A Wittenberg Torch article, "Gives College Rare Books," from November 15, 1957 describes the acquisition of the Fore Edge Collection and the history of Fore Edge painting;
"Recalling an almost forgotten art which flourished centuries ago, Wittenberg has been given a valuable collection of Fore Edge books. The collection, with publication dates ranging from 1791 to 1862, was included in a bequest made by the late Mrs. Kate M. Myers of Ashland. Since Mrs. Myers will was made within one year of her death, the bequest became void. Mrs. Myer’s daughter, Mrs. Carleton Mitchell of Sharp’s Point, Md., knowing of her mother’s wishes concerning the books has since presented them to the college. The practice of decorating the fore edge of a book, from which the art gets its name, began about the 10th century, when titles, legends and floral devices were painted upon book edges either for decorative effect of to denote ownership. What is now known as fore edge painting was introduced in the 17th century by Samuel Mearne, royal bookbinder to King Charles II of England. Mearne’s paintings were created by placing a hidden painting on the fore edge. Mearne used a system whereby the pages were fanned out and the picture or design was painted on the edges of the page. As a result, side views of such books reveal only gilt edges but when the pages are fanned out, the picture becomes plain.”
The Fore Edge Painted volumes were donated to Wittenberg University from the estate of Kate Myers of Ashland, OH in 1957. There are no restrictions on their use.
Access Restrictions
This collection is open for research. Contact Suzanne Smailes for more information
There are 32 total volumes with published dates ranging from 1791 to 1862. Some of the volumes are religious or literary in content with relating images on the fore edge.
Extent: 32 Volumes
Weber, Carl J. Fore-edge Painting: a historical survey of a curious art in book decoration. New York: Harvey House, 1966. (OPAL Record Link)
Wikipedia contributors. "Fore-edge painting." Wikipedia, The Free Encyclopedia. https://en.wikipedia.org/w/index.php?title=Fore-edge_painting&oldid=1020727533. Accessed September 6, 2021.
Ancient and modern history of Lewes and Brighthelmston: in which are compressed the most interesting events of the country at large, under the Regnian, Roman, Saxon, and Norman settlements
By Paul Dunvan
London: Printed for W. Lee, the editor and proprietor…, 1795
Fore edge paintings; Castle, seen from a distance. A view of Lewes Castle is drawn on each cover. Very rare. Artist is Edwards of Halifax. OPAL Record Link
Athens: its rise and fall: with the views of the literature, philosophy and social life of the Athenian people. 2 Volumes
By Edward Lytton Bulwer
London: Saunders and Otley, 1837
Fore edge paintings: Volume 1: Greek Temple and Volume 2: The Bay of Salamis. OPAL Record Link
The borough: a poem, in twenty-four letters. 2 Volumes
By Rev. George Crabbe
3rd Edition
London: Printed for J. Hatchard, 1810
Fore edge paintings: Volume 1: Fortenham Mills (?) and Volume 2 Broxbourne Bridge, Herts (?) OPAL Record Link
The castle of Otranto: a Gothic story/ translated by William Marshal, Gent. from the original Italian of Onuphrio Muralto
By Horace Walpole
6th Edition
Parma: Printed by Bodoni, for J. Edwards, bookseller of London, 1791
Fore edge painting: Landscape with house. OPAL Record Link
(Additional Information Below)
The dramatic works of William Shakespeare: with a glossary
By William Shakespeare
Chiswick: Printed by C. Whittingham for Thomas Tegg, Cheapside [et al.], 1823
Fore edge painting: Anne Hathaway’s Cottage. OPAL Record Link
An essay on the evils of popular ignorance: and, A discourse on the communication of Christianity to the people of Hindoostan
By John Foster
2nd Edition
London: B.J. Holdsworth, 1821
Double fore edge paintings: Rochester Castle by Moonlight, and New Bridge of St. John’s College, Cambridge. OPAL Record Link
France in 1829-30. 2 Volumes
By Lady (Sydney) Morgan
2nd Edition
London: Saunders and Otley, 1831
Fore edge paintings: Volume 1: Hotel de Ville, Paris and Volume 2: Aignon on the Rhone. OPAL Record Link
Helga: a poem in seven cantos
By the Honorable William Herbert
London: Printed for John Murray, 1815
Fore edge painting: Tower of London, Bloody Tower, and Bell Tower. OPAL Record Link
Historical illustrations of the fourth canto of Childe Harold: containing dissertations on the ruins of Rome; and an essay on Italian literature
By John Hobhouse
2nd Edition
London: J. Murray, 1818
Fore edge painting: Angelo Castle, Rome. Kept in a green drop-leaf case. OPAL Record Link
The Holy Bible, containing the Old Testament and the New: translated out of the Original Tounges; and with the former translations diligently compared and revised by His Majesty’s special command
London: Printed for George Eyre and Andrew Strahan, 1814.
