A beautifully produced "Artists' Edition" of Thomas Gray's Elegy, one of the most influential poetic works of the 18th century. A meditation on the prospect of Death, it went through countless imprints from its original appearance in 1751 through the late 19th century. 

Such was its influence, that "fine" editions were issued, including illuminated examples by Owen Jones and the "Artists' Edition" presented here, with its superb illustrations and fine presentation in large leather binding by Ramage of London. 

A beautiful volume with illustrations by W. Hamilton Gibson; Harry Bisbing; William T. Richards; Frederick B. Schell; Thomas Hovenden; Harry Poore; Frederick Stuart Church; J. D. Woodward; J. B. Sword; A. B. Frost, W. T. Smedley, Mary Hallock Foote, Thomas B. Craig; H. Bolton Jones; Walter Shirlaw; W. L. Taylor; J. Francis Murphy; F. Hopkinson Smith; etc., with Engraving Work by John Tinkey; C. H. Reed; John Dalziel; Arthur Hayman; John P. Davis, etc., 

This imprint describes itself in a publisher's remark as the first edition of Gray's Elegy to be illustrated by modern art, and the work to be "virgin soil" in that regard.

Gray, Thomas. An Elegy Written in a Country Churchyard. The Artists' Edition. Philadlephia. J. B. Lippincott & Co. 1883. 47pp.

Good+ to very good in a superbly executed binding by Ramage of London. 7 3/4 x 10 3/4 inches in crushed morocco  with raised bands, tooled panels, and a central panel on front board of "Easter Lillies." The other floral motifs likely meant to be holly or other similar "evergreen," both of which certainly seem to hint at the publisher's hopeful approach to the subect of death. Boards are softly bevelled, tooled at foredge of board with tooled and gilt dentils and marbled endpapers. Foredge brilliantly golden. Some minor rubbing at corners, head and foot of spine and raised bands; only surface abrasions. A bit faded toward spine, as usual. The best copy we have been able to trace.