroke) partially remargined (not affecting image). Bookplate of E. Peter Jones to front pastedowns. First Oxford volume lacks the half-title. Complete with all plates called for, including the founders plates, a total of one hundred and fifteen in Oxford, and ninety-six plates in Cambridge. An attractive pair. Abbey, Scenery, 280 and 80 respectively Size: Folio