Fore edge painting: Christ on the Cross. This Bible is the King James Version. OPAL Record Link
The imitation of Christ: in three books
By Thomas à Kempis, Translated from the Latin by John Payne; with an introductory essay, by Thomas Chalmers.
Glasgow: Printed for Chalmers and Collins, by W. Collins & Co. 1822
Fore edge painting: Petersham, Surrey. OPAL Record Link
Of the imitation of Christ: four books
By Thomas à Kempis
New edition
Oxford: John Henry and James Parker, 1856
Fore edge painting: Hereford Cathedral. OPAL Record Link
Maud: and other poems
By Alfred Tennyson
A New Edition
London: Edward Moxon & Co., Dover Street., [1865]
Fore edge painting: The Crystal Palace. OPAL Record Link
Odes of Pindar / translated from the Greek, with notes and illustrations by G. West, R. B. Greene, and H. J. Pye; to which is prefixed, a dissertation on the Olympic games, by the former.
By Pindar
London: Suttaby, Evance, and Hutchings [etc.], 1810
Fore edge painting: Oystermouth. Housed in red slip case. OPAL Record Link
Paley’s Evidences of Christianity. 2 volumes
By William Paley
London: D. Walther Brydges, 1821
Fore edge paintings: Volume 1: Bridewell Palace and Volume 2: Southwark Bridge. Housed in brown slip cases. OPAL Record Link
Paradise Lost
By John Milton; to which are prefixed, The life of the author; and a criticism on the poem by Samuel Johnson
London: Printed for F.C. and J.R. Revington [etc.], 1817
Fore edge painting: Fleet Street, London. OPAL Record Link
(Additional Information Below)
Poems. 2 Volumes
By Rev. George Crabbe
6th Edition
London: Printed for J. Hatchard, 1812
Fore edge paintings: Volume 1: Gale House and Volume 2: Mylestone. OPAL Record Link
Poems
By Samuel Rogers
London: Printed for T. Cadell and W. Davies, by T. Bensley. 1820
Fore edge painting: St. Augustine’s Gate Canterbury. OPAL Record Link
(Additional Information Below)
Poems
By Samuel Rogers
New Edition
London: Printed for T. Cadell and W. Davies, by T. Bensley. 1820
Fore edge painting: City Scene. OPAL Record Link
The poetical works of Robert Burns: including the pieces published in his correspondence and reliques, with his songs and fragments: to which is prefixed a sketch of his life
By Robert Burns
London: Printed for T. Cadell and W. Davies, Strand: and W. Creech, at Edinburgh, 1813
Fore edge painting: Burns’ birthplace. Housed in a green slipcase. OPAL Record Link
Specimens of the Polish Poets: with notes and observations on the literature of Poland
By John Bowring
London: Printed for the author, sold by Baldwin Cradock, and Joy, 1827
Fore edge painting: Kings Entrance to the House of Lords. OPAL Record Link
The spiritual Quixote: or, The summer’s ramble of Mr. Geoffry Wildgoose: a comic romance, to which is prefixed the life of the author. 2 Volumes
By Richard Graves
London: C. Baldwin, printer, [1800]
Fore edge paintings: Volume 1: Claverton Church near Bath and Volume 2: Pulteney Bridge, Bath. OPAL Record Link
Tales. 2 Volumes
By Rev. George Crabbe
3rd Edition
London: Printed for J. Hatchard, 1813
Fore edge paintings: Volume 1: Epsom, Surrey and Volume 2: Leatherhead Church(?) OPAL Record Link
Travelling sketches on the sea-coasts of France: with beautifully finished engravings, from drawings by Clarkson Stanfield, Esq.
