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Click here to subscribeTWO MODERN CUSHIONS INCORPORATING 18TH CENTURY NEEDLEWORK The first with classical style scene with stylised Diana and Acteon; the second with free floral section, each now on sage green ground with gold fringing, each approximately 62 x 70cmProvenance:Barnwell Manor, NorthamptonshireWindsor House Antiques
TWO 'GRAND TOUR' MICROMOSAIC PAPERWEIGHTS ITALIAN LATE 19TH CENTURY First inlaid with 5 scenes around Rome 16cm wide, the second inlaid with Saint Peter's Basilica and square within assorted specimen hardstone sections, 18.5cm wideProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesNOTE- Correct images updated 24th AugustCondition Report: NOTE- Correct images updated 24th AugustWear, marks, knocks and scratches as per age, handling, use, and cleaning. Both with numerous chips, nibbles and small areas of loss to edges and sides- second with small areas of loss to specimen surroundPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
AN ITALIAN SCAGLIOLA CIRCULAR TABLE TOP19TH CENTURY Decorated with scenes of Rome 91cm diameter ON AN ASSOCIATED FRENCH BIRD'S EYE MAPLE, EBONISED AND CARVED GILTWOOD TABLE BASEEARLY 19TH CENTURY The top and base 72cm high overallProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: The central scene has the initials 'P.D.V.', possibly by Pietro Della Valle was active during the first half of the 19th century.There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has an old layer of varnish applied that has aged with a yellowish tint and has some cracks and is flaking off to some areas, in some places very easily. The colour of the varnish disguises in part the condition and it appears that there are some marks and stains.The scagliola table top has some marks, knocks and scratches, with one area around the horsedrawn carriage in the central roundel that is cracked and undulating. There are other cracks to the scagliola. The edge has rough areas with knocks, cracks and gouges. The underside of the top has some plaster filler, possibly from previous fixings to a base.The table base has evidence of worm, and is a little larger than the top. The giltwood swan figures have chips to the gesso. Cracks and knocks to the base. The feet are probably not original to the table base.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A SET OF EIGHT GEORGE II WALNUT CHAIRS CIRCA 1730each shaped rectangular back with slender foliate carved surround and surmounted by a floral and foliate carved terminal, each herringbone banded vase splat above a drop in seat covered with an 18th century floral needlework panel, on acanthus carved cabriole legs joined by stretchers and terminating in carved lion paw feet103cm high, 61cm wide, 58cm deep Provenance:Purchased by the current owner from Dreweatts, Fine Furniture and Works of Art, 30th November 2016, lot 28, with the following provenance: Robert Wood Bliss (1875-1962)Acquired together with an ensuite settee by French & Company 13th June 1962, possibly after de-accession by Harvard UniversitySold by French & Co. 2nd August 1968, possibly to Mr Nelson M. DavisAcquired by the Grandmother of the present owner from Mallet Antiques in 1988. The property of the owners of the Downton Estate, Shropshire Literature:French & Company stock book ref. E-534/51228-X, held by the Getty Institute Research Library, Los Angeles, CA Loans:The Virginia Museum of Fine Arts 15th May 1963 - 2nd August 1963Maison Blanche 12th September 1963 - 2nd October 1963The Centre for Outer American Relations 11th September 1967- 4th October 1967 Robert Woods Bliss (1875-1962)R. W. Bliss, an American diplomat who later cofounded the Dumbarton Oaks Research Library and Collection, Washington D.C., was educated at J. P. Hopkinson's School in Boston before attending Harvard College and gaining a B.A. in 1900. After embarking on his diplomatic career including a posting as secretary to the Governor of Puerto Rico, U.S. Consul in Venice, second secretary to the U.S. embassy in St Petersburg and secretary of the legation in Brussells, Bliss married Mildred Barnes in 1908. His Foreign service continued with successive appointments in Buenos Aires, Paris and the Hague. Together with his wife, he was instrumental in founding the American Field Ambulance Service in Paris during 1914 to which they supplied twenty three ambulances and three staff cars. In addition they opened and equipped the 'Service de Distribution Américaine', which distributed medical supplies and clothing. Whilst in Paris their circle of friends included Walter Gay, Edith Wharton and Royall Tyler. After the end of the First World War, Robert became chief of the Division of Western European Affairs at the Washington State Department in 1920 which was the same year he acquired his future home Dumbarton Oaks. He followed this with a role assisting the Secretary of State before becoming U.S. Envoy to Sweden and later U.S Ambassador to Argentina. The latter appointment occupied him for six years until his retirement from the Foreign Service in 1933. Bliss returned to the State Department during the Second World War (1942-1945) during which time he arranged a succession of important diplomatic meetings at Dumbarton Oaks in 1944 known as the 'Dumbarton Oaks Conference' whose delegates collaborated over proposals for the foundation of an organisation to maintain world peace and security. The culmination of these meetings was the 'United Nations Charter' which was adopted in San Francisco in 1945. In later life Bliss held a number of senior positions with American art institutions, museums and political organisations including the American Federation of Arts, the Smithsonian Art Commission, the Carnegie Institution and the American Foreign Service Association. He also received honorary Doctor of Law degrees from the universities at Syracuse, Harvard and Missouri. In 1954 he was among five ex-diplomats co-signing a letter of protest at Senator Joseph McCarthy's attacks on the Foreign Service. The Blisses had no children and Robert died in Washington D.C. in 1962 at the age of 86. Dumbarton OaksThe land on which the present house is situated originally formed the 'Rocks of Dumbarton' grant made by Queen Anne in 1702 to Colonel Ninian Beall. Almost a century later in 1801, William Hammond Dorsey (1764-1818) built his house and an orangery on the estate. What now constitutes the central block of the building was subsequently extended during the mid-19th century by the new owner Edward Magruder Linthicum after which the house was re-named The Oaks. In 1891 Linthicum sold the property to Henry F. Blount. The Chairs Comparative Literature:The Knight of Glin and Jame Peill, Irish Furniture, 2007 This distinctive set of George II walnut chairs exhibit an unusual combination of features which do not appear to be clearly identifiable with the work of a particular maker or regional origin. Whilst the idiosyncratic paw feet have affinities with those on a documented group of Irish tables and chairs (see Peill and Glin op. cit. pp. 106-119), the scrolls to the inside of their 'paws' are without parallel in this most recent survey of Irish furniture. Furthermore the turned and square H-shaped stretchers contrast with the more prevalent flat H-shaped stretchers found on Irish chairs of the second quarter of the 18th century. Other atypical details of the present lot's design are the herringbone bandings to the splats, the finely carved foliate mouldings surrounding the backs and the gadrooned splat shoes. Condition Report: All chairs with the marks, knocks, scratches and abrasions consistent with age and use. Old splits and chips. Some larger splits - see images. Some evidence of old worm in places throughout Some sections of replacement. The tapestry upholstered seats are in generally good order overall with just a few old repairs and later stitching. Some old repairs. Filler and dark wax used in places. Two chairs with sections of replacement timber to rear legs - see images. Most of the chairs with spliced sections of replacement to rear feet. Oak supporting corner blocks to backs of seat rails are later. Some joints with old plugged repairs - see images. The back rails with old simulated figuring to timber. All chairs are structurally sound overall. We cannot guarantee the originality of the elements of the seats beneath the upholstery.The rear legs and stretchers appear to have had a dark wash applied to them. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A first half 20th century Japanese porcelain vaseprobably Taishō periodof bottle necked globular form, decorated in iron red and gilt shaded black enamels with an overall design of shishi frolicking with a brocade ball and stylized flowers, unsigned, 31cm high For further information on this lot please visit Bonhams.com
Alfred Adrian Jones MVO (British, 1845-1938): A patinated bronze equestrian group of a huntsman and two houndspossibly cast by Elkington & Co.the seated rider blowing his horn, one hound leaping over a small fence, the other before the horse, on naturalistic rectangular base, the rear signed and inscribed AJA and ELKINGTON&CO,, 50cm high, 47cm wide, 23cm deep approximately overallFootnotes:Adrian Jones was a British sculptor and painter who specialised in the depiction of animals, in particular horses. Born in Ludlow, Shropshire, he studied at the Royal Veterinary College, London and in 1866 he qualified as a veterinary surgeon. The following year he enlisted in the Army as a veterinary officer in the Royal Horse Artillery with whom he served between 1867 and 1890. After an illustrious military career, travelling extensively and serving overseas, Jones retired in 1891 with the rank of captain. By this time, he was already active as an artist, having exhibited at the Royal Academy as early as 1884. In 1891 he married and moved to 147 Church Street, Chelsea where he built an art studio in the garden.In 1888 Jones received his first formal commission, to sculpt the outstanding racehorse Ormonde, a triple crown winner, from the Duke of Westminster. The quality and success of this first commission ensured that he attracted the patronage of other horse owners and he soon became nationally renowned as an equestrian sculptor of some of the Turf's greatest racehorses. His training as a veterinary surgeon also gave him a deep knowledge of equine anatomy which he used in his work with great success.Throughout the course of his artistic career Adrian Jones undertook many public monumental commissions, most notable of which is perhaps 'Peace descending on the Quadriga of War' on top of the Wellington Arch at Hyde Park Corner in London.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
After Pierre Jules Mêne (French, 1810-1879): An associated pair of patinated bronze plaques of gameboth of rectangular form, one depicting a snipe perched on a dead game above beside a net and bull rushes, the other a dead hare, a skate and a trout, the first bearing signature P J Mêne, the other indistinctly signed, 24.5cm high x 12.5cm wide (2)For further information on this lot please visit Bonhams.com
A late 19th century German rectangular porcelain plaque, together with a similar period circular porcelain plaque (2)the first plaque, probably KPMdepicting a classical maiden holding a ewer, mounted in a later rectangular frame, the latter depicting a still life of fruit, unframed, the former, 39.6cm high, the later, 36cm diameter (2)For further information on this lot please visit Bonhams.com
