Details
BIBLE. The Holy Bible containing the Old and New Testaments according to the Authorised Version, illustrated by Modern Artists, London, New York, Paris, Berlin, Amsterdam: by the Illustrated Bible Society, [1900]
Large 2° (537 x 390mm., 20.20kg.). Two parts in one volume, 2pp. 'Family Register' at the front, half-title, titles, part titles and first page of each book all printed in black and gold, numerous full-page uncoloured plates after Burne-Jones, Alma Tadema, Frank Dicksee, Puvis de Chavannes, Gerôme, Tissot, Max Klinger, von Uhde, Liebermann, Joseph Israels, E.A. Abbey, Repin, Segantini and others, 5 plates to the book of Genesis, text ornamentation, initial-letters, titles etc. by Walter Crane. Contemporary vellum over wooden boards, lettered in gilt, g.e.
WALTER CRANE worked on the designs for this magnificent Bible between 1897 and 1900. In addition to five illustrations, he completed designs for headings, tailpieces, page decorations and historiated initials. In spite of the vast amount of work it entailed, he considered the result a compromise because the styles of the individual contributors were so diverse and the publishers did not follow his suggestions for a heavier type and unglazed paper. Nevertheless it is a remarkable collaboration between eminent British, French, German, Dutch, American, Russian and Italian artists of the period.
Large 2° (537 x 390mm., 20.20kg.). Two parts in one volume, 2pp. 'Family Register' at the front, half-title, titles, part titles and first page of each book all printed in black and gold, numerous full-page uncoloured plates after Burne-Jones, Alma Tadema, Frank Dicksee, Puvis de Chavannes, Gerôme, Tissot, Max Klinger, von Uhde, Liebermann, Joseph Israels, E.A. Abbey, Repin, Segantini and others, 5 plates to the book of Genesis, text ornamentation, initial-letters, titles etc. by Walter Crane. Contemporary vellum over wooden boards, lettered in gilt, g.e.
WALTER CRANE worked on the designs for this magnificent Bible between 1897 and 1900. In addition to five illustrations, he completed designs for headings, tailpieces, page decorations and historiated initials. In spite of the vast amount of work it entailed, he considered the result a compromise because the styles of the individual contributors were so diverse and the publishers did not follow his suggestions for a heavier type and unglazed paper. Nevertheless it is a remarkable collaboration between eminent British, French, German, Dutch, American, Russian and Italian artists of the period.