By Leitch Ritchie
London: Longman, Rees, Orne, Brown, Green, and Longman; Paris: Rittner and Goupill; Berlin: A. Asher, 1834
Fore edge painting: Hunting. OPAL Record Link
A treatise on the Lord’s Supper: designed as a guide and companion to the Holy Communion: in two parts
By Rev. Edward Bickersteth
5th Edition
London: Printed for L.B. Seely and Son by J. Seeley, 1824
Fore edge paintings: The Congregation and Thames Detton Church. OPAL Record Link
(Additional Information Below)
Additional Metadata for Gallery Above Completed by Megan Bobb in 2015:
2. TR PR 5234 A1 1820 c.1
Title: Poems
Author: Samuel Rogers
Publication Date: 1820
Publication Location: London, England (the Strand)
Publisher: [printed for] T. Cadell and W. Davies
Print Location: London, England (Fleet Street)
Printer: T. Bensley
Language: English
Subject: Poetry
Type: Compilation
Size: 17 cm
Other Physical Descriptions: Bound in tan leather? with diamond blind stamping covering front and back covers, framed by triple-rule gilt frame and floral blind stamped frame. Spine has “Rogers Poems” in brown leather, pub date at tail cap, gold floral and lyre designs. Marbled endpapers, black and white in-text woodcut illustrations. Printer’s colophon at end of text. Light blue ribbon bookmark attached to spine.
*** This book has an interesting combination of marbled head, tail and fore-edges, as well as a fore-edge painting on top of the marbling. This is the traditional kind of fore-edge painting, which is hidden when the book is closed. The shelflist indicates that the painting is of St. Augustine’s Gate, Canterbury; there’s a note on the endpaper verso, as well, that just says “Horse Guards,” which I take to be a handwritten note of someone’s guess at the painting’s title. When the pages are fanned, the fore-edge marbling can still be seen faintly.
Pagination: 251 pages: unnumbered: Introductory Poem? Preface Poem, contents; [5]-251: text
Collation: 8°: [A2: ?? Include prelims for a full signature?] B8-I8, K8-R6
Notes: Inscription on flyleaf: [Laura Branton] from her dear Aunt Sophia July 24th 1826. Inscription on title page: Mary [S]hutter[b]uck Dec. 30th 1825
Contents: The Pleasures of Memory—Epistle to a Friend—Ode to Superstition—Written to be spoken in a Theatre—On --- asleep—Jacquline—To --- --From Euripides—Captivity—The Sailor—To an old Oak—To Two Sisters—On a Tear—To a Voice that had been lost—From a Greek Epigram—To the Torso—To ---Written in a Sick Chamber—To a Friend on his Marriage—The Alps at Day-break—Imitation of an Italian Sonnet—To the youngest Daughter of Lady **--Epitaph on a Robin-Redbreast—To the Gnat—A Wish—Written at Midnight—An Italian Song—A Character—An Inscription in the Crimea—Written in the Highlands of Scotland—A Farewell—To the Butterfly—Written in Westminster Abbey—The Voyage of Columbus
3. TR BV 825 B5 1824
Title: A Treatise on the Lord’s Supper: Designed as a Guide and Companion to the Holy Communion. In Two Parts. Fifth Edition.
Author: by the Rev. Edw. Bickersteth, Assistant Minister of Wheler Chapel.
Publication Date: 1824
Publication Location: London, England
Publisher: L.B. Shelley and Son
Printer: J. Seeley
Language: English
Subject: Communion; The Lord’s Supper; religious ceremony
Type: Religious treatise
Size: 18.5 cm
Other Physical Descriptions: Bound in dark brown leather, front and back covers bordered by floral/triple rule frame. Spine has gilt designs and gilt “Bickersteth on the Lord’s Supper” at top and publication year at bottom. Good condition and moderate marginalia.
*** This book is especially interesting since it has not one but TWO fore-edge paintings. Fanning the pages toward the back pastedown reveals “The Congregation” depicting a group of people in church; fanning toward the front pastedown reveals “Thames Detton Church.” Note has been made on the endpaper verso of the paintings’ titles.
Pagination: 303 pages: [unnumb.]: contents, table of texts; [v]-viii: preface; [1]-303: text
Collation: a3 [prelims]; B12-I12, K12-O8 Until signature O, all signatures follow this convention: A1, A2, blank, blank, A5, blank. O doesn’t, only has the first leaf signed.
Notes: Front pastedown has an address plate in the lower corner, From Mrs. Guy C. Myers in Ashland, Ohio.