A very rare late 19th century Japanese brass Dai-Dokei with side-pendulum and engraved dial platesurmounted by a heavy bronze straight-sided bell mounted on a turned brass post set on the overhanging brass top plate, the shaped rectangular dial plate engraved with scrolling foliage around the rotating 3.5'' twenty-four hour dial now marked in Roman hours twice I-XII, subdivided into ten minute divisions, with brass alarm setting hand and elaborately pierced stationary hour hand, the weight-driven birdcage movement with twin vertical verge escape wheels and double-sided pallets, each wide swing of the crutch (pendulum now lacking) acting on alternate wheels, with trains of four wheels, each wheel of brass and with solid centres to steel high-count pinions, the striking train with solid brass toothed count wheel striking the hours, 1-12 on a vertical hammer, governed by a four-vane fly, 27cms highFootnotes:Japanese lantern clocks belong to a larger group of traditional Japanese clocks known as Wadokei. Within the category of 'lantern clock' are various sub-divisions, including Dai-dokei which are lantern clocks that were displayed under a hood on a specially made four-legged stand, Yagura-dokei a lantern clock on a pyramidal prism stand and a Hashira-dokei the closest to a European lantern clock, which would sit on a wood wall bracket, occasionally with a hood. It is difficult to say definitively which category this clock belongs to as it does not have a stand or bracket with it. However, it is clear from examining the movement that it is not missing any side doors, which suggests that it would have been covered by something to protect it from the elements. Furthermore, as it has a four wheel train it is considered to be a larger clock, by Wadokei standards, which means it is unlikely to be hung on a wall; most Japanese house walls at this time were made of light wood and paper, with the exception of the central wooden beam which supported the structure. Considering these two factors, this clock can be tentatively classified as a Dai-dokei, though this remains conjecture.This is likely to be a transitional clock; beginning in 1873 Japan converted their national time system from temporal hours to equally divided hours. Before this date, most clocks made in Japan had dials and striking that reflected a day being variably divided into six toki during the day, and six during the night. The exact length of the toki would vary depending on the season; however, there would always be six divisions in both day and night. The numbers used to refer to each toki were a sequence from 9-4 with 9 representing midnight, 6 representing dawn down to 4, before repeating the sequence with 9 representing midday and 6 representing dusk. The numerals would be represented by animals as well, with twelve animals used so that in conversation 'the toki of the Horse' clearly referred to 9 during the day (or Noon), whereas 'the toki of the Rat' was 9 during the night (midnight). In order to display this on a clock dial a foliot escapement was used which could be regulated to go faster or slower depending on the day; double foliots were created as well with automatic, cam-assisted switch over between the daylight rate and the night time rate. Clocks without foliot escapements would be provided with moveable hour plaques, which could be pushed manually or mechanically around the chapter ring as the season dictated.In 1875, the first clock factory opened in Japan, primarily making American-type domestic clocks, all with uniform hours. Before this point, all clocks in Japan had been made by individual clockmakers; there was no wholesale 'rough movement' industry either, so generally one craftsman would create a clock from metal plate and rod, perhaps spending a year making each one. This accounts for the unique qualities of the clocks made before 1875; although they look similar, no two are interchangeable. This clock has a pendulum movement and vertical double crown wheel escapement, which is occasionally seen pre-1873, but a fixed Roman numeral chapter ring as well as a standard 12-hour count wheel, both features which were not seen until after 1873. However, the spring finger on the striking detent which connects with the hour pin on the back of the revolving dial is a pre-1873 construction, as is the traditional bell with its thickened inner rim. It seems likely that this clock was made circa 1873, having a combination of older and newer features, looking similar to other earlier clocks, but using the new system of time display. That it is a fully brass movement and has a fixed hour hand with a revolving dial, suggests it is at the later end of the Wadokei timeline.Provenance-Sold in these rooms 12 December 2018, Lot 101Strachan, A. (2014) 'Japanese Clocks,' Horological Journal, Volume 156 (9), pgs. 394-398 (Accessed 9 May 2022).Ward, F. A. B. (1956) 'Informal Meeting', Antiquarian Horology, Volume 1 (11), pgs. 169-170 (Accessed 9 May 2022).Strachan, A. WADOKEI.ORG: Sharing a passion for Japanese Edo Period Clocks. Available at: https://wadokei.org/ (Accessed 9 May 2022).Japan Clock & Watch Association (2022) History of the Japanese Horological Industry. Available at:https://www.jcwa.or.jp/en/etc/history01.html (Accessed 9 May 2022).For further information on this lot please visit Bonhams.com
Pablo Curatella Manes (Argentinian, 1891-1962): A bronze plaque depicting 'Lancelot and Guinevere'the stylised figure of Guinevere with long flowing hair embracing the kneeling figure of Lancelot, signed Manes to the top left hand corner, the side with Valsuani Paris, foundry mark to one corner, dark brown patination, 28.4cm x 20cmFootnotes:Provenance:Collection of Michael Black, sculptor (British, 1928-2019), thence by descent. Amongst many commissions, Black sculpted the Oxford Sheldonian Emperors' heads, the bronze busts of former prime ministers Sir Alec Douglas-Home and Sir Harold Macmillan, as well as portrait subjects in the National Portrait Gallery and private collections.A larger terracotta plaque measuring 65cm x 43cm of the same subject, possibly from the estate of Manes and recorded as being executed by the sculptor in 1925 was sold Christies New York, Latin American Sale, sale 1841, 1st June 2007, lot 191 ($19,200 including buyers premium). The present lot is a bronze reduction of this same subject, cast by the prestigious Valsuani foundry in Paris, presumably as a limited edition in the late 1920s or early 1930s. The inspiration for the subject of Lancelot and Guinevere presumably comes from the French origins of the Arthurian legends and texts, which were derived from the medieval writer Chretien de Troyes who penned the quintessential romance 'Le Chevalier au lion'.Pablo Curatella ManesBorn in Buenos Aire, Manes' interest in sculpture was most likely fired as a child by frequent visits with his mentor Arturo Dresco to the then newly opened La Plata Fine Arts Museum. Enrolling at the National Fine Arts School in 1907 he was subsequently expelled due to bad behaviour but still managed to secure an apprenticeship in 1908 under Lucio Correa Morales. Manes later travelled extensively in Europe, spending time in Florence and Rome before having his first exhibition in Buenos Aires in 1912. He returned to Europe, settling in Paris before the outbreak of the First World War, but was forced to return to Argentina. However in 1917 he secured a scholarship in Paris under Maillol, Maurice Denis and Paul Sérusier. A second scholarship in 1920 allowed him to permanently settle in the city where he studied under Henri Laurens, Juan Gris, Constantin Brâncuși and Le Corbusier. It was during this period that Manes explored Cubism and his sculptures became noticeably more 'avant-garde'. Manes married the French painter Germaine Derbecqre in 1922 and in 1926 took up a post at the Argentine Embassy. He was subsequently commissioned to create wall reliefs for the Argentine Pavilion in the 1937 Paris Exhibition and his monumental 'Tierra Argentina' and 'Los Dos Hemisferios' ('Argentina' and 'The Two Hemispheres') won him a place on the Paris Exhibition's sculpture jury. After this he was made an Officer of the Légion d'honneur. During Manes' diplomatic tenure he re-instated the Salon des Indépendants, which had been banned under the Vichy regime. In 1949 he was transferred from Paris to the Embassy in Athens before finally returning to Buenos Aires, where he died in 1962, aged 70.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Simpson (British, 1811-after 1871): An oval enamelled copper self portrait miniature together with a rectangular enamelled copper portrait miniature of Mrs Simpson (probably Mrs William Page Simpson)the first miniature with the sitter looking to dexter with mutton chop whiskers, wearing a black silk bow tie, the rear inscribed and dated Painted by J. Simpson for his son W. P. Simpson, Jan 1865, the second miniature of canted topped rectangular form, the sitter looking to dexter, her hair dressed with long ringlets, her black silk dress with laced collar, the rear signed dated Mrs Simpson 1855., by J. Simpson', the first miniature, 4cm x 3.3cm, the second miniature, 5cm x 4cm (2)Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel, and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
William Page Simpson (British, 1845-1911): An oval enamelled copper portrait miniature of a gentlemanpossibly a self portrait for his father, John Simpson (British, 1811-after 1871)the sitter looking slightly to dexter with mutton chop whiskers wearing a high black stock collar, mounted within a later brown plush covered contemporary rectangular frame with milled gilt slip, the miniature, 3cm x 2.5cm, the frame, 10.5cm x 7.5cm Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
William Derby (British, 1786-1847)James Scarlett, Esq., M.Psigned and dated 'W.Derby/Pinx/1826' (lower left) and inscribed 'J Scarlett Esq/MP' (on papers centre left); further inscribed with sitters name (on exhibition label attached to stretcher on the reverse) oil on canvas 142.3 x 113cm (56 x 44 1/2in).Footnotes:ExhibitedPossibly London, Royal Academy, 1826, no. 169.London, Victoria and Albert Museum, 1868.James Scarlett, 1st Baron Abinger was a prominent English lawyer, politician, and judge. In 1835, the title Baron Abinger, of Abinger in the County of Surrey and of the City of Norwich, was created for Scarlett, who was the most successful lawyer at the bar from 1816 when he first joined the inner bar of court until 1834. Scarlett's successes also saw him become an Attorney General and Knight Bachelor, as well as latterly being appointed Lord Chief Baron of the Exchequer in 1834, he presided in that court for more than nine years.There is a lithograph in the National Galleries of Scotland of the same sitter which differs slightly in composition and may be after another version of this painting.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Baikie (William Balfour). Narrative of an Exploring Voyage up the Rivers Kwo'ra and Bi'nue (commonly known as the Niger and Tsadda) in 1854, 1st edition, London: John Murray, 1856, frontispiece, title vignette, folding lithograph plate, folding map, partly unopened, light stains to endpapers, original cloth, spine faded, some dampstaining to covers, 8voQTY: (1)NOTE:An account of the first successful Niger expedition of 1854, funded by the Liverpool entrepreneur Macgregor Laird, aimed at opening up West Africa to trade by steamships able to navigate the key rivers into the interior. A scottish naval surgeon and naturalist, William Balfour Baikie (1825-1864) took command of the expedition after the death of the ship's captain, and was the first to successfully trial the use of quinine on board quinine; not one of the Europeans on board the Pleiad died of fever.
