JONES, OWEN, designer and illuminator. GRAY, THOMAS. Gray's Elegy, 1846, 4to, original publisher's relievo binding of brown leather, each cover with a large panel border of holly enclosing a central panel, author's name and title on upper cover the OJ monogram on lower cover, spine decorated in blind, bevelled edges, g.e., by Remnant & Edmonds with their ticket, inner joints slightly cracked, some slight staining to covers, slight foxing , 36 chromolithographed illuminated pages, McLean Victorian Book Design , p. 91 ("the first secular book wholly illuminated by him [Jones]")--BACON, MARY ANN and OWEN JONES Flowers and their Kindred Thoughts, 1848, 4to, original publisher's repoussé binding of light brown leather, each cover with a large panel of leaf and vine design, upper cover with title lettered in blind, spine decorated in blind, bevelled edges, white endpapers printed with gilt vine, g.e., by Remnant, Edmonds & Remnants, some foxing , 16 chromolithographed pages with full color representations of flowers, including title and colophon pages, one text page printed in green, 16 text pages printed in gold, lithographed by E.I. Bateman, McLean, pp. 92-3 and plate V; both London: Longman, each in modern cloth slipcase. (2)
JONES, OWEN, designer and illuminator. GRAY, THOMAS. Gray's Elegy, 1846, 4to, original publisher's relievo binding of brown leather, each cover with a large panel border of holly enclosing a central panel, author's name and title on upper cover the OJ monogram on lower cover, spine decorated in blind, bevelled edges, g.e., by Remnant & Edmonds with their ticket, inner joints slightly cracked, some slight staining to covers, slight foxing , 36 chromolithographed illuminated pages, McLean Victorian Book Design , p. 91 ("the first secular book wholly illuminated by him [Jones]")--BACON, MARY ANN and OWEN JONES Flowers and their Kindred Thoughts, 1848, 4to, original publisher's repoussé binding of light brown leather, each cover with a large panel of leaf and vine design, upper cover with title lettered in blind, spine decorated in blind, bevelled edges, white endpapers printed with gilt vine, g.e., by Remnant, Edmonds & Remnants, some foxing , 16 chromolithographed pages with full color representations of flowers, including title and colophon pages, one text page printed in green, 16 text pages printed in gold, lithographed by E.I. Bateman, McLean, pp. 92-3 and plate V; both London: Longman, each in modern cloth slipcase. (2)
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