Contents: Preface—Part I.—The Appointment of the Lord’s Supper—The Atonement made by the Death of Christ—On Faith in Christ’s Atonement—The New Covenant—The Design of the Lord’s Supper—The Obligation to receive—Answers to Excuses commonly made—On receiving unworthily—On Preparation—The Benefits connected with a due Reception—The Happiness which would follow its universal and devout Observance—On Communion with Christ and his people—The due Improvement of the Lord’s Supper//Part II.—Helps for Self-examination—Meditation and Prayers preparatory to the Lord’s Supper—Hints for the Regulation and Employment of the Mind during the Communion Service—ON the Communion Service of the Church of England—Meditations during the Communion Service—Texts selected for Meditation, and arranged under different heads—Meditations and Prayers after receiving—Select Psalms and Hymns—Index.
4. TR PR 3757 W2 C3 1791
Title: The Castle of Otranto, a Gothic Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto. The Sixth Edition.
Author: Horace Walpole, 1717-1797
Print/Publication? Date: 1791
Print Location: Parma
Printer: Bodoni
Sold by: J. Edwards, Bookseller of London.
Language: English
Subject: Gothic story
Type: Fiction
Size: 25 cm
Other Physical Descriptions: Bound in white vellum, with blue wash border. Gilt frames both on white portion (floral) and over blue border (Greek key). Spine has gilt designs (floral, key, and lyre) and black leather labels for title and for “Edwards Foredge Painting Parma 1791.” Marbled endpapers. No illustrations, but there is a black and white etched? Frontispiece.
*** This book’s fore-edge painting is believed to be a genuine product of Edwards of Halifax, the firm responsible for popularizing fore-edge painting. According to the note accompanying the book, this is “apparently one of Edwards early attempts at foredge painting. While later examples may be more colorful, this volume is highly significant as being one of the earliest examples of the art that was created by Edwards.”
Pagination: 245 pages: [I]-XI: preface to the first edition; XIII: Sonnet to the Right Honourable Lady Mary Coke; XV-XXXII: preface to the second edition; [1]-245: text
Collation: The note on Edwards of Halifax says this book is a royal octavo, which I had to look up. See at Wikipedia, toward the bottom. Quarto formula:
4°: [prelims 14-44] a4-i4, k4-u4, x4-hh4
Notes: Book plate on the front pastedown with the name George A.C. May under a coat of arms with a banner beneath that says “Fortis et Fidelis.” On the verso of the title page, there’s an inscription (part of the book, not hand-written): “…….Vanae Fingentur species, tamen ut pes, et caput uni Reddantur formae……. Hor.” On the reverse of the back endpaper, there’s an address plate for Mrs. Guy C. Myers.
Contents: To the Honourable and Ingenious Author of the Castle of Otranto—Preface to the First Edition—Sonnet to the Right Honourable Lady Mary Coke—Preface to the Second Edition—The Castle of Otranto.
5. TR PR 3560 A2 J6 1817
Title: Paradise Lost, by John Milton. To Which is Prefixed, The Life of the Author; and a Criticism on the Poem, by Samuel Johnson, LL.D.
Author: John Milton, 1608-1674
Print/Publication Date: 1817
Print/Publication? Location: London
Publisher: J Mawman & the Other Proprietors (No Kidding)
Printer: S. Hamilton (Weybridge, Surrey)
Language: English
Subject: literature; John Milton
Type: Epic poem; biography; literary criticism
Size: 16.5 cm
Other Physical Descriptions: Bound in dark brown leather? With blind stamping surrounding gilt floral design on middle of front and back covers. Spine is faded with gilt “Milton’s Paradise Lost” framed by gilt design. Black and white etched? Portrait of Milton serves as frontispiece. One illustration at end of text (black and white). Considerable water damage and damage to the front hinge: spine is almost separated from text block.
***This book’s fore-edge painting, according to the shelf list, is “Fleet Street, London.”
Pagination: 384 pages: [iii]-xviii: The Life of John Milton; [xix]-xliii: Criticism on Paradise Lost (Samuel Johnson); [xlv]-xlviii: Milton’s Moral Character No Less Sublime than His Poetical (from Mr. Hayley’s Life of Milton); [1]-384: text
Collation: 12°: [Life of Author and Johnson’s Criticism: a12-b12] B12-R12
Notes: Book plate on front pastedown: illustration with banners: Ex Libris Constance Walter.
Contents: The Life of John Milton—Criticism on Paradise Lost—Milton’s Moral Character No Less Sublime than His Poetical—Paradise Lost.