* North America. Seale (R. W.), A Map of North America with the European Settlements & Whatever Else is Remarkable in ye West Indies from the latest and best Observations [1744 - 47], hand-coloured engraved map, insular California, slight toning, 380 x 475 mm, framed and glazed, together with Cary (John). A New Map of North America from the Latest Authorities, 1806, an engraved map with contemporary outline colouring, toned overall, 470 x 525 mm, framed and glazedQTY: (2)NOTE:The first described item was first published in Tindal's 'Continuation of Rapin's History of England'.
South East England. Ordnance Survey (publishers), Nine map sheets, numbered 1 - 9, 1st edition of the 'Old series', 1805 - 22, nine uncoloured engraved Ordnance Survey maps, sectionalised and laid on linen, covering Sussex, Kent, Surrey and Middlesex, on a scale of 1inch to the mile, each sheet approximately 640 x 930 mmQTY: (9)NOTE:When the Ordnance Survey decided to publish its maps itself, rather than having them published by a separate commercial business, it started to print its newly mapped sheets as they were surveyed and engraved. This was the original 1-inch 'Old Series' which would eventually cover the whole country. The so-called 'Mudge' map of Kent was published as a county map by William Faden in 1801. After that, the county format was abandoned in favour of a complete map of the area surveyed, irrespective of county boundaries. From then on the sheets were published as soon as they were ready, starting with four sheets covering Essex (all dated 1805). From then on, as the maps carried the date of publication e.g. 'Published April 18th 1805 by Lt.Col.Mudge, Tower. This collection is of the consecutive nine sheets of the South-East of the country which represent 9 of the first 11 sheets of the Old Series published. Thus, the publication dates vary, sheet 1 1805, sheet 2 1805, sheet 3 1819, sheet 4 1816, sheet 5 1813, sheet 6 1819, sheet 7 1822, sheet 8 1816 and sheet 9 1813.
* Wales. Ortelius (Abraham & Lhuyd Humphrey), Cambriae Typus Auctore Humfredo Lhuydo Denbigiense Cambrobritano, [1574], hand-coloured engraved map, large strapwork cartouche and mileage scale, Latin text on verso, mounted, framed and double glazedQTY: (1)NOTE:Van den Broecke. Ortelius Atlas Maps. 21, first state; Booth. Antique Maps of Wales, 1. The map has Latin text and the number 9 on the verso.
* Barbault (Jean, 1718-1762). Vue des restes du Château de l'Eau Marcia, & Fragments Antiques (from Les Plus Beaux Monuments de Rome Ancienne), by Domenico Montagu after Barbault,1761, two etchings printed on one sheet of laid paper with a double encircled fleur de lys watermark, very good, atmospheric impressions, published by Bouchard and Gravier, with margins, in very good condition, a tiny brown spot at the upper right sheet corner, plate size respectively 26.2 x 26.3 cm (10 1/4 x 10 3/8 ins) and 8.8 x 16.5 cm (3 1/2 x 6 1/2 ins), sheet size 49.6 x 35.2 cm (19 1/2 x 13 7/8 ins), framed (59 x 47 cm); together with Hieronymus Cock (circa 1510-1570), Colossaei Roi Prospectus 3, circa 1550, etching on fine laid paper with a high crown watermark, with narrow margins, framed; plus J.C. Bellicard (1745-1780). Sepolcro di un Soldato, detto volgarmente di Nerone, from Vues de Rome, 1750, etching on laid paper, framed; and Pieter van Laer (1599-circa 1642), Dedicatory plate from Various Animals, 1636, etching on laid paper with a fool's cap watermark, the first state before the number, framedQTY: (4)
* Dodd (Robert). To the King's most Excellent Majesty, This View of the River and Shipping near the Tower..., Inscribed by His Majesty's Dutiful and Loyal Subjects, Dodd, Woodford & Freeman, Freeman & Co. June 4th, 1793, uncoloured aquatint, some marginal chipping and fraying, slight mount staining, one marginal repaired closed tear affecting the image, 555 x 775 mm, together with To the King's most Excellent Majesty, This View of the Town & Port of Dover..., Inscribed by His Majesty's Dutiful and Loyal Subjects, Dodd, Woodford & Freeman, Freeman & Woodfall, June 4th, 1793, uncoloured aquatint, some marginal chipping and fraying, occasional marginal repaired closed tears, slight spotting, 560 x 800 mmQTY: (2)NOTE:Dodd produced a series of prints of 'Sea Ports & of the River Thames and a series on 'Sea Ports'. The first described item is plate 3 from the first series and the second item is plate 4 from the second series.
* Incunable Leaf. An single folio printed leaf from Ptolemy's Cosmographia, Ulm, Lienhart Holle, 1482, fine double-column printed text in elegant roman type, two woodcut initials with contemporary hand-colouring, folio, sheet size 32.5 x 21.5 cm, framed & glazedQTY: (1)NOTE:Fine royal folio leaf from the famous 1482 edition of Ptolemy’s Geography, printed at Ulm, the most sought-after of all the Ptolemaic atlases. It is the first atlas to be printed outside Italy, and the first Ptolemaic atlas to include a corpus of modern maps.
Valerius Maximus. Noviter recognitus cum commentario historico videlicet ac litterato Oliverii Arzignanensis: & familiari admodum ac succincto Jodoci Badii Ascensii: qui quattuor & viginti exempla aldino auspicio nuper inventa simili commentatione declaravit: & totum opus gemina tabella: altera titulorum: altera litteraum ordine illustravit. Additis Theophili lucubrationibus. Nec non pene vius imaginibus: quae priscorum gesta referre videntur, Venice: Augustinu de Zanis de Portesio, 1518, 271 ff.,title in red & black with woodcut illustration, woodcut illustrations, criblé initials, title torn with loss, bound with Orphei Argonautica Latina, [1519], half title, signatures A-C6, [cross] 6, front endpapers repaired and spotted some worming and damp fraying, mainly at lower margin, nineteenth-century calf, spine worn, folioQTY: (1)NOTE:First work a Venetian edition of Valerius Maximus' 'Memorable Deeds and Sayings', with commentaries by Josse Bade, Oliviero d'Arzignano and Theophylus Chalcondyles.The second work Orphei Argonautica Latina is added by Giovanni Battista Pio to his commentary on Valerius Flaccus's cum codicis poetae emendatione ex antiquo examplari Dacico additis libris tribus, 1519, with half title and collation as above, Pio and Valerius Flaccus both known as being 'creative' editors, and PIo here adds Orphhei Argonautica for the sake of completeness of the tale, telling the story of Jason from the perspective of mythical hero Orpheus.
Petrarca (Francesco). Il Petrarca con l'espositione d'Alessandro Vellutello e con piu utili cose in diuersi luoghi di quella nouissimamente da lui agguinte et ristampate, Venice: Giouann'Antonio di Nicolini da Sabio, 1541, text with accompanying commentary (both in roman type), faint contemporary inscription in Latin to lower margin of title, lacking final blank, contemporary vellum gilt, a few manuscript notations to backstrip and front board, some wear, 8voQTY: (1)NOTE:Not in Adams.Alessandro Vellutello first published his widely-circulated edition of Petrarch’s works with a commentary in 1525. It was reprinted 29 times, this being the 5th.
Antoninus (Saint, Archbishop of Florence). Confessionale de Santo Antonino Arcineschono de Firenze, Venice: Giovane Padovano, 1543, title printed in red and black within woodcut border (insect predation affecting image top right), woodcut initials, lacking leaves K1-2 & K6-8 at end, occasional marginal insect damage, some toning and water stains, bookplate of Esther & Leonard Baskin (Leonard Baskin, 1922-2000, US sculptor and graphic artist), later half buckram, 8vo, together with [Butler, Samuel]. Hudibras. The First and Second Parts. Written in the time of the Late Wars, corrected and amended, with several additions and annotations, 2 parts in one, London: printed by T.N. for John Martyn and Henry Herrington, 1674, lacking final leaf pp. 411-12, some light spotting and a few small tears, early ownership signatures including P. Wharton, bookplate of The Right Hon. The Earl of Wigtown, Lord Fleming and Cumbernauld, 18th-century calf, foot of spine chipped, a little rubbed with small repairs, 8voQTY: (2)NOTE:Sold with all faults not subject to return.
Maffei (Raffaele). Commentariorum Urbanorum Raphaelis Volaterrani, octo & triginta libri...Item Oeconomicus Xenophontis, ab eodem Latio donatus, Basel: Apud Hieronymum Frobenium et Nicolaum Episcopium, 1544, [22], 468pp., woodcut 'Froben' devices to title and final leaf verso, lightly spotted, contemporary blindtooled pigskin, recased, brass clasps, title in manuscript to spine, some wear, folioQTY: (1)NOTE:Adams M103; Sabin 43768.First published in Rome in 1506, this important work by the Italian scholar Raffaele Maffei contains sections on geography, anthropology and philology.
