A PHILOSOPHICAL ENQUIRY INTO THE ORIGIN OF OUR IDEAS OF THE SUBLIME AND BEAUTIFUL

London: Printed for J. Dodsley, 1782. Ninth Edition. 225 x 135 mm. (8 3/4 x 5 1/4"). ix, [7], 342 pp.
VERY APPEALING CONTEMPORARY VELLUM OVER BOARDS, SURELY BY EDWARDS OF HALIFAX, covers bordered by a Neoclassical pentaglyph and metope roll against a blue wash, BOTH COVERS WITH VERY PROMINENT NEOCLASSICAL GRISAILLE PAINTINGS UNDER THE VELLUM, that on the upper cover of a youth, nude except for draped cape, a small scroll in his outstretched hand, that on the lower cover of the Three Graces, smooth spine divided into panels by gilt pentaglyph and metope border over blue wash, flanked by rows of gilt lancets, one panel with gilt titling on a blue background, turn-ins with gilt chain roll, pink endpapers, all edges gilt. WITH A (presumably later) DRAMATIC FORE-EDGE PAINTING OF MOUNT ETNA ERUPTING. Front pastedown with morocco bookplate of Estelle Doheny and engraved bookplate of David Mac Watt; title page with ink signature of Patrick Dudgeon. ◆Just a hint of soiling to covers, fading and losses to blue paint (as usual), two inches of front board edge gnawed at bottom, occasional mild foxing, more pronounced in a couple of quires, but still quite a pleasing copy, the binding solid and most attractive, the text clean and fresh, the margins especially ample, and the fore-edge painting very well preserved.

Burke's popular and influential essay on aesthetics is offered here, appropriately, in a very aesthetically pleasing package. The famous Edwards of Halifax bindery, founded by William Edwards (1723-1808) and continued by several of his brothers, half-brothers, and sons, was responsible for the introduction of a number of stylistic innovations, probably the two most important of which are reflected in the present volume. The first of these was a method by which vellum was rendered transparent by soaking it in a pearl ash solution and heavily pressing it and then ornamenting book covers with drawings or paintings done on the underside of the vellum, where the art work was protected from dirt and the elements. The illustrations on our covers are especially well realized, with subtle and delicate shading. The other--surely more significant--innovation was the idea of concealing a painting under the gilt of the fore edge. This hidden treasure could be revealed, once the edge was fanned out, as a special surprise element of the volumes they adorned. The present volume does conceal such a treasure, though it is not in the Edwards' characteristically serene style, which typically was done in grisaille. With its central oval element, our striking painting is more modern in design and execution, and its fiery volcanic eruption is very far from the tranquil English landscapes favored by Edwards. Our volume has a distinguished provenance: it comes from the celebrated library of Estelle Doheny (1875-1958), which contained as one of its highlights probably the most extensive and distinguished collection of fore-edge paintings ever assembled. This volume sold for $4,950 in Part V of the Doheny sale, held in 1989..