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John Hatchard and Son, London 1827 - 219 x 133 mm (8 5/8 x 5 1/4"). 6 p.l., 361, [1] pp. Apparently the FIRST EDITION. Appealing contemporary red straight-grain morocco, covers with gilt ruled border and small sunburst cornerpieces, raised bands flanked by plain and decorative gilt rules, turn-ins with decorative gilt roll, marbled endpapers, all edges gilt, front joint very expertly renewed. WITH A VERY ACCOMPLISHED FORE-EDGE PAINTING OF WEST GATE, CANTERBURY. Flyleaf facing title page with faint but readable offset of the (backward) text of a previously tipped-in presentation letter from the author. Corners a bit bruised, spine a little dried, leather slightly marked and soiled, but the expertly repaired binding sound and attractive, with lustrous covers. Two-inch horizontal tear to front endpaper, title page a bit soiled, but the text remarkably clean, bright, and fresh. These discourses, full of enthusiasm for the Christian life, were delivered by Joshua Gilpin, the Anglican vicar of Wrockwardine in Shropshire. Gilpin was strongly influenced by Methodism, having early in life come under the influence of John Fletcher, a close associate of Wesley and pastor in another Shropshire village, Mandeley. Although this volume of discourses is very rare (only four copies listed in OCLC), Gilpin's "Monument to Parental Affection," reflecting on the death of his son, went through a number of editions both in England and America. Full of color, life, and picturesque detail, this charming fore-edge painting, done by a talented artist, shows Canterbury as it was in the 19th century. In the center is the massive West Gate, built in the 14th century. Arching over the pilgrim's road from London, the gate still stands today, its twin drum towers so ample that the structure is able to house a small museum of armor. Our painting shows the street scene before the gate under a bright sky with white cottony clouds. Women dressed in full skirts go about their business, while a man passes on horseback, and another nag draws a cart toward the viewer. On either side of the gate, the hostels, taverns, and quaint old homes of Canterbury spread out, lit by sunlight on the left and tinted blue by the shadows on the right. The artist here exhibits considerable delicacy in the way that he has applied his paint, uses light and shadow with great sophistication, designs the scene cleverly so we feel a significant sense of depth (with all of the painting's elements leading us back to focus on the gate in the distance), and generally paints a convincing and charming picture. The painting is 19th century (and probably before 1850), judging by the hand that has identified the scene in manuscript at the front. [Attributes: Hard Cover]
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
Last Found On: 2014-10-10           Check availability:      AbeBooks    


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