Hall (Edward). The Union of the Two Noble and Illustre Famelies of Lancastre & Yorke beeying long in continual discension for the crowne of this noble realme, with all the actes done in bothe the tymes of the princes, bothe of the one linage and of the other, beginnying at the tyme of Kyng Henry the fowerth, the first aucthor of this deuision, and so succesffiuely proceadyng to the reign of the high and prudent prince Kyng Henry the eight, the vndubitate flower and very heire of both the sayd linages, London: Richard Grafton, 1548, facsimile title, dedication, preface and 3 other preliminary leaves all in facsimile, main text printed in black letter and commences on A1 (folio I) and ends on 3U5 (folio CCLVII), woodcut initials, final leaf with tear and small loss of text, the same leaf repeated in facsimile and then facsimile leaves thereafter to the end, lacking leaves 2E2-5 & 2I2-5 in Richard III, and 2R8 blank? at end of Edward IV, leaf 3I1 in Henry VII partly supplied in facsimile, leaf 2K5 in Richard III with loss of headline from insect predation, lacking leaf 2K6 in Richard III (blank?), first leaf A1 with wormtrack and resultant loss of text, 3G6 with repaired tear, occasional early marginalia and annotations including a cartoon of a figure with tethered animal (partly shaved to verso of 3E4 in Henry VII), occasional light damp stains and soling, a few small marginal wormholes, bookplate of Graham Hirth, 20th-century half calf over marbled boards, folio, 267 x 185 mm QTY: (1)NOTE:ESTC S121062; STC 12722. Rare in any condition. Provenance: nineteenth-century manuscript note at front copies the title, followed by a price 4.4.0. Grafton 1550, then "The above (copied from Jacksons catalogue for 1831) is the title of this book and the price of a perfect copy - for this which I bought of Cryer of Wakefield I gave £1.1.0 - but it must be worth 3.0.0 - M. Seatcherd". There is a portrait print of a Morrison Seatcherd, by Henry Adlard in the British Museum. Modern pencil note to front pastedown states the facsimile leaves were from the British Museum copy. Complicated collation, copies vary in components but seems to conform to signatures from the 1548 first edition.Important source for Shakespeare's conventional history plays. Due to the work's Protestant leanings Queen Mary issued a proclamation in 1555 calling for the book to be destroyed, which most likely explains the scarcity of early editions. Sold with all faults not subject to return.
Justinian. Justiniani Institutionum Libri IIII; Juris Civilis Rominitia et Progressve ad leges XII; Tituli Tractatusq, Juris C. Studio in primis necessarii, 3 parts in one, [Geneva]: Joannis Crispini, 1574, first title with woodcut border, the two other titles with woodcut device, occasional light toning and marginal water stains, a few annotations, mainly to first title, later calf, covers with arabesque decoration in gilt, spine rubbed with splits and losses, frayed cloth ties, 8voQTY: (1)
Holinshed (Raphael). The Firste volume of the Chronicles of England, Scotlande, and Irelande. Conteyning, the description and chronicles of England from the first inhabiting unto the conquest..., Faithfully gathered and set forth, by Raphael Hollinshed, volume 1, First Part only, London: Imprinted [by Henry Bynneman] for George Bishop, [1577], [8],124[really 126], 289pp., woodcut title (some marks and light soiling, contemporary inscription in brown ink at foot 'God save the Quene, Simon...stripsit', slightly cut down, restrengthened to fore-edge to verso), black letter text in double column, numerous woodcut illustrations, text generally in clean condition, lacks r1 (the divisional leaf between the first and second parts), endpapers renewed, 19th-century half-calf, some marks, and light edge wear, modern calf reback retaining 19th-century morocco title label to spine, folioQTY: (1)NOTE:STC13568.The first two parts (of four) of the first volume of Hollinshed's chronicles, which contain source material for Shakespeare's King Lear and Macbeth.
Holinshed (Raphael). The Historie of Scotlande, conteyning the beginning, increase, proceedings, continuance, actes and gouernemente of the Scottish nation, from the originall thereof unto the yeare 1571. Gathered and written in the English tongue by R.H., volume I [Scotland part only], London: George Bishop, 1577, title within woodcut border, woodcut arms to verso, woodcut initials and illustrations, black letter text in double column, leaves L1, P2, U4, 2A6 & 2B3 trimmed with repairs and supplied from another copy, occasional early and eighteenth-century marginalia, including ownership signature of Richard Tidmarsh to p. 60 a few small tears and repairs, occasional light toning and water stains, one or two burnholes, bookplates of Andrew J. Kirkpatrick (of the Clan Kirkpatrick), and G.R. Airth, later half calf, rebacked, a little rubbed, folio QTY: (1)NOTE:ESTC S93012; STC 13568. The full text of Holinshed's Chronicles was first published in two volumes in 1577 and contained three parts, England, Scotland and Ireland; this present work is the Scotland part only. One of 4 imprint variants of this edition, this one has George Bishop as the publisher, one of the group of collaborators who paid for the work to be published, the others including Lucas Harrison and John Hunne.Holinshed's Chronicles is the greatest of the Elizabethan chronicles and a principal source for Shakespeare's plays, in this part including Macbeth.
Bible [English]. [The Bible translated according to the Ebrew and Greeke, and conferred with the best translations in divers languages..., Imprinted at London by Christopher Barker, 1582], lacking general title, New Testament title present with decorative woodcut border (late 17th & early 18th century manuscript genealogical entries for the children of William and Ann Smart to verso), two later blanks bound-in between 'the names and order of all the bookes of the Olde and New Testament' and the first leaf of Matthew, Apocrypha present, black letter text, short repaired closed tear to foremargin of Z7, hole to 2N7 affecting few lines of text, *iiii of New Testament reattached, bound with an incomplete Book of Common Prayer at front lacking first two leaves, black letter text, also bound with at rear Two right profitable and fruitfull Concordances, or large and ample Tables Alphabeticall..., Imprinted at London by Christopher Barker [1581], printer's woodcut device to title and verso of final leaf, black letter text, and also bound with The Whole Booke of Psalmes, collected into English meter by T. Sternhold, I. Hopkins, and others..., London: Printed by John Daye, 1581, printer's woodcut device to title, black letter text, lacking final leaf, some dust-soiling throughout volume, occasional light damp stains at foot of few leaves and few marks, marbled endpapers with attached note regarding completeness of volume adhered to front pastedown, 19th century calf, red morocco labels to spine, joints lightly cracked, wear to board edges and head & foot of spine, 4to (21 x 15.8 cm), contained in modern book boxQTY: (1)NOTE:Darlow & Moule 131; Herbert 174; STC 2134. Geneva version.
Chaucer (Geoffrey). The Workes of our Antient and Learned English Poet, Geffrey Chaucer, newly printed, 1st Speight edition, London: Adam Islip, at the charges of Bonham Norton, 1598, black letter, text double column, title within elaborate woodcut architectural border, 3 other divisional titles with woodcut borders, woodcut initials, head and tailpieces, near-contemporary ownership inscription 'Gilbert Digley' to title lower margin with another inscription in the same ink partially rubbed out to lower margin right-hand corner, early ownership inscription 'Dunfland Devon' to title upper margin, lacking engraved portrait (one from a 17th-century copy supplied, remargined and trimmed to margins), lacking first and final blanks, and leaves C4-6, engraved portrait relaid with loss to margins, a few gatherings damp-stained (more heavily to final leaves), final leaf with some staining and a few indistinct early annotations in Latin, small marginal repairs to a few leaves, light occasional toning, late 17th-century calf, rebacked (endpapers renewed), red morocco title label lettered in gilt, worn, folio (305 x 190 mm)QTY: (1)NOTE:Pforzheimer 177 (different imprint); STC (2nd ed) 5077. 'From the form of imprints it would seem that Bishop, Norton, and Wight commissioned Islip to print this edition, and judging from the frequency with which copies with their imprints occur it is probable that Bishop took the largest share and Norton the next' (Pforzheimer).
[Wirsung, Christoph. Praxis medicinae uniuersalis; or A generall practise of physicke: Wherein are conteined all inward and outward parts of the body, with all the accidents and infirmities that are incident unto them..., Compiled and written by the most famous and learne doctour Christopher Wirtzung, in the Germane tongue, and now translated into English, in divers places corrected, and with many additions illustrated and augmented, by Jacob Mosan Germane, Doctor in the same facultie, Imprinted at London by Edmund Bollifant, 1598], lacks all before C1, also lacks C2, C7, C8 and all after 3H6, text in black letter with some roman and italic, numerous decorative woodcut initials, few additional leaves from another edition or variant loosely inserted or tipped in, occasional marginal dampstaining and few tears, marks and some old annotations etc., contemporary boards, old leather back strip, lower board near detached, worn, folio (29.2 x 19.1 cm), contained in modern book boxQTY: (1)NOTE:ESTC 25862; Wellcome I, 6758.The first edition in English of Ein new Artzney Buch, first published in Heidelberg in 1568. This present edition translated by Jacob Mosan gives numerous botanical remedies in the form of pills, powders, and syrups. Ailments are divided up into chapters. The treatments recommended are mostly botanical, although non-botanical remedies such as enemas, baths, bloodletting, and plasters are included as are dietary and lifestyle advice. Another variant of this work was also printed in the same year, with the imprint Londoni: Impensis Georg. Bishop, 1598. Given the missing leaves, it is difficult to ascertain the variant, however, the collation appears to be the same as the Bollifant variant.Sold with all faults, not subject to return.
