In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More. Erasmus, Trans White Kennett.
In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More
In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More
In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More
In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More

In Praise of Folly, Illustrated with many curious Cuts, Designed, Drawn, and Etched by Hans Holbein, with Portrait, Life of Erasmus, and his Epistle addressed to Sir Thomas More

Good. Item #6402

London: Reeves & Turner, [post 1876]. Reprint Edition. Octavo; [xxviii] + 207pp. 48 intaglio prints after Holbein. Maroon leather with gilt spine lettering; top of textblock gilt. The original leather binding survives solely as a scuffed spine, almost completely detached at rear joint; lettering still detectable. Boards and hinges have undergone two phases of repair: a first repair replaced board leather with maroon canvas and resewed the gatherings; a second repair to rear hinge used stiff white mesh. First gathering of textblock is now loose but hanging on—literally—by two threads. Vestiges of prior-to-prior-owner's bookplate on front pastedown. Ink signature of immediately prior owner on front pastedown and first leaf recto. All pages and images present and accounted for.

It appears that Reeves & Turner, in its first edition of 1876 and in subsequent reprints, never bothered to credit the translation it was making use of: that of White Kennett, Lord Bishop of Peterborough. And the prints are more "after Holbein" than "by Holbein"—though excellently simplified and cut.

Despite the rough usage suffered by the binding surfaces, the textblock is unmarked and free from tanning or foxing. The heavy ivory paper is bright and clean. Of note particularly is the superb quality of the intaglio prints: plate marks are deeply impressed in the robust paper, and the dimensionality of the inked lines is still easily detectable to the touch.

Price: $40.00

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