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Moderate rubbing to leather at joints and edges and corners of boards. Gutter split at front hinge. Portrait frontispiece has some foxing and a vertical crease to the inner margin. ;  viii (ix-xvi hand-numbered additional manuscript contents leaves) (9)-394 pages. Portrait frontispiece. Extra-illustrated with 95 additional pen, ink and wash drawings by Richard Bate.The illustrations are skillfully executed and evocative. Each illustration initialed "R. B.", and dated between 1854 and 1856. Dates usually indicate the month, sometimes just the year. The illustrations have presumably all been copied from other sources. Illustration number 12 "A General View of the Great Temple at Edfou" gives the source from which the ink sketch has been rendered as the "Pictorial Bible". Each illustration of an ancient ruin matches a reference to that ruin in the lines of the poem, the line being annotated with the number of the corresponding illustration. Handwritten list of the titles of the illustrations bound in with the preliminary leaves. Full green morocco binding with gilt panels to both boards, gilt decoration to spine. Gilt dentelles. Marbled endpapers. All page edges gilt. Page dimensions: 182 x 117mm (7 1/8" x 4 5/8"). Inscribed "for Sophy / your affte. Father / Richard Bate / Love to Nelly and a kiss for me." Richard Bate (1775-1856) was born in London. In 1807 he travelled to Rio de Janeiro, Brazil. In Brazil he established a trading company in nautical, optical and surgical instruments. Watercolour paintings by Bate of the city of Rio de Janeiro are held by Cornell University. His daughter Sophia, to whom this volume was gifted by her father, was born in Brazil in 1817, and died in London in 1889. Richard Bate returned to England in 1854. Sophia married Dr Septimus Wray (1792-1869) and they had one child, Sophia Eleanor Wray (1848-1940). Sophia Eleanor Wray married Dr John Thomas Mercer in 1870. The front fly leaf has the signature of "Sophia Eleanor Mercer". They had a daughter Eleanor Maria V. Mercer (1875-), who married Laurence Anderson (born Tokyo, 1875). Eleanor Maria V. Mercer and Laurence Anderson had a son John Laurence Anderson, born in Bangkok in 1900. John Laurence Anderson, grand-son, is also mentioned in a family inscription on the front endpaper by Nellie Mercer nee Wray (Sophia Eleanor Mercer). The illustrations include stone ruins and monuments of the ancient ("Dark Era") and classical worlds, and geographically principally from Rome, Greece, the Near and Middle East. Also Palenque from Mexico. Illustrations include: Babylon (Birs Nimroud); Nineveh; Mount Hor; Petra; Nubian Pyramid; Ipsamboul; Edfou; Latopolis; Thebes; Carnac; The Memnon; Dendera; Pyramids at Gizeh; The Sphinx; The Nile; Heliopolis; Alexandria; Gibraltar; Uxmal; Palenque; Elephanta; Temple of Minerva at Sunium; Mars Hill, Athens; Paul preaching; Corinth; Egina; Samos; Patmos; Rhodes; Rome; Tivoli; Vauclause; Avignon; Ephesus; Tyre; Lebanon; Baalbec; Palmyra; Persepolis; Dead Sea; Tiberias; Capernaum; Samaria; Tomb of Rachel; Bethlehem; Jerusalem. [References: Stickel, Erico J. Siriuba, "Uma Pequena Biblioteca Particular: Subsídios para o Estudo da Iconografia no Brasil" (São Paulo: Universidade de São Paulo, 2004. p. 83); Ferrez, Gilberto. "Aquarelas de Richard Bate: o Rio de Janeiro de 1808 - 1848" (Rio de Janeiro: Galeria Brasiliana, 1965).]; 16mo