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.A beautiful about-fine copy in rich morocco gilt. Text and plates fresh with only light scattered foxing, lightest edge-wear to bright gilt boards. Four rear leaves of publisher's advertisements. Doré's version is the first to contain Milton's 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). "None can dispute the fact that here, as in all other works he has attempted to interpret, Doré stands as a giant among his contemporaries and predecessors" ( New York Times). 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-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).
PARADISE LOST GUSTAVE DORE FULL
Large folio (13 by 17-1/4 inches), contemporary full red morocco, elaborately gilt-decorated boards and spine, with green and black morocco onlays, marbled endpapers, all edges gilt.įirst edition of Doré’s interpretation of Paradise Lost, with 50 stunning full-page folio engravings, “matched only by his illustrations for Dante’s Inferno,” very handsomely bound in full crimson morocco gilt by A.W. London and New York: Cassell, Petter, and Galpin. Edited, With Notes and a Life of Milton, by Robert Vaughan, D.D. “BETTER TO REIGN IN HELL THAN SERVE IN HEAVEN”: SPLENDID LARGE FOLIO FIRST EDITION OF DORÉ’S PARADISE LOST
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