Livius (Titus). The Romane Historie vvritten by T. Livius of Padua. Also, the Breviaries of L. Florus: with a Chronologie to the whole Historie: and the Topographie of Rome in old time. Translated out of Latine into English, by Philemon Holland, Doctor in Physicke, 1st edition in English, London: Adam Islip, 1600, [10], 1403, [41]p., woodcut allegorical device to title, woodcut portrait of Elizabeth I on title verso, woodcut portrait of the author, small contemporary ownership inscription 'Ro: Gregge' to upper right-hand corner of title, armorial bookplate of Sir Joseph Radcliffe 2nd Baronet to front pastedown, woodcut initials, head and tailpieces, lacking front and rear blanks, a few leaves with marginal damp stains (not affecting text), contemporary calf gilt, emblem with initials W.R.B. to front board and W.L.B. to rear board, brass clasps with foliate embellishments, rebacked (endpapers renewed), green morocco title label lettered in gilt, rubbed, folio (325 x 220 mm)QTY: (1)NOTE:Provenance: Possibly Robert Gregge (circa 1596-1662), Collector of the Excise for Cheshire, and Examiner in the Exchequer Court of Chester; Sir Joseph Radcliffe, 2nd Baronet (1799–1872).Pforzheimer 495; STC 16613 (2nd edition).First edition in English of Livy's Roman History, and the first of Philemon Holland's renowned translations. 'This was the first of that stately array of folio translations of the classics which issued from the pens of the 'translator generall in his age' - the whole of the present he claims to have written with one pen. The topographical portion is translated from the work of J. Bartholomew Marlian of Milan' (Pforzheimer).
Plutarch. The Philosophie commonlie called, The Morals, 1st edition in English, London: Arnold Hatfield, 1603, [8], 1363, [64]p., contemporary ownership inscription 'Francis Finch owner of this booke' to outer margin of first text leaf, contemporary marginal annotations and underlining in the same hand, woodcut initials, head and tailpieces, endpapers renewed, some gatherings damp-stained, occasional spotting and browning, title browned and repaired to upper right-hand corner (affecting woodcut headpiece), '3' in publication date to title written over in pen, early 20th-century calf gilt, red morocco title label, slightly rubbed, folio (305 x 215 mm)QTY: (1)NOTE:Provenance: Possibly Francis Finch (born circa 1585),English lawyer and politician, son of Sir Moyle Finch, 1st Baronet of Eastwell, Kent and his wife Elizabeth Heneage, daughter and heiress of Sir Thomas Heneage. He matriculated at Corpus Christi College, Oxford on 12 June 1601, aged 15, and was called to the bar at Inner Temple in 1614. In 1624, he was elected Member of Parliament for Eye for the Happy Parliament, and was re-elected MP for Eye in 1625, 1626 and 1628 and sat until 1629 (when King Charles decided to rule without parliament for eleven years).STC 20063 (2nd edition). A first edition in English of Plutarch's Moralia, translated by Philemon Holland, 'the translator generall in his age' (Pforzheimer 495).
Augustine (of Hippo, Saint). Of The Citie of God: with the learned comments of Jo. Lodovicus Vives, Englished first by J.H. and now in this second Edition compared with the Latine Originall, and in very many places corrected and amended, 2nd edition in English, London: Printed by G. Eld and M. Flesher, 1620, [20], 861 [i.e. 860], [4]pp., woodcut vignette to title, inscription to title upper margin 'Jno Poley de Boxted 1711', contemporary neat annotation to front blank (a short biography of Augustine), occasional dust-soiling, lacking rear endpaper, front free endpaper wormed and soiled to margins, front hinge cracked, near-contemporary speckled calf, blindstamped initials 'W.P.' to front board, some light wear, folioQTY: (1)NOTE:STC 917. First published in 1610, this is the second edition of John Healey's translation of Augustine's City of God. Fine copy in contemporary binding.
[Shakespeare, William. Comedies, Histories and Tragedies; Published according to the true Originall Copies. Second Impression, London, 1632], woodcut head-pieces and initials, roman and italic type, text in double column, 66 lines, headlines and catchwords, pages box-ruled, 423 (of 454) leaves, 31 leaves supplied in facsimile on thicker, modern wove paper, including 3 preliminary leaves: 'To the Reader', title-page with portrait and 'Commendatory Verses' ([pi]A1, A2 & A5), plus 28 text leaves 2c4 (Coriolanus), 2i1-5 (Romeo & Juliet), 2o-2p6 (Macbeth 15pp. & Hamlet 9pp.), and the final 10 leaves, 3c1-6, 3d1-4 (Cymbeline), some spotting and old damp-staining throughout, closed tear repairs to D1, b3, 2h3, 2l6, a few other corner and marginal tears without loss of text, tears with loss to V2 (lower outer corner affecting 3 lines), heavier brown staining to upper half of r4r, some further closed tear repairs, marginal fraying and tears to lower outer corners with occasional small text loss to final 42 original leaves (7 signatures, 2t-3b: King Lear, Anthony & Cleopatra, Cymbeline), including larger tears to outer margins of 2v4 (affecting approximately 32 lines of text) and 3a1 (affecting approximately 43 lines of text), old ink ownership name (trimmed) of (?)J. Courtenay to upper margin of first main text leaf recto, armorial bookplate of Mary L'Estrange retained and applied to front pastedown, modern blind-stamped calf with five raised bands and morocco title label, folio (310 x 210 mm)QTY: (1)NOTE:Provenance: Mary L'Estrange (née Carleton, of Rossfad, near Enniskillen, born 1736) who married Henry Peisley L'Estrange of Moystown House, and latterly of Hunstanton, King's County, Ireland. By family descent this copy passed down directly through seven generations to Merlin L'Estrange Meakin (born 1942); information gathered from 2 sheets of notes loosely inserted into the volume.Collation: [pi]A6 [-1,2,5, all supplied in facsimile] *4, A-2B6 2C2, a-y6, 2a-3c6 [2c4: Coriolanus; 2i1-5: Romeo & Juliet; 2o-2p6: Macbeth 15pp. & Hamlet 9pp.; 3c1-6, 3d1-4: Cymbeline, all supplied in facsimile].Gregg III, pp. 1113-1116; Pforzheimer 906; STC 22274 or one of 22274b, c, d or e; Todd, 'The Issues and States of the Second Folio and Milton's Epitaph', in Studies in Bibliography, volume V (1952-53), pp. 81-108.The Second Folio edition of the most important work in English literature. Without these large format Folio editions as many as 18 of Shakespeare's plays may never have survived. There are five variants of the Second Folio as identified by the imprint on the title-page; the text and colophon being identical in all variants. Without the original title-page and the 'Effigies' leaf (with the 17-line epitaph by John Milton) it is not possible to establish which issue this copy belongs to. It is estimated that no more than 1000 copies of the Second Folio were printed, and it is believed fewer than 200 copies are still in existence today, many of which, as this copy, are incomplete or defective.
Bible [English]. The Holy Bible: containing the Old Testament and the New: Newly translated out of the Originall Tongues: and with the former translations diligently compared and revised..., Printed at London by Robert Barker ... and by the Assignes of John Bill, 1641, general title and New Testament title within decorative woodcut borders (tears to general title and with lower outer quarter of leaf torn away with consequent loss of imprint), Apocrypha present, verso of New Testament title with contemporary genealogical entries for the Coleman family e.g. 'Edward Coleman son to Henry Coleman was borne the 16 day of April and was ... day of same month 1659. Ann Coleman daughter to Henery Coleman was borne the 28 of August 1661', verso of final leaf of New Testament with early ownership signatures of Henry Coleman and Margaret Hornby, few closed tears, first leaf of Genesis torn with slight loss to running title, 2D1 & 2D2 torn with slight loss, lower outer quarter of 2D8 & 2O4 torn away with text loss and lower outer corner of 3H7 torn away, marginal notes and few running titles close-trimmed, bound with at front an incomplete Book of Common Prayer (lacking all before B2), with ownership inscription to verso of final leaf 'Thomas Coleman his book Anno domini 1726', and bound with The Genealogies recorded in the sacred scriptures, according to every family and tribe..., by J[ohn]. S[peed]., 1638, and bound with at rear an incomplete The Whole Book of Psalmes; Collected into English Meeter by Thomas Sternhold, John Hopkins, and others..., London, Printed by G.M. for the Companie of Stationers, 1640, lacking all after leaf E6, dust and finger-soiling throughout, toning and other marks throughout, free endpapers discarded, front pastedown with 18th century manuscript entries for members of the Hornby family, contemporary calf, wear to joints and some board corners, lacking clasps, 8vo (16.3 x 10.5 cm)QTY: (1)NOTE:Darlow & Moule 430; Herbert 554.According to Darlow & Moule and Herbert three varieties of the 1641 Bible occur. This example is variant B, with Gen. xxxvii contents, last line: 'Egypt' rather than 'phar in Egypt' (variant A) or 'Potiphar in Egypt' (variant C); and Matt. i. 25, fills three lines rather than two.
New Testament [Greek]. He Kaine Diatheke, 'Mazarin edition', Paris: Royal Printers, 1642, half-title, large engraved title by Claude Mellan, large engraved cul-de-lampe on verso of final text leaf with the arms of King Louis XIII, engraved initials, head and tailpieces, contemporary ownership inscription 'H Bornius' to half-title verso, small damp-stain to lower inner corners of many gatherings (a few larger damp-stains to final few leaves), lacking final blank, some occasional light dust-soiling, endpapers renewed, modern dark brown calf gilt, black morocco title label, folio (365 x 275 mm)QTY: (1)NOTE:Darlow & Moule 4687.'This magnificent folio is sometimes known as the 'Mazarin edition' since it appeared under the auspices of the great Cardinal' (Darlow & Moule).The first printing of the New Testament in Greek by the Imprimerie Royale, founded by Louis XIII in 1640.
