MOORE, Thomas. Moore’s Irish Melodies. Illustrated by Daniel Maclise [A SUMPTUOUS PRODUCTION, IN A FINE ELABORATE JEWELLED BINDING BY MARCUS WARD, ILLUMINATED DEDICATION]

12,500.00

1 in stock

London: Printed for Longman, Green, Longman, Roberts & Green, no date (c.1860). New edition. Quarto. pp. [4], iv, 280. Sumptuously bound by Marcus Ward & Co., Binder to HRH The Prince of Wales, in contemporary full olive-green morocco over marbled boards with his name stamped in gilt on lower turn-in of upper board. Covers framed by double gilt fillets and dotted line with onlays of cream, purple and blue morocco elaborately tooled in gilt to Celtic interlacing design and chain- link roll; sunken panel with monogram ‘JL’ in gilt at centre surrounded by repeated Shamrocks; studded purple and green stones at corners; board-edges ruled in gilt; wide gilt dentelles; cream moiré-silk endpapers; red and gold endbands. Spine divided into six panels by five gilt raised bands, title and author in gilt direct in the second, the remainder tooled in gilt to a centre-and- corner design with classical oval onlays at centre of each panel; brass clasps. All edges gilt. Hand-illuminated crowned harp with legend ‘Erin go Bragh’ within a ruled blue and red border on vellum. Hand-illuminated dedication to J. Lewis, Edge Hill, Derby, from Ellen and Maria Kirk, Carrickfergus, dated July, 1864. The calligraphy is of the highest quality from the renowned house of Marcus Ward. Beautiful hand-painted dedication within a framed oval border decorated with flowers, foliage leaves, dots and scrolls in an assortment of wonderful colours. A superb binding on Moore’s finest work in superb condition.

In 1802 John Ward had entered into partnership with Robert Greenfield and James Blow. In 1825 this partnership ended and Ward set up his own firm, John Ward & Sons, with mills and premises in Coleraine, County Derry, Comber, County Down, and Belfast. Marcus Ward ran the paper mill at Comber, and following the retirement of his father re-established the business at 14 Pottinger’s Entry, Belfast, in 1833. The papermaking, printing, and stationery business proved increasingly successful and in 1842 it moved to 6 Corn Market. The firm was renamed Marcus Ward & Sons, and Ward added lithography and fine bookbinding to its services. Marcus Ward died in 1847 at his home in King Street, Belfast, from typhus. The Marcus Ward & Co. business was taken over by his widow and three of his sons, Francis Davis Ward, William Augustus Hardcastle Ward, and especially John Ward. Following the death of Ward, Marcus Ward & Co. saw increasing expansion with growing success, which was sustained up to 1899 and the dissolution of the firm. Its high-quality printing, encompassing books, journals, calendars, Christmas cards, and unique one-off presentation addresses, acquired a prestigious reputation, winning prizes at London’s great exhibitions of 1851 and 1862, and at the Paris expositions of 1867 and 1878. The expansion in scope and range of the firm’s products was accompanied by its pioneering use of such technical developments as chromolithography, photography, and wood engraving, as well as by a progressive variety of design applied to mass-produced products, including styles such as Victorian antiquarian and heraldic, Gothic revival, Aesthetic, and Queen Anne, and later Celtic designs which became fashionable in the fin-de-siècle. Stylistically as well as technically, Marcus Ward products became known worldwide as being synonymous with superb creative aesthetics as well as state-of-the art quality products, among the finest and best available. Marcus Ward & Co. remained one of the most progressive and successful of all Victorian printers, stationers, and publishers until 1899, when it went into liquidation and was bought by another Ulsterprinters, McCaw, Stevenson, & Orr, who continued to issue Marcus Ward books, calendars, and cards until partition in 1921.

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