Gustave Dore, Nicolaas Beets
Bijbel bevattende al de canonieke boeken van het oude en nieuwe testament volgens de Statenoverzetting met tweehonderd platen van Gustave Doré voorzien van een voorbericht en uitgegeven onder het toezicht van Nicolaas Beets, (...)
(Bible containing all the canonical books of the Old and New Testaments with two hundred plates by Gustave Dore, provided with a preface and issued under the supervision of Nicolaas Beets)
Arnhem, D.A. Thieme, 1870
Part 1: Old Testament
Part 2: Old Testament (prophetic books) + New Testament
(VIII) + (XVI) + pages 1-446 / 447-614 + 201 pages.
Original half-leather over embossed cloth boards, decorated with blind stamping
very good condition , some wear of bindings
Large folio : 12.5 by 17"
Weight 30 lbs
Text in Dutch

This is arguably one of the most popular illustrated Bibles ever printed: the work was translated into at least 24 different languages, including Armenian, Hungarian, Ukrainian, Esperanto, Yiddish, Hebrew, Finnish, Serbian, Croatian, etc.
It was even mentioned by Mark Twain in Chapter Four of Tom Sawyer when the author interrupts the narrative to enquire: ”How many of my readers would have the industry and application to memorize two thousand verses, even for a Dore Bible?”
Indeed, it is one of the very few Bibles which has always been known by the name of its illustrator.
”One indication of the significance of the Doré Bible illustrations is the fact that they have been and are still so highly praised and used by so many different groups. The Roman Catholic Church has never diminished its praise of these illustrations. The Dore illustrations were still featured in U.S. Catholic Bibles published in recent decades by the Daughters of St. Paul.
There were over 100 Protestant editions of the Dore Bible illustrations published in the U.S. in the last third of the nineteenth-century. Stories about the influence of the Dore Bible were legion. They were so popular that Dore expanded on them in enormous paintings which later filled the Dore Gallery in London. It was considered the greatest collection of religious paintings in the world”
(Malan, Dore, p. 85).

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