Riviere (Lazare, Nicholas Culpeper & Abdiah Cole). The Practice of Physick, in two volums, very much enlarged. Wherein is plainly set forth, the nature, cause, differences, and several sorts of signs: together with the cure of all diseases in the body of man. In twenty and four books. Viz. 1. Of the diseases of the head. ... 24. A physical dictionary : written in Latin, and in English / by Lazarus Riverius, counsellor and physitian to the King, &c. Nicholas Culpeper, physitian and astrologer. Abdiah Cole, doctor of physick, and W. R., 4 parts in one, London: Peter Cole, 1658, lacking the engraved frontispiece, one longitudinal title, signatures 2R1-4 (pp. 309-316), 3E2-3 (pp. 399-402) & 3G2-3 (pp. 415-418) in first part, lacking K1 (pp. 49-50), K4 (pp. 55-56), Z3 (pp. 257-258) & 3B3 (pp. 417) and part 3 title, first title laid down and repaired, a few other leaves with small repairs, some leaves shaved affecting headlines, pagination, a few lines of text at foot and signatures, a few small wormtracks and burnholes, occasional soiling and light toning, early annotations to front blank, later half calf, folio (Wing R1559A), together with [Markham, Gervaise]. The English House-Wife. Containing the inward and outward vertues which ought to be in a compleate woman...A worke generally approued, and now the fourth time much augmented, purged and made most profitable and necessary for all men, and the generall good of this Kingdome, London: Nicholas Okes for John Harison, 1631, title with woodcut printer's device, lacking A1 blank, leaves I6 & K2 replaced with modern text and laid down, M4-5 replaced with modern blank leaves, blank leaves bound after final leaf, title shaved at foot affecting last line of imprint, a few damp stains and burnholes, later half calf, a little rubbed, small 4to, (STC 17353), plus [Heresbach, Conrad]. [The Whole Art and Trade of Husbandry. Contained in foure bookes... enlarged by Barnaby Goodge, London: printed by T.S. for Richard More, 1614], main text printed in black letter, woodcut initials, lacking title (replaced with modern manuscript leaf), occasional light soiling and stains, later calf-backed boards, small 4to (STC 132)QTY: (3)NOTE:Wing R1559A; ESTC R218027 (Practice of Physick). Sold with all faults not subject to return.
[Charleton, Walter]. The Ephesian Matron, 1st edition, London: printed for Henry Herringman, 1659, 124 pp., final leaf repaired with small library stamp at foot (and to title verso), blank interleaves throughout, a little minor soiling, modern half calf, edges a little rubbed, 12moQTY: (1)NOTE:ESTC R210048; Wing C3671.Rare and curious work by the writer and philosopher Walter Charleton (1619-1707), fellow of the Royal Society, who also wrote Chorea Gigantium (1655), an attempt to demonstrate that Stonehenge was a Danish coronation site, prompting one of John Dryden's finest early poems, ‘To my Honoured Friend, Dr Charleton’ (1663).The Ephesian Matron is based on a story in Petronius’s Satyricon, 111-12. A woman from Ephesus renowned for her chastity is suddenly widowed. Grief-stricken, she determines to starve herself to death and stays for several days in her husband’s tomb with her maid. Some thieves are crucified near the tomb and a soldier is sent to ensure that they do not obtain a proper burial. The soldier finds the widow and tries to offer consolation; the widow initially resists, but accepts first some food, then the soldier’s amorous advances. Charleton developed an interest in Epicurus in the 1650s and turned to this story in order to present the widow as an Epicurean counter-example to the ideal of Platonic love fashionable at the time.
Cabinet du Roi. Les Plaisirs de l'Isle Enchantée. Course de Bague; collation ornée de machines. Comedie, meslée de danse et de musique; Ballet du Palais d'Alcine; Feu d'Artifice: et autres festes galantes & magnifiques, faites par le Roy à Versailles, le vii. May MDCLXIV, et continuées plusieurs autres jours, Paris, De l'Imprimerie Royale, 1673, bound with Felibien (André). Relation de la Feste de Versailles du 18. Juillet mil six cens soixante-huit, Paris, De l'Imprimerie Royale, 1679, bound with Felibien (André). Les Divertissemens de Versailles donnez par le Roy a toute sa cour au retour de la Conqueste de la Franche-Comté en l'année MDCLXXIV, Paris, De l'Imprimerie Royale, 1676, together three works bound in one, title to each part with engraved vignette royal arms, first part with nine fine double-page engraved plates by Israel Silvestre, and 91 pages of text, with single engraved head-piece and initial, minor waterstain to foremargin of printed title and first leaf of text, second part with five double-page engraved plates by Le Pautre, 43 pages of text, single engraved head-piece and initial, third part with six double-page engraved plates by Le Pautre (except second plate by Francois Chauveau), 34 pages of text, single engraved head-piece and initial, wide margins throughout, marbled paper pastedowns, inside gilt dentelles, late 19th century etched bookplate of Eugene le Senne to front pastedown, all edges gilt, contemporary full red morocco, double gilt rule to outer borders, gilt decorated spine with raised bands, rubbed and some marks, large folio (binding measures 44 x 29 cm)QTY: (1)NOTE:Vinet 505, 506 & 507; Berlin Katalog 3001, 3002 & 3003; Ruggieri 507, 508 & 510.The three works brought together here in one volume are part of the remarkable collection of prints known as the ‘Cabinet du Roy’, published in the second half of the 17th century at the behest of the French king ‘afin d’encourager l’art de la gravure et d’en continuer l’histoire’. The first part with plates by Silvestre is the first major description of the festivities held during the reign of Louis XIV, the Sun King (in May 1664). More than six hundred guests attended the parades, equestrian battles, theatre (with music and ballet, including performances of Moliere's La Princesse d'Alide and the first performances of Tartuffe and Georges Dandin) and fireworks, to celebrate the improvements made at Versailles since 1661, entitled ‘The Pleasures of the Enchanted Island’. The title was inspired by an episode from Ariosto’s Orlando Furioso, where the sorceress Alcina holds Ruggiero and his knights on her enchanted island; to keep themselves amused, the captives take part in tilting at the ring and attended a play and a ballet. The scenery was designed by Charles Vigerani, and the description of events written by Charles Perrault. The second part describes the spectacle held on 18 July 1668, to celebrate the Treaty of Aix-la-Chapelle, which marked the successful conclusion of the War of Devolution against Holland (1667-1668). The event also honoured Louis XIV’s new favourite, Madame de Monstespan. The third part describes the six days of festivities between 4 July and 31 August 1674, in celebration of the reconquest of the Franche-Comté, and included Lully's opera Alceste, a concert in the Trianon garden, Moliere's Le Malade Imaginaire, a banquet, fireworks, and illumination around the Grand Canal.
[Donne John. The Poems... with Elegies on the Author's Death. To Which is Added Divers Copies Under his Own Hand, Never Before Printed, 5th edition, T.N. for Henry Herringham, 1669], lacks title-page and the 2 blanks at front and rear (A1 and 2D8), first leaf (A3, dedication) with contemporary ink ownership inscription (dated 1687) erased to upper margin with some additional fraying and paper loss, but without loss of text, crude vertical tear repair close to inner margin of recto of the same leaf, and with a later ink ownership inscription of William Henry Tyrrell below head-piece, closely trimmed at head with loss of many running heads and page numbers throughout and occasionally shaving letters of first line of text, signatures and catch-words of signature G trimmed, occasional spotting, modern ownership signature of Peter Scupham to front paste-down, modern vellum-backed patterned boards with old leather spine label retained, 8vo (152 x 100 mm)QTY: (1)NOTE:Keynes 84; Wing D1871. The most complete of the 17th-century editions of Donne, with the addition of five new poems, including 'To His Mistress Going to Bed'.
Bible [English]. The Holy Bible containing the Old Testament and the New, newly translated out of the original tongues and with the former translations diligently compared and revised by His Majesties special command. With most profitable annotations upon all the hard places..., [Amsterdam]: 1683, additional hand-coloured engraved general title (detached and torn to margins, ink stamp to verso), letterpress general and New Testament titles (general title detached), 4 hand-coloured folding maps by Joseph Moxon published by Nicolaus Vischer and folding hand-coloured engraved plan of Jerusalem, verso of each map and plan repaired to folds and edges where torn and also with old library stamps to verso of each, first leaf of Genesis detached, bound with at rear The Whole Book of Psalms: Collected into English Meeter, by Thomas Sternhold, John Hopkins and others, London: Company of Stationers, 1679, occasional ink stamps, browning, marks, some closed tears and few repairs throughout volume, early ownership signature John Morton to front free endpaper, library labels to front endpaper (endpapers frayed and worn), contemporary calf over wooden boards, brass corner pieces and lacking clasps, old reback, worn, folio (38.2 x 24 cm)QTY: (1)NOTE:Darlow & Moule 616; Herbert 782; Wing B2330.King James' version, with Geneva notes. Place and printer's name not given. Probably by, or for, Swart in Amsterdam. No Apocrypha. Herbert notes that the BM copy has the Apocrypha present.
Wright (John Michael). An Account of His Excellence Roger Earl of Castlemaine's Embassy, from His Sacred Majesty James the IId. King of England, Scotland, France, and Ireland, &c. To His Holiness Innocent XI, 1st edition in English, London: Thomas Snowden for the author, 1688, engraved frontispiece (laid down with small marginal loss and red was seal), engraved portrait of Queen Mary by Robert White, engraved dedication illustration and 15 engraved plates by Arnold van Westerhout, including a large folding plate of a banquet (laid down with losses to upper part of last right fold and margins), a few small closed marginal tears, occasional light soiling and small stains, bookplate of Sir Edward O'Brien (1705-1765, 2nd Baronet and Irish politician), hinges reinforced, contemporary panelled calf gilt, rebacked and repaired, a little rubbed, folioQTY: (1)NOTE:Wing W3702; Lipperheide 2751 (for the Italian first edition).John Michael Wright (1617-1694) was a British portrait artist appointed steward to Roger Palmer, Earl of Castlemaine by the newly crowned King James II in 1685. The following year the Earl was sent on an embassy to Pope Innocent XI to present the King's catholic credentials and offer English support on the Roman Catholic side in forthcoming conflicts. Wright produced the elaborate processional coaches, costumes and centrepieces depicted in the engravings above and arranged the banquet for 1000 guests at the Palazzo Doria Pamphilj in Rome. The Italian edition of the account of the embassy was published in 1687, dedicated to the Duchess of Modena; the English edition (as here) dedicated to the Duchess's daughter Mary, wife of James II.
Heidegger (John James). Heydegger's Letter to the Bishop of London, 1st edition, London : Printed for N. Cox in Story's-Passage, going out of St. James's Park, 1724, 8 pages, some light browning and spotting, contemporary manuscript additions in ink to title 'upon his Ld Ships Sermon agt masquerades', and with 'Aprill' added at foot after the date of publication, together with Anonymous. The Masquerade. A Poem, 1st edition, London: printed for, and sold by J. Roberts in Warwick-Lane, 1724, 10 pages, contemporary manuscript addition in ink 'May' at foot after the date of publication, very light browning to title (a good clean copy), both bound in early 20th century half morocco, spines lettered in gilt, folioQTY: (2)NOTE:Foxon H169 & ESTC T125131; Foxon M131 & ESTC T66737 respectively.A well-known figure in 18th century London, dubbed the 'Swiss Count', Johann Jakob Heidegger introduced masquerade balls at the Haymarket Theatre, which became highly popular, especially with young George III. Hogarth satirised the subject in his 1724 print Masquerades and Operas. By then masquerades were denounced (by such as the Bishop of London) as occasions for vice and immorality, not least due to the high numbers of women of pleasure who also attended. The first work is Heidegger's poetical reply to the Bishop of London's sermon against Masquerades; the second an anonymous poetical satire.
Newton (Isaac). Philosophie Naturalis Principia Mathematica, 3rd edition, London: William & John Innys, 1726, half title, privilege leaf, title printed in red and black, numerous woodcut diagrams, lacks the engraved portrait frontispiece and final advertisement leaf, 2I2 with closed marginal tear, occasional minor spotting, manuscript prize label in Latin to George Burnett for physics from the Academia Jacobi VI Edinburgh, 1813? pasted at front, 19th-century vellum, arms of the Academia Jacobi VI Edinburgh stamped in gilt to covers, morocco label top spine, some light dust-soiling, 4to (240 x 185 mm) QTY: (1)NOTE:Babson 13; ESTC T98375; PMM 161; Wallis 9. First published in 1687 "The Principia is generally described as the greatest work in the history of science. Copernicus, Galileo and Kepler had certainly shown the way; but where they described the phenomena they observed, Newton explained the underlying universal laws. The Principia provided the great synthesis of the cosmos, proving finally its physical unity. Newton showed that the important and dramatic aspects of nature that were subject to the universal law of gravitation could be explained, in mathematical terms, within a single physical theory." (PMM).The third edition, edited by Henry Pemberton with a new preface by Newton (dated January 12, 1726), the last edition to be published in Newton's lifetime, and the basis for all subsequent editions.
Swift (Jonathan). Travels into Several Remote Nations of the World. In Four Parts, by Lemuel Gulliver, 2nd edition (4th octavo edition), 2 volumes, London: Benjamin Motte, 1727, portrait frontispiece to volume 1 (2nd state, 1st issue), 4 engraved maps, 2 engraved plans, bookplates of Ellen James to front pastedowns, woodcut head and tailpieces, volume 2 lacking preliminary advertisement leaf, first few gatherings of volume 2 heavily damp-stained, scattered spotting, 19th-century speckled calf gilt, red morocco title labels, boards bordered in gilt, rubbed, 8voQTY: (2)NOTE:Teerink 293.
* Gautier d'Agoty (Jacques Fabian). Figure 2e, Démontrée par Mr. Duverney, Peinte et gravée en couleur par J. Gautier, [from Myologie complette en couleur et grandeur naturelle, composée de l'Essai et de la Suite de l'Essai d'Anatomie, en tableaux imprimés, Ouvrage unique, utile et nécessaire aux Etudians et amateurs de cette Science, Paris: Gautier, Quillau, Quillau & Lemesle, 1746], fine colour mezzotint in four colours, on laid paper (bears indistinct watermark), some marks and creases, with paper repair to verso without loss, plate size 400 x 325 mm, sheet size 415 x 340 mm, tipped on to modern backing card (to upper margin only), framed and glazed QTY: (1)NOTE:Choulant-Frank, p. 271; Garrison-Morton-Norman 7494; Heirs of Hippocrates 940; Wellcome III, p. 97.This impressive large-scale plate gives an anatomical explanation of the muscles of the lip, the eyelid, the eye, the lower jaw, hyoid bone and larynx, and was issued in Gautier's Anatomie de la tête en tableaux imprimés qui représentent au naturel le cerveau sous différentes coupes, la distribution des vaisseaux dans toutes les parties de la tête, les organes des sens et une partie de la névrologie d’après les pièces disséquées et préparées par M. Duverney …en huit grandes planches dessinées, peintes, gravées et imprimées en couleur et grandeur naturelle par le Sieur Gautier, published in Paris, chez le Sieur Gautier, M. Duverney, Quillot, in 1748.Gautier, a French printmaker, was, like Ladmiral, an assistant to Le Blon and also like Ladmiral, claimed the colour printing process as his own. He published some ten collections of coloured plates of various portions of the anatomy, and was the first person to print anatomical plates in colour on a large scale. "Although Choulant writes that 'his anatomic illustrations . . . impress the critical observer with their arrogance and charlatanry and do not recommend themselves to the student of anatomy either for their faithfulness and reliability or for their technique' (Choulant-Frank, p.270), they are of great interest from the point of view of book illustration and the history of anatomic illustration. The dissections and preparations for the eight large figures in this atlas of the anatomy of the head were prepared by Joseph Guichard Du Verney, and some of the plates are among the most elaborate produced by Gautier, especially notable for the intricate network of blood vessels which are meticulously indicated by direct color printing. This work is extremely rare." (Heirs of Hippocrates).
[Fielding, Sarah]. The Governess; or, Little Female Academy. Being the History of Mrs. Teachum, and her Nine Girls. With their Nine Days Amusement. Calculated for the Entertainment and Instruction of Young Ladies in their Education, by the author of David Simple, 1st edition, London: printed for the author and sold by A. Millar, 1749, 245 pp., 5 pp. Millar advertisements at end, small ink stains to pp.166-67, some light toning to title, hinges reinforced, ownership inscription to front pastedown 'B.H. Bath, March 13, 1748/9', erasure of another signature, contemporary calf gilt, rebacked, covers a little rubbed and bowed, 8vo, together with Ann Murry's the Sequel to Mentoria; or the Young Ladies Instructor, 1799QTY: (1)NOTE:ESTC T134317; Osborne I, p. 254 (for the 6th edition of 1781). Rare. The Governess or Little Female Academy is regarded as the first novel in English specifically written for children, by Sarah Fielding, sister of novelist Henry. "First published in 1749 with a second edition also in 1749. An account of nine days at Mrs. Teachum's school where stories, including some fairy tales, are told to her pupils. Sarah Fielding shared some of her brother Henry's gifts of skillful character drawing." (Osborne). The fairy stories include the evil giant Barbarico and his slave dwarf Mignon, the good giant Benefico, the Princess Hebe, and the Assembly of the Birds, as well as other stories involving young girls. 'Mrs Teachum' appears at the end of each story and explains the lessons to be learnt in order to educate her young pupils to live a happy life.
[Hancarville, Pierre Francois Hugues d']. Monumens de la Vie Privée des Douze Césars, d'après une suite de pierres gravées sous leur règne, A Caprées, Chez Sabellus [Nancy, Leclerc], 1st edition, 1780, & Monumens du Culte Secret des Dames Romaines, pour servir de suite aux Monumens de la Vie Privée des XII Césars, 1st edition, A Caprée: Chez Sabellus [Nancy, Leclerc], 1784, engraved frontispiece to each volume, title vignette to second work, and 100 (50 in each volume) erotic engraved plates in the form of cameos or medals, occasional light spotting, marbled endpapers, all edges gilt, contemporary uniform brown and dark green mottled calf gilt, rubbed and some marks, second volume with minor split at head of spine, 4toQTY: (2)NOTE:Pia 883; Cohen-De Ricci 474-475. Attractive copy.First edition of both volumes of Pierre-Francois d'Hancarville's famous study of Roman debauchery and erotic history, here in a contemporary uniform binding. The engravings were supposedly after genuine antique gems but, as Cohen states, they are largely the inventions of the author. Pascal Pia notes "à vrai dire, qu'il ait ou non eu pour modèles d'authentiques pièces de collection, il n'a rien imaginé que les Anciens n'eussent connu". An historian and art dealer, Hancarville (1719-1805) acted on behalf of the collector Sir William Hamilton (ambassador at Naples from 1764 to 1800), in his search for antique works of art, introducing him to the Porcinari family, whose collection of antiquities he purchased in 1766, and later sold to the British Museum. Hancarville also produced a fine illustrated catalogue of Hamilton's own collection in four folio volumes, entitled Antiquités étrusques, grecques et romaines, first published in Naples by Morelli in 1766 and 1767, and later reissued in five quarto volumes between 1785 and 1788.
[Furber, Robert]. Flora, oracuriouscollection of ye most Beautiful Flowers as they appear in their greatest perfection each Month of the Year, London: Printed for John Bowles at the Black Horse in Cornhill, circa 1750, engraved title and 12 engraved plates of vases of flowers by Parr, T. Bowles and J. Clark, on cream laid paper, all with fine attractive contemporary hand-colouring, each plate printed with a numbered list of the names of the various flowers at foot, plate size 35 x 24.5 cm, sheet size 43.5 x 28.8 cm, bound with Wilkes (Benjamin). Twelve New Designs of English Butterflies, [London]: Published by Benjn. Wilkes, June ye 15, 1742, engraved title and 12 engraved plates by H. Roberts on cream laid paper with watermark of a shield and fleur-de-lys with initials L V G, depicting various butterflies arranged in geometric patterns, plates of each work numbered to upper right corner from 17 to 41 in a contemporary hand in brown ink, plate size 35 x 28.5 cm, sheet size 43.5 x 28.8 cm, title and several plates close-cropped to left margin just touching platemark, very light soiling or handling marks to tltle of each work and some plates (generally in clean condition), contemporary half brown calf over marbled boards, some light wear and marks with upper joint cracked and lower joint starting at head, oblong folioQTY: (1)NOTE:Furber: Nissen BBI 678; Dunthorne 116. Wilkes: Freeman 3997; Lisney 181. Scarce. According to Lisney "It is unlikely that this work was distributed bound as a volume, but the plates were probably set out on Wilkes's stall for sale either singly or in sets of twelve".The first work extremely rare, if not unique: only one other (incomplete) copy of this edition of Furber's flower plates offered for sale at auction (Jeschske van Vliet, 15 April 2010, lot 243). This edition is a new version by John Bowles of Furber's Twelve Months of Flowers, after designs by Peter Casteels, first published in London in 1730. The plates are slightly smaller, in reverse, and have an engraved border.Furber was a nurseryman with gardens near Hyde Park Gate, in Kensington, and a churchwarden at St. Mary Abbot's, Kensington for many years. The Twelve Months of Flowers were originally issued as a luxurious catalogue for his stock: over 400 flowers are illustrated, and each is identified in the key below the picture, so that customers could easily order their requirements. Furber employed artists Pieter Casteels and Henry Fletcher to create the depictions of flowers. The work was reprinted several times in the eighteenth century, with later editions coloured (as here), partly to obscure the catalogue’s original intention while at the same time enhancing the decorative appeal of the plates.Wilkes' Twelve New Designs of English Butterflies, dedicated according to the title to 'the Worthy Members of the Aurelian Society...' is also scarce. "It is unlikely that this work was distributed bound as a volume, but the plates were probably set out on Wilkes's stall for sale either singly or in sets of twelve" (Lisney).
Walpole (Horace). The Castle of Otranto, a Gothic Story, Translated by William Marshal, from the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto, 6th edition, Parma: printed at Bodoni, for J. Edwards, bookseller of London, 1791, half title, 2 engraved frontispieces, ruled in red throughout, a little light spotting, bookplate of Ellen James, all edges gilt, contemporary red morocco gilt, spine ends slightly rubbed, royal 8voQTY: (1)NOTE:Hazen 17. The first Parma edition. One of 300 copies, handsomely bound, of what is considered to be the first gothic novel.
Walpole (Horace). Il Castello di Otranto. Storia Gotica, translated by Jean Sivrac, 1st edition in Italian, London: Presso Molini, Polidori, Molini & Co., 1795, half title, engraved frontispiece, 6 engraved plates, B6 a cancel, occasional minor spotting, bookplate of Ellen James, all edges gilt, later handsome tan calf gilt, 8vo QTY: (1)NOTE:Provenance: Colonel Thomas Stanley (1749-1816), Whig politician and Colonel of the 1st Royal Lancashire Militia, and an avid book collector. Presentation inscription at front "Harriette Matilda Parkinson(?), from her godfather Colonel Stanley, July 11th, 1812". His Bibliotheca Stanleiana sale of 1813 attracted much interest and was one of the largest libraries sold in the lifetime of an owner.ESTC T99857.The Castle of Otranto, considered the first gothic novel was first published in 1764, purportedly translated by "William Marshal" from the original Italian manuscript by "Onuphrio Muralto" both of which were inventions of the author.
Burney (Frances, 'Fanny'). Camilla: or, A Picture of Youth, 5 volumes, 1st edition, London: T. Payne...and T. Cadell Jun. and W. Davies, 1796, volume 1 with list of subscribers (including 'Miss J. Austen, Steventon'), and advertisement leaf at end, volume 3 with paper repair to E6 (page 83-84), using blank paper which obscures some text (apparently without loss), volume 5 with closed tear to N9-10 (pages 281-284) without loss, intermittent mostly light spotting, early 19th-century bookplate of Ellen James to front pastedown of each volume, contemporary or near-contemporary uniform full calf, spines gilt-ruled with black roan labels, rubbed and some marks, first volume with joints cracked, 12moQTY: (5)NOTE:Rothschild 550.The list of subscribers includes a young (and then unknown) Jane Austen, aged 20. Other subscribers include Sir Joseph Banks, Edmund Burke, Sir William Chambers, Maria Edgeworth, Warren Hastings (godfather to Austen's first cousin and sister-in-law Eliza de Feuillide), Rev. Thomas Leigh of Adlestrop (cousin of Austen's mother), Hannah More, Mrs. Piozzi, Mrs. Radcliffe, Humphry Repton and Mrs. Siddons.Austen was an admirer of Fanny Burney's novels and, following the issue of Camilla in 1796, was spurred on in October of that year to begin a novel titled False Impressions, later to become Pride and Prejudice, a title possibly taken from a quotation in Burney's Cecilia.
Maurice (Thomas). Richmond Hilll; A Descriptive and Historical Poem: illustrative of the principal objects viewed from that beautiful eminence. Decorated with engravings. By the author of Indian Antiquities, London: printed by W. Bulmer and Co. for the Author, and sold by William Miller, 1807, 2 folding engraved plates (as issued), advertisement leaf at front and end, extra-illustrated with 25 engraved views, and portraits (some folding, some hand-coloured) by J.C. Stadler, John Boydell, T. Hall, J Collyer and others, contemporary panelled calf gilt, rebacked in calf gilt, 4toQTY: (1)NOTE:Provenance: Sir Thomas Gage (1781-1820) of Hengrave Hall, Suffolk, with his bookplate to front pastedown, and pencil annotation to advertisement leaf "The additional prints are intended as illustrations of the characters and places introduced in the poem. TG".The author Thomas Maurice (1754-1824) was an oriental scholar and historian, and assistant keeper of manuscripts at the British Museum. "Maurice was on intimate terms with many of the foremost of his contemporaries. He was an industrious student, a voluminous author, and one of the first to popularize a knowledge of the history and religions of the East; but Byron, in his English Bards and Scotch Reviewers, described Maurice as 'dull' and his poem on Richmond Hill as the 'petrifactions of a plodding brain'." (DNB).
Clare (John). The Village Minstrel, and Other Poems, 2 volumes, 1st edition, London: Taylor & Hessey; Stamford: E. Drury, 1821, half-titles, engraved portrait frontispiece by E. Scriven after W. Hilton to volume 1 and engraved frontispiece of Clare's Cottage to volume 2, 4pp. publisher's advertisements at rear of second volume, offsetting to titles, scattered spotting mostly at front and rear, rough-trimmed, front free endpapers discarded, original horizontally-ribbed brown cloth with printed paper title labels to spines, spines faded, light wear to extremities, 12moQTY: (2)NOTE:Tinker 637. This binding not recorded in Carter, Binding Variants, p.104. Scarce in the original publisher's binding, John Clare's second publication is composed of three sections: the long, semi-autobiographical poem which gives the work its title; 'Poems', comprising 71 songs, ballads, and poems, which make up the rest of the first volume and part of the second; and 'Sonnets', which contains 60 pieces of writing.Biographer Sir Jonathan Bate describes John Clare as "the greatest labouring-class poet that England has ever produced."
Dickens (Charles). Oliver Twist; or, the Parish Boy's Progress, by "Boz", 3 volumes, 1st edition, 1st issue, London: Richard Bentley, 1838, half titles for volumes 1-2 (none called for in volume 3), etched frontispiece to each, 21 etched plates by George Cruikshank, 4 pp. Bentley advertisements at end of volume I, occasional light spotting and toning, top edge gilt, modern handsome green half calf by Root & Son, spines with tan labels and gilt decoration, 8voQTY: (3)NOTE:Eckel pp. 59-62. First issue with "Boz" as the author to titles, and the 'Fireside' plate in volume III (suppressed in the second issue).
Howitt (Samuel). The British Sportsman, London: Edward Orme, 1812, lacking additional decorative title, some staining to title page, later presentation inscription to verso of the first blank, 71 uncoloured engraved plates, each with contemporary paper guard, the last two engravings with some spotting and the last image laid on later paper, later endpapers, late 19th century half morocco gilt, rubbed and bumped at extremities, oblong 4toQTY: (1)
Coleridge (Samuel Taylor). The Poetical and Dramatic Works, 3 volumes, London: William Pickering, 1847, half-titles, occasional light spotting, all edges gilt, near contemporary light brown morocco by Bedford, elaborate gilt decorated spines with morocco labels, gilt panelled boards, very slight water stain to boards of first volume, extremities lightly rubbed, 8voQTY: (3)
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